It is one of the perceptual defects of Western government and press to assign Western-style motives to what people do in non-Western societies, as if these are universally relevant.
As I have pointed out, it is the Christian tradition that is the most fundamental element in Western culture. It lies at the base not only of Western religion, but also of Western morals and Western social idealism.
Many journalists are influenced by a myopic multiculturalism that is suspicious of anything Western, while giving the benefit of the doubt to non-Western societies.
On the future of the U.S., or of Western civilization in general, I tend to be quite pessimistic. I would say that today I see most of the symptoms of societies on the brink of collapse, not just in the U.S., but in the tightly interconnected societies of Western civilization - now essentially world civilization.
Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things.
The Western is as American as a film can get - there's the discovery of a frontier, the element of a showdown, revenge, and determining the best gunman. There's a certain masculinity to the Western that really appealed to me, and I've always wanted to do a Western in Hollywood.
I watched Westerns from the time I was a girl. My dad was a big Western fan. I always loved Clint Eastwood movies and Westworld, where the guy gets trapped in a western-themed amusement park. The western motif was fascinating to me.
I watched Westerns from the time I was a girl. My dad was a big Western fan. I always loved Clint Eastwood movies and 'Westworld', where the guy gets trapped in a western-themed amusement park. The western motif was fascinating to me.
By the 1870s, ex-Confederates had taken their support for Western individualism a step further. They insisted the federal government was actively persecuting Western individuals.
Lionsgate and Lorenzo di Bonaventura saw my Korean Western-style film, 'The Good, the Bad, the Weird,' and probably felt that I would be right for 'The Last Stand,' which could be classified as a modern Western.
We still insist, by and large, in thinking that we can understand China by simply drawing on Western experience, looking at it through Western eyes, using Western concepts. If you want to know why we unerringly seem to get China wrong... this is the reason.
I think the history of western feminism is one that is fraught with racism, and I think it's important to acknowledge that and, at the same time, to say that feminism is not the western invention, that my great-grandmother in what is now south-western Nigeria is feminist.
I've made the film 'The Good, the Bad, the Weird,' which was an Eastern Western film. Obviously, the Western film is American and American only; there's really no Western genre over in Asia.
Of course in Turkey I'm seen as being on the 'Western' side, criticised by the nationalists, criticised by the communitarians as not belonging. Even, sometimes, criticised for looking at my country through Western eyes. And in the Western media I'm portrayed as belonging to the East.
My people came from western Tennessee and western Kentucky.
Poetry isn't as relevant in the Western world as it is in Afghanistan. And not many people make time for something that doesn't feel relevant.
No civilisation, not even that of ancient Greece, has ever undergone such a continuous and profound process of change as Western Europe has done during the last 900 years. It is impossible to explain this fact in purely economic terms by a materialistic interpretation of history. The principle of change has been a spiritual one and the progress of Western civilisation is intimately related to the dynamic ethos of Western Christianity, which has gradually made Western man conscious of his moral responsibility and his duty to change the world.