Esthétique de la trace dans No Country for Old Men (Ethan et Joel Coen, 2007)
The plot of Cormac McCarthy’s novel is organised around a series of clue readings related to the traces left by the characters, whether criminals or law enforcement officers. However, these traces are often illegible or refer to an undefined meaning. The Coen brothers’ film adapts this problematic,...
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| Format: | Article |
| Language: | English |
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Presses universitaires de Rennes
2023-01-01
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| Series: | Revue LISA |
| Subjects: | |
| Online Access: | https://journals.openedition.org/lisa/15044 |
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| Summary: | The plot of Cormac McCarthy’s novel is organised around a series of clue readings related to the traces left by the characters, whether criminals or law enforcement officers. However, these traces are often illegible or refer to an undefined meaning. The Coen brothers’ film adapts this problematic, which in the novel focuses on the blurring of the interpretation of the clues through a specific iconic and sound transposition, notably through the use of close-ups and dolly shots that indicate a reading of the clues that is always doomed to failure. A first analysis of the figuration of the trace in the film will examine the place of the physical and material traces of the victims and the culprits, and the hermeneutical system in which they are inscribed. Secondly, we will see that this system does not only designate a breach in the approach to reality, i.e. on a diegetic level, but that it influences the whole filmic enunciation, and particularly editing. It is thus the very coherence of the inscription of the diegesis in the narrative that is disturbed. |
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| ISSN: | 1762-6153 |