Abstract French Western films land in a blind field in accounts of both film genre and national film industries. Genre studies often place a strong focus on Hollywood, while there remains a tendency to favour auteur and art cinema in studies of French film. French Westerns are all but invisible, dismissed as clumsy parodies of what André Bazin dubbed the ‘cinéma américain par excellence’. The convergence of the Western and France’s most visible post-war star therefore strikes a dissonant note. Brigitte Bardot’s global celebrity has been hailed as an emblem of transnational exchange. However, accounts of her star image dwell on the youthful sexuality exhibited in her early films or her consecration as a nouvelle vague icon. When not overlooked entirely, her Western pictures are cast as curiosities of a film career’s undistinguished end. Bringing critical pressure to the discordance between these films and the relays that shape ideas of both ‘Western’ and ‘Bardot’ yields a more differentiated understanding of her star image, of the Western genre and, when a singularly visible emblem of French cinema is cast in a genre closely associated with America and Hollywood, of the volatile conjunction of ‘French’ and ‘Western’.

中文翻译：

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牛仔与外星人：巴多特·西部片

摘要无论是电影流派还是国家电影业，法国西方电影都处于盲目的领域。体裁研究通常将重点放在好莱坞，而在法国电影研究中仍倾向于使用直觉电影和艺术电影。法国西方人几乎是无形的，被当作安德烈·巴赞（AndréBazin）所谓的“卓越的美国电影”的笨拙的模仿。因此，西方和法国战后最知名的明星的融合引起了不和谐的印象。碧姬·芭铎（Brigitte Bardot）的全球名人被誉为跨国交流的象征。然而，关于她的明星形象的原因却在于她早期电影中表现出的年轻性爱或作为新贵模糊偶像的奉献。如果不被完全忽略，她的西方照片被视为对电影事业无与伦比的结局的好奇。