Genre revisionism in these post-Tarantino days is about as close as you can get to armchair activism without having a Facebook account. It wasn’t always this way. In the late ’60s and early ’70s, reverse engineering the symbolism in a genre film meant subverting the expectations that decades of studio programming had groomed. It meant unpacking the myths that were sold to the “masses” – who were rather falsely assumed to have swallowed the illusions whole. Audiences may not have believed the myths, but they enjoyed the comfortably structured fantasies and accepted them, and to the counterculture who saw that acceptance culminate in racism and violence, this was a dangerous delusion. Genres were stand-ins for conventionalism, which was itself a stand-in for authority – albeit one that seems quaint and almost benign in retrospect. The remedy, it was believed, was to respond in the same language – with Westerns featuring cowboys as mercenaries (A FISTFUL OF DOLLARS) or as butchers of Indians (LITTLE BIG MAN) or gangster films about criminals who were less objectionable than the authorities they fled from (BONNIE AND CLYDE). These winks of subversion would later fall under the umbrella of “culture jamming.” But the sad truth of the matter – from a political though not an aesthetic point of view – is that disrupting people’s fantasy lives is not always the same as changing their behavior.