Constructing The Coens: From Blood Simple To Inside Llewyn Davis by Allen RedmonConstructing The Coens: From Blood Simple To Inside Llewyn Davis by Allen Redmon

Constructing The Coens: From Blood Simple To Inside Llewyn Davis

byAllen Redmon

Hardcover | February 2, 2015

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The Coens craft films that are not easily solved, because a Coen brothers' film is never one thing even when it presents itself as just that. Individual moments are clear enough, but it becomes difficult to find a balanced sum, because the brothers simply employ too many different formulas. This book combines recent developments in cognitive film theory, genre studies, and adaptation theory to isolate the ways in which the Coens encourage spectators to participate in the ongoing construction of their movies. The duo's explicit and extensive use of openly admitted sources emboldens audiences to adapt their films even after the films end.
Allen H. Redmon coordinates and teaches classes in interdisciplinary film studies at Texas A&M University Central Texas. He has published articles in The Journal of Popular Film, Literature/Film Quarterly, Bright Lights Film Journal, The Journal of Religion and Film, Studies in French Cinema, and Journal of American Culture.
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Title:Constructing The Coens: From Blood Simple To Inside Llewyn DavisFormat:HardcoverDimensions:192 pages, 9.33 × 6.22 × 0.73 inPublished:February 2, 2015Publisher:Rowman & Littlefield PublishersLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1442244844

ISBN - 13:9781442244849

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Table of Contents

AcknowledgmentsIntroductionChapter 1 "It's a Problem of.Perception": Identifying the Coens' Constructivist SensibilityChapter 2 "You Don't Want to be Tried and Found Wantin'": Triggering the Ongoing Adaptation of the The LadykillersChapter 3 "I Will Destroy Him": Negotiating the Image in Barton Fink and RaisingArizonaChapter 4 That Gag's Got Whiskers on it": Achieving Narrative Coherence in The Hudsucker Proxy and The Man Who Wasn't ThereChapter 5 "The Coin Don't Have No Say": Examining Intertextuality in The Hudsucker Proxy, Intolerable Cruelty, and No Country for Old MenChapter 6 "A Lotta Ins, a Lotta Outs": Interweaving Genres in The Big Lebowski and O Brother, Where Art Thou?Chapter 7 "Appearances Can Be Deceptive": Investigating Sexuality in O Brother, Where Art Thou?, Intolerable Cruelty, and Burn After ReadingChapter 8 "I Haven't Done Anything Funny": Scrutinizing Gender in the Coens' Arrangements of a Bunch of Men around One WomanChapter 9 "Accept the Mystery": Resisting Final Construction and A Serious ManConclusionBibliographyIndexAbout the Author

Editorial Reviews

Redmon has written the definitive critical study of the films of Ethan and Joel Coen, the writer-director team behind Fargo, Raising Arizona, and O Brother, Where Art Thou? Previous critics have portrayed the Coen Brothers as hipsters who make apocalyptic, misanthropic films about American culture made palatable by healthy doses of humor, a nostalgic period setting, and affectionate homages to genre films of the past-especially film noir, the western, and the musical. Redmon, however, demonstrates that, while the brothers may be snarky-and may employ postmodern storytelling techniques-their work is soulful and concerned with truth and ethics.. Redmon explains that the Coen Brothers' films demand that the audience participate actively in making meanings of the films. The films help viewers become better readers of cinema and of life, and offer us all clues as to how to find truth and emotional authenticity in the grotesque carnival of broken dreams and solipsistic concerns of an America fractured by the culture wars. As Redmon observes, while the Coens enjoy laughing at human folly, they have an ethical worldview, celebrating virtue, condemning evil, and asking us to accept the mystery of the human comedy. Say whatever you want about the Coen Brothers: these men are not nihilists and their films have an ethos.