Sample Essay on:
No Country for Old Men: Is It Film Noir?

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Essay / Research Paper Abstract

A 5 page essay that draws on literature to answer the question of how the 2007 Coen Brothers film No Country for Old Man should be classified in terms of genre. Bibliography lists 6 sources.

Page Count:

5 pages (~225 words per page)

File: KL9_khncfom.doc

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Unformatted sample text from the term paper:

psychopathic killer. Analysis of McCarthys novel indicates that, in many ways, it conforms to the conventions of the noir novels, from which film noir is emerged, as it depicts an extreme of evil pitted against its opposite an extreme representation of morality in the person of the sheriff. However, examination of the novel and the film adapted by and directed by the Coen brothers in 2007. However, rather than being strictly an example of film noir, the Coen film crosses genres, as does the book, combining aspects of the Western with magical realism. Consistent with the noir genre, No Country for Old Men, in both its novel and film formats, portrays a darkly evil character, Anton Chigurh, in contrast with the characters who represent morality, in the form of Sheriff Ed Tom Bell, and Llewelyn Moss, an ordinary man who is led astray by stumbling onto a drug deal that went terribly wrong, with virtually everyone at the scene dead and two million dollars in a briefcase (Ebert). The location of the desert, as well as the characterization of Bell as the sheriff and Moss as a hunter set the stage for classifying the film as a Western, but, as with film noir, this classification does not fit the novel or the film precisely. Typically, films classified as film noir, but not all of them, focus on a murder or multiple murders; and, consequently, they also typically feature protagonists, law enforcement officers or detectives, whose job it is to solve the murder and apprehend the killer (Sikov 153). A feature of the noir genre is that it formalizes the "epistemological quest" portrayed within the narrative, as the "detective/ protagonist" serves as the audiences "onscreen surrogate," trying to unravel the plot complications (Sikov 154). There is widespread ...

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