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:''"Ostern" is also an alternative spelling of Ostare and German for Easter''. The Ostern (Eastern) or Red Western (also known as "Borscht Western") was the Soviet Union and Eastern Bloc countries' take on the Western. The term refers to two related genres: # Proper Red Westerns, set in America's 'Wild West', such as ''Lemonade Joe'' (Czechoslovakia, 1964), or the East-German ''The Sons of Great Bear'' (1966) or ''The Oil, the Baby and the Transylvanians'' (Romania, 1981), or ''A Man from the Boulevard des Capucines'' (USSR, 1987), involving radically different themes and genres. These were mostly produced in Eastern European countries like East Germany and Czechoslovakia, rather than USSR. # Easterns (Osterns), set usually on the steppes or Asian parts of the USSR, especially during the Russian Revolution or the following Civil War. Examples of these include ''The Elusive Avengers'' (1966) and its two sequels, ''White Sun of the Desert'' (1969), ''Dauria'' (1971), ''At Home among Strangers'' (1974), ''The Burning Miles'' (1957), ''The Bodyguard'' (1979), and ''The Sixth'' (1981). While obviously influenced by Westerns, Easterns form a specific genre. The word "Ostern" is derived from the German word ''Ost'', meaning "East". Red Westerns of the first type are often compared to Spaghetti Westerns, in that they use local scenery to double up for the American West. In particular, Yugoslavia, Mongolia and the Southern USSR were used. Some of the East German films were called Sauerkraut Westerns. ==Red Westerns in an international context== Easterns provide a counterpoint to familiar mythologies and conventions of the original genre, particularly as the makers were on the other side of a propaganda war without parallel, the Cold War, and this is partially why many have never been shown in the west, at least not until after the Cold War ended. In a war in which many fabrications were made on both sides, there was often a lingering fascination with the cultural developments in enemy countries. Westerns have proven particularly transferable in the way that they create a mythology out of relatively recent history, a malleable idea that translates well to different cultures. In Soviet Union, the Ostern uses the generic calling cards of the American Western to dramatise the Civil War in Central Asia in the 1920s and 1930s, in which the Red Army fought against Islamic Turkic 'Basmachi' rebels. By substituting, 'red' for 'blue' and 'Turk' for Mexican or Indian, there are the same opportunities for a sweeping drama played out against a backdrop of wide-open spaces. The Ural Mountains can be equivalent to Monument Valley, the Volga River for the Rio Grande. Add the gun slinging ethos, horse riding, working the land, pioneers of a sort (ideological often in this case), the bounty hunter traversing difficult terrain with outlaw in tow, railroading and taming the wild frontier and you have a generic mirror image of the American genre. One story could have many incarnations: the British Lost Patrol (1929) was set in Mesopotamia but was remade among others as the 1936 Soviet film ''The Thirteen'', featuring Basmachi antagonists, and as the 1953 American Western ''Last of the Comanches''. Red Westerns which use the actual American west as a setting include, the Romanian ''The Oil, the Baby and the Transylvanians'' (1981) which dramatises the struggles of Romanian and Hungarian settlers in a new land. The Czech ''Lemonade Joe'' and the Soviet ''A Man from the Boulevard des Capucines'' plump for pastiche or satire, making fun of the hard worn conventions of the American films. The German ''The Sons of the Great Bear'' (1966) turned the traditional American "Cowboy and Indian" conventions on their head, casting the Native Americans as the ''heroes'' and the American Army as the villains - this was well within the established tradition of Karl May's highly successful German Western novels, but had some obvious Cold War overtones. The film started a series of "Indian films" by the East German DEFA studios which were quite successful. Interestingly, many of the non-Soviet examples of the genre were international co-productions akin to the Spaghetti Westerns. ''The Sons of the Great Bear'' for example was a co-production between East Germany and Czechoslovakia, starring a Yugoslav, scripted in German, and shot in a number of different Eastern Bloc countries and used a variety of locations including Yugoslavia, Bulgaria, Mongolia and Czechoslovakia. ''The Oil, the Baby and the Transylvanians'' was a Romanian film, but featured emigrant Hungarians heavily in the storyline. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ostern」の詳細全文を読む スポンサード リンク
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