Ebook The Philosophy of the Coen Brothers (Philosophy Of Popular Culture)

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The Philosophy of the Coen Brothers (Philosophy Of Popular Culture)

Ebook The Philosophy of the Coen Brothers (Philosophy Of Popular Culture)

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Review

"This volume is written for both fans of the Coen brothers and the philosophically curious, without the technical language. Both educational and entertaining, this philosophical compilation is recommended for public and academic libraries, particularly those with degree programs in philosophy and film."― Library Journal"―

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About the Author

Mark T. Conard is assistant professor of philosophy at Marymount College. He is the series editor of The Philosophy of Popular Culture series and the editor of numerous books, including The Philosophy of Film Noir, The Philosophy of Neo-Noir, and The Philosophy of Martin Scorsese. He lives in New York, New York.

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Product details

Series: Philosophy Of Popular Culture

Paperback: 332 pages

Publisher: University Press of Kentucky; updated edition edition (March 7, 2012)

Language: English

ISBN-10: 0813134455

ISBN-13: 978-0813134451

Product Dimensions:

6 x 1 x 9 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

10 customer reviews

Amazon Best Sellers Rank:

#344,535 in Books (See Top 100 in Books)

Friedrich Nietzsche believed for a time that the composer Richard Wagner would be able to unite all the noble impulses of art into an opera capable of sublimating European culture, just as classical tragedy ennobled the Athenians. Wagner failed, even in Nietzsche's judgement, but I am reminded of him every time I see a Coen Brothers film. Like Wagner, they have created a stage upon which the plastic/Apollonian (cinematography, lighting, set and costume) engages the musical/Dionysian (script, drama, soundtrack). But where Wagner failed, the Coens have succeeded. Their films together constitute the rebirth of tragedy here in modern America - a multimedia art of moral choice, with a philosophical vocabulary and contemporary significance. There's nothing deeper or more relevant on the American scene.And I guess that accounts for just why this book so utterly blows the doors off any other "Philosophy of" book I've encountered. Like Woody Allen or Stanley Kubrick, the Coens produce film that is not merely philosophical, but is philosophy itself - the kind of art that drives fans to study philosophy in the first place.But, in approaching the Coens, you do need some guidance. These are two guys who know the canon, cold, from Homer (O Brother Where Art Though) to Kant (See Walter in the Big Lebowski) to Heidegger (Barton Fink). At least part of the opacity of their films stems from the audiences unfamiliarity with these themes. And this is where this book comes in handy. This is a collection of truly thoughtful, high caliber works of scholarly criticism. It is so much better than similar titles like "The Simpsons and Philosophy" that I kinda wish it had a different title.Oh well, bottom line: if you like either philosophy or the Coen Brothers, you'll LOVE this book. Expect to gain new insights on Barton Fink's wallpaper, the Dude's relationship with the old cowboy, and the nature of Anton Chigurgh. The authors are all philosophers, but they clearly love and understand film, and come at some of these problems from a film-studies perspective. I can only hope the same people involved in this will follow up with a "Philosophy of David Lynch."

I haven't read the entire thing (it's in storage, now), but what I read was enjoyable and helped connect ideas that I was looking at in philosophy with the movies of some of my favorite writers/directors!

I read this book along with another for a class and found this collection to be the better of the two books. The essays varied between academese and easier to read writing.

This is an essential book if you are doing college-level research and analysis concerning the Cohen Brothers’ films. Each essay is by a different Cohen scholar and each concerns a specific film. Some essays were better than others. One author was particularly irritating and difficult to understand, but for the most part, I thoroughly enjoyed all the essays in this resource and found them extremely useful while I was attending this course.

Good study of philosophy in film ,particularly Schopenhauer and Kierkegaard. New insight into Coen brothers film and the place of new noir and existentialism.

A great read for anyone who love the Coen brothers and their films. Has an interesting section on Barton Fink, it has been hard for me to find anything well written about that film, so that was a nice bonus to all the awesome material.

The book is very technical. It presumes a basis in 19th and 20th century philosophy. It is probably a good text for a film student in an undergraduate or graduate program but is probably not appropriate for a more casual reader.

Philosophy has reached a leaning into outer darkness that has scratched the surface of respect for things which God himself could never manage with triple cross accursed shares putting the head of John the Baptist on a silver platter. an essay by Thomas S. Hibbs has the title The Human Comedy Perpetuates Itself (Pp. 27-40 ends with notes including the other book by Mark T. Conard with an essay on Nietzsche and the Meaning and Definition of Noir). I already bought a used copy of Bobos in Paradise (2000) by David Brooks, so opinions like this will not remain hidden in vast fantasies of what nobody can believe. Reading can be the Hannah Eichmann overture putting passion of playfreaks in a pit of fire.

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