No Country For Old Men Essay
1) How does fit within the history of the genre in general? A particular era?
No Country for Old Men (Coen & Coen, 2007) fits within the history of Western films as one of the more modern genre-hybrid film adaptations of a written novel. The Western genre itself plays more of a backseat role in No Country for Old Men (Coen & Coen, 2007), which primarily focuses on the prevailing thriller elements of the story. In regards to eras in film history, No Country for Old Men (Coen & Coen, 2007) is reminiscent of New Wave cinema with morally ambiguous or depraved protagonists in a disillusioned world. No Country for Old Men (Coen & Coen, 2007) stems from the broader Postmodernism and New Historicism movements, which emphasize a disenchanted perspective of the world, instead of the blissfully ignorant perspective of the world as in previous cinematic movements. This can be seen in No Country for Old …show more content…
As a Postmodern genre-hybrid, No Country for Old Men (Coen & Coen, 2007) primarily highlights the misgivings and foreboding darkness lurking in the world. With morally ambiguous protagonists such as Llewelyn Moss whose true intentions lay more or less shrouded in mystery, No Country for Old Men (Coen & Coen, 2007) heightens the intense suspense of its thriller chase as the audience attempts to dig deeper to understand the motives of the characters. Perhaps the most incomprehensible of them all is Anton Chigurh. An epitomical multidimensional antagonist, Chigurh kills most he sees, and tosses coins to determine the fate of others. In a much disillusioned light, No Country for Old Men (Coen & Coen, 2007) depicts the hopelessness of Sheriff Ed Tom as he laments his helplessness against the new level of criminals he now faces. As such, No Country for Old Men (Coen & Coen, 2007) draws much upon the Postmodern nature of portraying a disenchanted and precarious
No Country for Old Men (Coen & Coen, 2007) fits within the history of Western films as one of the more modern genre-hybrid film adaptations of a written novel. The Western genre itself plays more of a backseat role in No Country for Old Men (Coen & Coen, 2007), which primarily focuses on the prevailing thriller elements of the story. In regards to eras in film history, No Country for Old Men (Coen & Coen, 2007) is reminiscent of New Wave cinema with morally ambiguous or depraved protagonists in a disillusioned world. No Country for Old Men (Coen & Coen, 2007) stems from the broader Postmodernism and New Historicism movements, which emphasize a disenchanted perspective of the world, instead of the blissfully ignorant perspective of the world as in previous cinematic movements. This can be seen in No Country for Old …show more content…
As a Postmodern genre-hybrid, No Country for Old Men (Coen & Coen, 2007) primarily highlights the misgivings and foreboding darkness lurking in the world. With morally ambiguous protagonists such as Llewelyn Moss whose true intentions lay more or less shrouded in mystery, No Country for Old Men (Coen & Coen, 2007) heightens the intense suspense of its thriller chase as the audience attempts to dig deeper to understand the motives of the characters. Perhaps the most incomprehensible of them all is Anton Chigurh. An epitomical multidimensional antagonist, Chigurh kills most he sees, and tosses coins to determine the fate of others. In a much disillusioned light, No Country for Old Men (Coen & Coen, 2007) depicts the hopelessness of Sheriff Ed Tom as he laments his helplessness against the new level of criminals he now faces. As such, No Country for Old Men (Coen & Coen, 2007) draws much upon the Postmodern nature of portraying a disenchanted and precarious