O Brother, Where Art Thou? Homer in Hollywood: The Coen Brothers' O Brother, Where Art Thou? Could a Hollywood filmmaker adapt Homer's Odyssey for the screen in the same way that James Joyce did for the Modernist novel? The idea of a high-art film adaptation of the Odyssey is actually at the center of the plot of Jean-Luc Godard's 1963 film Contempt, and the Alberto Moravia novel on which Godard's film is

Western Film The Coen Brothers’ (2010) film True Grit is an adaptation of the novel by the same name and contrasts sharply with the films of the same genre from the 1940s and 1950s. Save for John Ford’s Westerns, like The Searchers, which had a bit of realism mixed in with the sentimentality, there is not much comparison worth noting. The Coen Brothers created a film that is true to the

Miller's Crossing gives the best example of the "ethics" of the crime film genre -- beginning as it does with the classic speech delivered by Giovanni Gasparo: "I'm talkin' about friendship -- I'm talkin' about character -- I'm talkin' about -- hell, Leo, I ain't embarrassed to use the word: I'm talkin' about ethics…" The film, of course, is full of characters whose actions are shady and unethical -- but

Marjoun and the Flying Headscarf filmmaker Susan Yousseff presents the self and subjectivity of Marjoun, a young Muslim woman and daughter of immigrants. I will speak of Marjoun as though she were a case scenario. Marjoun in depicting her own self as the protagonist is dependent upon the headscarf of the film's title, a hijab which she insists on wearing even indoors (to her mother's derision) and which becomes a

American frontier in a comparative analysis using two books (Luis Alberto Urrea, In Search of Snow, 1994; Sam Shepard, True West, 1981) and a film, No Country for Old Men, Directed by Ethan and Joel Coen, 2007. These books will be presented in a comparative analysis with the film. The analyses used in this paper will focus on values, setting, conflicts and the way of life presented in each. How

There is a direct correlation with, say, Henry Hill's cocaine abuse and the increasingly rapid cuts between shots. Faster-paced narrative parallels quicker-moving shots. When viewers finally see the film in the theater, the finished product reads like a cohesive narrative when in fact the filmmakers strung together disparate shots and cuts and combined them later after thousands of hours of painstaking labor. Analyzing a movie must therefore include respect