사용자:Ehsdnjfl1979/작업장

싱글 목록 importance talk tonight

코엔 형제

Stylistic devices

The Coens prefer not to put the opening credits at the very beginning of the film. The Coens are also amongst the few contemporary filmmakers who have shown a great affection for the screwball comedies of the 30s and 40s, and have incorporated their influences with varying degrees of subtlety, ranging from entire movies in the screwball mode like The Hudsucker Proxy and Intolerable Cruelty to occasional fast-talking wacky characters like Steve Buscemi's cameo in Miller's Crossing. Their style of characterisation creates a world in which even characters with small speaking parts seem to have exaggerated traits or characteristics. This can be attributed to the settings of many of the films (for example the characters in The Big Lebowski do not seem out of place in the many niche communities of LA).

Influences

Aside from their movie influences, many of the Coen Brothers films are written with the flavorings of specific works of crime fiction; they feel like stories that could have been written by their respective authors. Their first film Blood Simple, for example, with its themes of grisly violence and degenerate characters who are constantly betraying each other, feels much like that of a Jim Thompson novel—After Dark, My Sweet immediately comes to mind. It's even set in Texas, a place that pops up as the scenery in many of Thompson's gothic, hard-boiled yarns. Their 1990 film, Miller's Crossing, has all the earmarks of a Dashiell Hammet novel, specifically Red Harvest. While The Big Lebowski is an obvious modern-day farce of Raymond Chandler's debut crime novel published in 1939, The Big Sleep--wherein you can find 1930's counterparts for almost every character in the Coens' 1990's parody. The Man Who Wasn't There, another original screenplay, contains all of the set-ups found in a James M. Cain novel—most notably, Double Indemnity and The Postman Always Rings Twice. These classic novels contribute greatly to their character studies, areas of interest (Los Angeles, Texas, the Midwest), and vernacular, beyond the world of film.

Dialogue

Oscar winners for Best Original Screenplay (Fargo) and Best Adapted Screenplay (No Country For Old Men), the Coen brothers are known for the dialogue in their films. Sometimes laconic (The Man Who Wasn't There; Fargo; No Country for Old Men), sometimes unusually loquacious (The Big Lebowski, The Hudsucker Proxy), their scripts typically feature a combination of dry wit, exaggerated language, and glaring irony. Another effect they employ is having a character repeat lines multiple times (The Big Lebowski, The Hudsucker Proxy, O Brother Where Art Thou, Ladykillers, Burn After Reading, A Serious Man). In addition to Fargo and No Country For Old Men, two other scripts have been nominated for Oscars (O Brother Where Art Thou for Adapted Screenplay and A Serious Man for Original Screenplay).

오스카의 베스트 오리지날 스크린플레이 부문(파고)과 베스트 adapted 스크린 플레이 부문(노인)의 수상이 입증하는 바와 같이 코엔 형제는 그들의 영화 속 대화로 유명하다. 가끔은 laconic하게(남자, 파고, 노인), 가끔은 unusually loquacious 하게(레보스키, 프록시), 그들의 대본은 blahblah

Depictions of America

The various aspects that make the character of a city, state or region of America are an integral component in several Coen brothers films. Raising Arizona strongly features the distinctive Arizona landscape, and some of the movie's characters are highly exaggerated stereotypes of some people's notions of Arizonans. Similarly, in Fargo the landscape and exaggerated accents of North Dakota and Minnesota are an essential component of the film. The Big Lebowski is the Coens' Los Angeles film, with the Dude and other characters emblematic of the city's eclectic population. O Brother, Where Art Thou? is distinctly Southern as well as The Ladykillers, as it was filmed in rural Mississippi, most of the characters speak with pronounced Southern accents, and the soundtrack is made up of bluegrass songs and gospel music. Barton Fink is in some respects a satire on another famous area of Los Angeles, Hollywood, as The Hudsucker Proxy does for New York. No Country for Old Men is also a depiction of the remote desert landscape of life and characters on the West Texas/Mexico border in Terrell County mostly with the focus on the town of Sanderson and the city of Del Rio circa 1980. Burn After Reading depicts the culture in and around DC involving government employees, while A Serious Man examines a Jewish community in the suburbs of the Twin Cities circa the late 1960s.

In addition, the Coens often set their movies in times of American crises: Miller's Crossing during prohibition, Barton Fink in the time around the attack on Pearl Harbor, The Big Lebowski during the 1991 Gulf War, and O Brother Where Art Thou? during the Great Depression. World War II also is mentioned as an important plot point in The Man Who Wasn't There, and Hi blames his recidivism on Reagan's presidency in Raising Arizona. The Hudsucker Proxy is set at the turn of 1958/59, the period that included Sputnik and the consequent escalation of the Cold War.

Use of animals

The Coens often use animals that seem to have an understanding of what is happening: for example, the bloodhound who looks surprised in the cabin scene of O, Brother, Where Art Thou?, the scruffy terrier accompanying the tyke in the Rug Daniels scene of Miller's Crossing, the Pomeranian show dog (with papers) who becomes agitated with Walter during Smokey's foul in The Big Lebowski, the ever-watching and suspicious Pickles in The Ladykillers, and the pit bull who is seen through binoculars by Moss in No Country for Old Men.

Money

Money is involved in most of Coens' films. In Fargo, money (or more correctly, the lack thereof) starts the events of the film, and is the motivation for many of the characters. The Big Lebowski centers itself around the collection of a debt in which "The Dude" Lebowski is mistaken for the wealthy, and older "Big" Lebowski. No Country for Old Men portrays the events surrounding a suitcase full of money. One of the main character's motivations is the need for money to pay for cosmetic surgery in Burn After Reading. Most recently, the confusion and moral conflict surrounding a suspected bribe drive portions of the plot in A Serious Man.

돈 문제는 코엔 형제의 많은 영화에서 나타난다. 파고에서 돈은(좀 더 확실히 하자면 돈의 결여) 사건의 시발점이자 등장인물들의 동기부여로써 작용한다. ~~

Violence

Most of the Coen brothers' films have violent moments. In The Hudsucker Proxy, the plot is unleashed by the suicide of Waring Hudsucker, and in The Ladykillers several characters die in an attempt to dispose of an old woman. In some of their more graphic films, e.g., Fargo, most of the main characters die or are assaulted, all of which is portrayed onscreen; in one particularly graphic scene in Fargo, a character's body is fed into a wood chipper. In their quirky 2008 film, Burn After Reading, there is some comic violence in the film but some more grim violence includes Brad Pitt's character getting shot in the face and another is hacked to death with a hatchet. The theme of unstoppable evil frequently recurs in their work. One notable example is Anton Chigurh of No Country for Old Men.

대부분의 코엔 형제의 영화들은 폭력적인 순간들을 그려내고 있다.

The majority of the violence in their films falls under the category of dark humor. A notable departure is in No Country for Old Men, in which most of the violence is portrayed with stark, grim overtones and minimal dark comedic effect in order to effectively and faithfully depict Cormac McCarthy's bleakly told original story.

Retro settings and nostalgia

Most of the Coens' movies have either been set in the past or taken on conventions of nostalgic genres (particularly the screwball comedies and film noir of the 1930s and 40s). They often take great care to recreate a time period, even when it is relatively recent (as with The Big Lebowski, set only eight years before its release, but with care paid to dated fashion and references to current events of the day). The Coens frequently make use of classic American music styles like folk, country, and roots gospel as well. While the Coens tend to experiment with recapturing different time periods and settings, these have, as of present, not gone earlier than the prohibition era or later than the present day, and have never been set outside of the United States, except for a brief departure to Mexico in No Country for Old Men, the short film contained in "Paris, je t'aime" and a brief Yiddish play taking place in Europe in A Serious Man.

Noel was supported by The Courteeners and Plan B respectively.[46] Bassist Mani of Primal Scream, and formerly the Stone Roses, play with him at these shows,[47][48][49] and he is also backed up by a choir, Crouch End Festival Chorus and an orchestra, Wired Strings.[50] There are also several rumors in the British tabloids that Noel Gallagher is tipped to replace Simon Cowell as a judge on the hit TV series, American Idol. [51] Terry Kirkbride and Gem Archer also joined him,[52][53] as did Jay Darlington.[54] He played a mostly acoustic set,[55] playing a variety of Oasis album tracks and B-sides.[56] It was almost the same set he played at the Royal Albert Hall in 2007.[57] He played no new songs, saying that he doesn't "play new songs for charity,"[58] and that the gig was "not the right time or right place."[59]