The Philosophy of the Coen Brothers

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University Press of Kentucky, 1 mar. 2009 - 304 páginas

In 2008 No Country for Old Men won the Academy Award for Best Picture, adding to the reputation of filmmakers Joel and Ethan Coen, who were already known for pushing the boundaries of genre. They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To borrow a phrase from Barton Fink, all Coen films explore "the life of the mind" and show that the human condition can often be simultaneously comic and tragic, profound and absurd. In The Philosophy of the Coen Brothers, editor Mark T. Conard and other noted scholars explore the challenging moral and philosophical terrain of the Coen repertoire. Several authors connect the Coens' most widely known plots and characters to the shadowy, violent, and morally ambiguous world of classic film noir and its modern counterpart, neo-noir. As these essays reveal, Coen films often share noir's essential philosophical assumptions: power corrupts, evil is real, and human control of fate is an illusion. In Fargo, not even Minnesota's blankets of snow can hide Jerry Lundegaard's crimes or brighten his long, dark night of the soul. Coen films that stylistically depart from film noir still bear the influence of the genre's prevailing philosophical systems. The tale of love, marriage, betrayal, and divorce in Intolerable Cruelty transcends the plight of the characters to illuminate competing theories of justice. Even in lighter fare, such as Raising Arizona and The Big Lebowski, the comedy emerges from characters' journeys to the brink of an amoral abyss. However, the Coens often knowingly and gleefully subvert conventions and occasionally offer symbolic rebirths and other hopeful outcomes. At the end of The Big Lebowski, the Dude abides, his laziness has become a virtue, and the human comedy is perpetuating itself with the promised arrival of a newborn Lebowski. The Philosophy of the Coen Brothers sheds new light on these cinematic visionaries and their films' stirring philosophical insights. From Blood Simple to No Country for Old Men, the Coens' films feature characters who hunger for meaning in shared human experience -- they are looking for answers. A select few of their protagonists find affirmation and redemption, but for many others, the quest for answers leads, at best, only to more questions.

 

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The philosophy of the Coen brothers

Reseña de usuario  - Not Available - Book Verdict

Before collaborating on the writing and directing of over 13 films, Joel Coen studied film at New York University, while Ethan Coen studied philosophy at Princeton University. In this text, 14 ... Leer reseña completa

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A compilation of essays on readings of the Coen Brothers films. Lots of interpretation at play here. Leer reseña completa

Índice

Introduction
1
Raising Arizona as an American Comedy
7
The Human Comedy Perpetuates Itself
27
Philosophies of Comedy in O Brother Where Art Thou?
41
No Country for Old Men
55
Deceit Desire and Dark Comedy
79
And Its Such a Beautiful Day
93
Justice Power and Love
109
No Country for Old Men as Moral Philosophy
163
Heidegger and the Problem of Interpretation in Barton Fink
179
The Past Is Now
195
A Homespun Murder Story
211
What Kind of Man Are You?
227
Being the Barber
243
Thinking beyond the Failed Community
267
Contributors
287

Ethics Heart and Violence in Millers Crossing
125
Takin er Easy for All Us Sinners
147

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Sobre el autor (2009)

Mark T. Conard is assistant professor of philosophy at Marymount College. He is the series editor of The Philosophy of Popular Culture series and the editor of numerous books, including The Philosophy of Film Noir, The Philosophy of Neo-Noir, and The Philosophy of Martin Scorsese.

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