
Cowboys and Italians
In the 1960s, Italian filmmakers took the cowboy out of America. They gave the western a wild, blood-soaked makeover that revived the genre for global audiences and imbued it with new political relevance.

In the 1960s, Italian filmmakers took the cowboy out of America. They gave the western a wild, blood-soaked makeover that revived the genre for global audiences and imbued it with new political relevance.

For decades, advocates of humanitarian intervention argued that the international community should take military action against states engaged in extreme human rights abuses. Israel is one such state.

Once the poorer neighbor of Hong Kong, Shenzhen has been transformed into a showcase for the speed, power, and dynamism of Chinese development — and a study in extreme inequality.

On the run from the Gestapo, Walter Benjamin committed suicide on the French-Spanish border in 1940. The place where he spent his last days now overlooks the most brutally policed border of the EU.
Some recommendations from the Republic of Letters.

After his post–Citizen Kane slump, Orson Welles teamed up with Universal for a big Hollywood comeback about corrupt police on the US-Mexico border. The executives balked at his vision — but today Touch of Evil is regarded as Welles’s final masterpiece.

One German’s idiosyncratic obsession with the American frontier led to an unlikely West German–Yugoslav cinematic partnership that fed the European appetite for cowboys and Indians.
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J. D. Vance has attacked birthright citizenship and equality before the law by claiming that “America is not an idea.” But the realization of the idea of civic nationalism has been our greatest achievement.