Joel & Ethan Coen, the BIG LEBOWSKI
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Hole a Remediative Approach to the Filmmaking of the Coen Brothers
University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................ -
Martin Neužil
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Martin Neužil Violence and humour in In Bruges and The Guard Bachelor’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2018 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Martin Neužil 2 I would like to thank my supervisor, Stephen Paul Hardy, for his unending patience and guidance. Also huge thanks to my family and friends for their support and encouragement. 3 Table of Contents Page Introduction ..................................................................................................................... 5 Irish Movie Industry ....................................................................................................... 7 In Bruges ........................................................................................................................ 10 The Guard ..................................................................................................................... 20 Comparison ................................................................................................................... 30 Conclusion ..................................................................................................................... 40 Works Cited ................................................................................................................... 41 Resumé .......................................................................................................................... -
The Humorous View of a Psychotic Break in Raising Arizona, by the Coen Brothers
The Humorous View of a Psychotic Break in Raising Arizona, by the Coen Brothers Thoughts on the bizarre object. Robert A.W. Northey Raising Arizona, the second film by the now well known writer/director duo, Joel and Ethan Coen, was released in 1987. Many of the actors in the film were relatively unknown at the time. The young Nicolas Cage had just caught attention starring beside Cher in Moonstruck, with a few smaller roles in some feature films before that. Holly Hunter was relatively unknown. Frances McDormand had recognition for her stage acting with one Tony nomination, otherwise a few television series and one feature film, Blood Simple, the first Coen brothers film (know that she is married to Joel Coen). John Goodman had been in a few films, but his fame from the TV series Rosanne was still ahead of him. Raising Arizona is a film I know well, first seeing it shortly after it was released, and having re- watched it at least a dozen times since then. The quirky comedy speaks to my sense of humour, and it was an early lesson to me about the art of making film, and of telling a story. Reviewing it more recently from a psychoanalytic perspective has brought me great joy as I was able to discover yet more in this film that I love. Could this story be told in any other way than a comedy? Certainly a story of a childless couple, devastated by their inability to have a child, kidnapping a baby to try and fill the need, hiding the crime from inquiring friends, and being hunted by police and bounty hunters, might be possible as a drama; but would it be watchable or relatable or on any level believable? I would suggest that the story as a comedy nullifies believability as a concern. -
Now AVAILABLE in a BLU-RAY Edition! the CRITERION COLLECTION PRESENTS Beauty and the Beast
1946 now AVAILABLE In A BLU-RAY EdItIon! THE CRITERION COLLECTION PRESENTS BeautY And thE BEAst CINEMA’S MOST GLORIOUS FAIRY TALE COMES TO NEW LIFE ON CRITERION BLU-RAY! The sublime adaptation by JEAN Cocteau (Orpheus) of Mme. Leprince de Beaumont’s fairy-tale masterpiece—in which the true love of a beautiful girl melts the heart of a feral but gentle beast—is a landmark feat of motion picture fantasy, with unforgettably romantic performances by JEAN MARAIS (Orpheus) and Josette Day (Les parents terribles). The spectacular visions of enchantment, desire, and death in Beauty and the Beast (La Belle et la Bête) have become timeless icons of cinematic wonder. Blu-ray SPECIAL EDITION FEATURES WINNER • High-definition digital transfer from restored film PRIx LOUIS Delluc, 1946 elements, with uncompressed monaural soundtrack • Composer Philip Glass’s opera La Belle et la Bête, presented in 5.1 DTS-HD Master Audio as an alternate soundtrack • Two commentaries: one by film historian Arthur “One of the most magical of all films.” Knight and one by writer and cultural historian —Roger Ebert Sir Christopher Frayling • Screening at the Majestic, a 1995 documentary featuring interviews with cast and crew “A sensuously fascinating film, • Interview with cinematographer Henri Alekan a fanciful poem in movement.” —The New York Times • Rare behind-the-scenes photos and publicity stills • Film restoration demonstration • Original trailer, directed and narrated by director 1946 • 93 mInUtEs • BLAck & whItE • monaural • In Jean Cocteau, plus restoration trailer from 1995 FREnch wIth EngLIsh sUBtItLEs • 1.33:1 AspEct RAtIo • PLUS: A booklet featuring an essay by film critic BLU-RAY EDITION SRP $39.95 Geoffrey O’Brien, a piece on the film by Cocteau, PREBOOK 6/21/11 STREET 7/19/11 excerpts from Francis Steegmuller’s 1970 book Cat. -
I'm a Sicilian American
I’m a Sicilian American Dedicated to my parents Gaetano and Rosa Alessi Coniglio and my eldest brother Guy , who came to America in 1913 and 1914 from Serradifalco, SICILY . I’m a Sicilian American. I’m a Sicilian American. I’m the son of immigrants who left a land of history and beauty, of poets and dreamers, volcanoes and olive trees. A land that taught the world what a modern nation could be, before most modern nations existed. A land that formed the largest country, The Kingdom of the Two Sicilies , from Naples and Abruzzo to Messina and Palermo, that was subsumed into the new ‘Kingdom of Italy’ after the ‘unification’. My parents left because for all its lore and loveliness, and their fierce pride in it, Sicily was poor and demeaned, and could offer little hope for their family’s future. I’m a Sicilian American. My heritage includes mythical Persephone, Vulcan, and Icarus; Greek scholars Archimedes, Empedocles and Diodorus Siculus; composers Bellini and Scarlatti, and writers Verga and Sciascia. I’m a Sicilian American. I’m Antonio Crisafi. I came before there was a United States and in 1696 commanded the fort at Onondaga. I’m Padre Saverio Saetta, who died in 1695 while bringing Christianity to the New World. I’m Enrico Fardella, who fought against the Bourbons in Sicily, one of the first people’s revolutions in Europe, in 1848, and then became a brigadier general in America’s Civil War. I’m a Sicilian American. I’m a descendant of Southern Italian immigrants who formed 80% of the ‘Italians’ who came to America in the ‘Great Migration’ of the late 1800s and early 1900s, most, from the island of Sicily. -
71 Ans De Festival De Cannes Karine VIGNERON
71 ans de Festival de Cannes Titre Auteur Editeur Année Localisation Cote Les Années Cannes Jean Marie Gustave Le Hatier 1987 CTLes (Exclu W 5828 Clézio du prêt) Festival de Cannes : stars et reporters Jean-François Téaldi Ed du ricochet 1995 CTLes (Prêt) W 4-9591 Aux marches du palais : Le Festival de Cannes sous le regard des Ministère de la culture et La 2001 Salle Santeuil 791 (44) Mar sciences sociales de la communication Documentation française Cannes memories 1939-2002 : la grande histoire du Festival : Montreuil Média 2002 Salle Santeuil 791 (44) Can l’album officiel du 55ème anniversaire business & (Exclu du prêt) partners Le festival de Cannes sur la scène internationale Loredana Latil Nouveau monde 2005 Salle Santeuil 791 (44) LAT Cannes Yves Alion L’Harmattan 2007 Magasin W 4-27856 (Exclu du prêt) En haut des marches, le cinéma : vitrine, marché ou dernier refuge Isabelle Danel Scrineo 2007 Salle Santeuil 791 (44) DAN du glamour, à 60 ans le Festival de Cannes brille avec le cinéma Cannes Auguste Traverso Cahiers du 2007 Salle Santeuil 791 (44) Can cinéma (Exclu du prêt) Hollywood in Cannes : The history of a love-hate relationship Christian Jungen Amsterdam 2014 Magasin W 32950 University press Sélection officielle Thierry Frémaux Grasset 2017 Magasin W 32430 Ces années-là : 70 chroniques pour 70 éditions du Festival de Stock 2017 Magasin W 32441 Cannes La Quinzaine des réalisateurs à Cannes : cinéma en liberté (1969- Ed de la 1993 Magasin W 4-8679 1993) Martinière (Exclu du prêt) Cannes, cris et chuchotements Michel Pascal -
Sans Titre-2
A l’Espace Audiovisuel: Les Palmes d’Or du festival de Cannes Année Titre Réalisateur Pays Cote 2010 Oncle Boonmee Weerasethakul Apichatpong Thaïlande 3344DVD 2009 Le ruban blanc Haneke Michael Autriche 2720DVD 2008 Entre les murs Cantet Laurent France 1727DVD 2007 4 mois, 3 semaines, 2 jours Mungiu Cristian Roumanie 1403DVD 2006 Le vent se lève Loach Ken Royaume-Uni 1161DVD Jean-Pierre et 2005 L'enfant Dardenne Luc Belgique 1284DVD 2004 Fahrenheit 9 / 11 Moore Michael Etats-Unis 2692DVD 2003 Elephant Van Sant Gus Etats-Unis 496DVD 2002 Le pianiste Polanski Roman Pologne 649DVD 2001 La chambre du fils Moretti Nanni Italie 1892DVD 2000 Dancer in the dark Trier Lars von Danemark 269DVD Jean-Pierre et 1999 Rosetta Dardenne Luc Belgique 57DVD 1998 L'éternité et un jour Angelopoulos Theo Grèce 1503DVD Le goût de la cerise Kiarostami Abbas Iran 1929AVV 1997 L'anguille Imamura Shohei Japon 1921AVV 1996 Secrets et mensonges Leigh Mike Royaume-Uni 1028DVD 1995 Underground Kusturica Emir Yougoslavie 1994 Pulp fiction Tarantino Quentin Etats-Unis 1203DVD Nouvelle- 1993 La leçon de piano Campîon Jane Zélande 1032DVD Adieu ma concubine Kaige Chen Chine 1086DVD 1992 Les meilleures intentions August Bille Danemark 1991 Barton Fink Coen Ethan et Joel Etats-Unis 1505DVD 1990 Sailor et Lula Lynch David Etats-Unis 1218DVD 1989 Sexe, mensonge et vidéo Soderbergh Steven Etats-Unis 1068AVV 1988 Pelle le conquérant August Bille Danemark 288DVD 1987 Sous le soleil de Satan Pialat Maurice France 11DVD 1986 Mission Joffé Roland Royaume-Uni 1985 Papa est en voyage -
Elijah Siegler, Coen. Framing Religion in Amoral Order Baylor University Press, 2016
Christian Wessely Elijah Siegler, Coen. Framing Religion in Amoral Order Baylor University Press, 2016 I would hardly seem the most likely candidate to review a book on the Coen brothers. I have not seen all of their films, and the ones I saw … well, either I did not understand them or they are really as shallow as I thought them to be. With one exception: I did enjoy O Brother, Where Art Thou? (2000). And I like A Serious Man (2009). So, two exceptions. And, of course, True Grit (2010) – so, all in all three exceptions1 … come to think of it, there are more that have stuck in my mind in a positive way, obfuscated by Barton Fink (1991) or Burn After Reading (2008). Therefore, I was curious wheth- er Elijah Siegler’s edited collection would change my view on the Coens. Having goog- led for existing reviews of the book that might inspire me, I discovered that none are to be found online, apart from the usual flattery in four lines on the website of Baylor University Press, mostly phrases about the unrivalled quality of Siegler’s book. Turns out I have do all the work by myself. Given that I am not familiar with some of the films used to exemplify some of this book’s theses, I will be brief on some chapters and give more space to those that deal with the films I know. FORMAL ASPECTS Baylor University Press is well established in the fields of philosophy, religion, theol- ogy, and sociology. So far, they have scarcely published in the media field, although personally I found two of their books (Sacred Space, by Douglas E. -
A Serious Man (2009)
A Serious Man (2009) “Receive with simplicity everything that happens” --Rashi Major Credits: Directors: Joel and Ethan Coen Script: Joel and Ethan Coean Cinematography: Roger Deakins Editing: Roderick Jaynes (pseudonym for Joel and Ethan Coen) Music: Carter Burwell Cast: Michael Stuhlbarg (Larry Gopnik); Richard Kind (Uncle Arthur); Fred Melamed (Sy Abelman); Sari Lennick (Judith Gopnik); Amy Landecker (Mrs. Samsky) Background: Following the success of No Country for Old Men (2007), the Coen brothers felt free to return to an uncharacteristically personal story that they had been thinking about for many years. Set in 1967 in an upper Midwest suburbia like the one outside Minneapolis in which they were raised, A Serious Man draws upon Joel’s and Ethan’s memories as it re-tells the Biblical tale of Job. Although generally praised by critics (earning a Best Picture nomination from the Academy under its newly expanded system of selecting ten movies instead of five), the film, perhaps not surprisingly, did not generate the same buzz as their multiple Oscar-winning Western. Nevertheless, it remains one of their most skillfully crafted works, one that manages to be both painfully funny and deeply disturbing. Its reputation will almost surely grow. Cinematic Elements: 1. The Yiddish prologue, with its narrowed frame, sepia tone, and focused lighting, evokes both the style of silent movies and the vernacular language and storytelling of the Yiddish theatre. Although the Coens have explicitly denied any relevance to the modern story, the prologue clearly resonates with the themes and tone of the rest of A Serious Man. 2. Music: The Coens again collaborate with their favorite composer, Carter Burwell, and the film’s eclectic score—from the Jefferson Airplane’s “Don’t You Want Somebody to Love” to Sidor Belarsky’s melancholy Yiddish song “The Miller’s Tears”—reinforces the film’s shifts from hallucination and dream to comedy and melodrama. -
The Political Agenda of Todd Haynes's Far from Heaven Niall Richardson, University of Sunderland, UK
Poison in the Sirkian System: The Political Agenda of Todd Haynes's Far From Heaven Niall Richardson, University of Sunderland, UK Certainly Haynes's work does qualify as queer, but in the traditional sense of the word: unusual, strange, disturbing. (Wyatt, 2000: 175) Haynes "queers" heterosexual, mainstream narrative cinema by making whatever might be familiar or normal about it strange, and in the process hypothesising alternatives that disrupt its integrity and ideological cohesiveness. (DeAngelis, 2004: 41) Todd Haynes is one of the most controversial directors of contemporary cinema. From his student film Superstar: The Karen Carpenter Story (1987), to his most controversial, Poison (1991), Haynes has continually challenged spectators' expectations by making the familiar appear unfamiliar and evoking a sense of the unusual, strange, or "queer" within everyday lives. Committed to an agenda of political filmmaking, Haynes's films not only subvert Hollywood's storytelling conventions and assail the spectator with challenging images (especially Poison) but also ask the spectator to acknowledge the alienation of minority groups from mainstream society. It would, therefore, seem odd that Haynes should have recently directed Far From Heaven (2002), a homage to the melodramas of the 1950s. Unlike Haynes's other films -- Superstar, Poison, Dottie Gets Spanked (1993), Safe (1995) and Velvet Goldmine (1998) -- Far From Heaven is Haynes's first "commercial" success, popular with both mainstream audiences and critics. This paper will argue that Far From Heaven is more than simply an affectionate pastiche of Douglas Sirk's classic melodrama All That Heaven Allows (1955). Instead, Far From Heaven combines the social critique of the "Sirkian System" with the political agenda found in Poison. -
(XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released. -
Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows.