Weekly Wikipedia Find: Ostern

The Western, like jazz in music, has been a quintessentially American genre in literature and film. It is so constitutionally about the frontier and frontier justice and norms. So to apply that elsewhere is a bit of jarring juxtaposition. Sure, directors like Sergio Leone made Westerns under the pretense of Italian, Spanish, and overall European productions, there remained something wholly American about them, whether it be blue-eyed, whole grown stars like Clint Eastwood and Henry Fonda. But then there was also Westerns being made on the other side of the blockade: Soviet, Red Westerns.

Proper Red Westerns actually took place in the American West, often made in the Eastern Bloc and being rather comedic in nature. But then there were the Osterns, Soviet-made, Soviet-set westerns depicting a new frontier: the steppes of the USSR. Often these films carried a political message, whether it be an idealization of the working class, of the downtrodden or of the ethnic minorities like a sympathizing of what would have been the noble savage Native American characters in a Hollywood Western.

Wikipedia by Week

Week Twenty-Three: Kilroy was here
Week Twenty-Two: Jack Parsons
Week Twenty-One: The Wold Newton Universe
Week Twenty: Anonymous
Week Nineteen: Monty Hall problem
Week Eighteen: Brown Booby
Week Seventeen: Dieter Dengler
Week Sixteen: New Jerusalem
Week Fifteen: Technological Singularity
Week Fourteen: Numbers Station
Week Thirteen: Culper Ring
Week Twelve: Mary Sue
Week Eleven: Byford dolphin diving bell accident
Week Ten: Deep-sea gigantism
Week Nine: Bloop
Week Eight: Rat king
Week Seven: Gustave Doré
Week Six: Tomorrow
Week Five: Borscht Belt
Week Four: Swampman
Week Three: Chinese room
Week Two: Ambrose Burnside
Week One: Lolita fashion