Abstract
Recently, I decided to watch some old Western classics as part of my preparation for a graduate seminar on narcotrafico . My idea was that we could learn from those films about the pathological subject, in the Kantian sense, and that the Western genre might therefore be apropos to studying narcotrafico , hence perhaps its future. And one of the films I purchased was Fred Zinneman's High Noon (1952). By the time Will Kane says, The judge has left town, Harvey's quitted, I'm having trouble getting deputies, I was
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