NCFOM end scene

Ending:

- Carla Jean positioned in front of grave- foreboding
- bleak colour of costumes of people at funeral
- only diegetic sound- builds tension when Chigurh meets Carla Jean
- lingering POV shot of the opened window- builds anticipation- Kulashov effect
- over shoulder shots when she meets Chiguhr- mirrors coin toss scene- spectator aligns with her.
- Chiguhr seated in the shadows/darkness- uncertainty about his intentions/place in the film
- long shot of Chiguhr wiping shoes as he walks out door- implied that he killed her- elliptical editing- when scene is deliberately cut off- makes spectator more active
- flat sound before car crash- creates a shock / some spectator anticipations depending on spectator
- car crash possibly persuades spectators to sympathise with Chiguhr
- long tracking camera shot of  Chiguhr walking away- resembles hero talking away at the end of typical Western- subverts genre - usually the closing shot- Chigger gets away with crimes
- dissolve shot- as Chiguhr walks away

NCFOM coin toss scene

coin toss:

- high angle establishing shot- coincides with western convention- isolated/lifeless background
- shot reverse shot/over shoulder shots.
- medium close-ups of both- Chiguhr slightly off centre- he's unbalanced/unpredictable- don't align with him- shop keeper in centre with window/natural light behind him
- slow tracking shot as tension builds- spectator becomes more involved as we are closer to the characters

- lack of non-diegetic music also builds tension
no pause in dialogue- quick pace- literal dialogue

- symbolism of nooses behind shopkeepers head- foreboding- surprise when he isn't killed
- Chigurh doesn't kill him- presenting a twisted sense of morality

NCFOM essay question

How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response? Refer in detail to at least one sequence. [40 marks]

opening scene:

- establishing shots of dessert scenery- typical western- however, images of barbed wire fencing and electric wires subvert ideas of a western, which are typically set in the 1800s. 
- the camera eventually pans to a police car, which also subverts the western tropes.
- the voice-over of a sheriff speaking with a thick Texan accent also establishes the western elements of the film.   
- however, the lack of non-digetic music may subvert ideas of the western genre, which typically uses non-digetic music to set the scene and atmosphere.

The Coen brothers portray through No Country for Old Men, a postmodernist Western, whereby they both conform to and subvert the typical conventions. By manipulating the typical Western tropes through visual aspects and sound aspects, the directors persuade audiences become active spectators through re-evaluating their understanding and notions of the Western genre form as early as the first scene. This reaction from spectators is vital, as the film intends to portray the disillusionment of the Western story-line, which depicts a victory of good over evil, and the 'hero' riding off into the sunset. 

The police car and barbed wire which can be noticed during the first scene highlight's immediately to spectators that the film intends to subvert notions of Westerns. The camera pan towards the police car signifies that the film will take place in modern day, which already subverts the typical period of Westerns which was the 19th century. the barbed wire in the extreme long and wide establishing shots of the desert also undermine this typical Western trope of the desert landscape, by conveying the element of modernity. Therefore, before any characters or plot indications are introduced, spectators are made aware of the subversive nature of the film, which intends to demonstrate how modern perspectives of the world world view morality as blurred,  and that people are not so clear cut as being either a 'villain' or 'hero'. this is evident through the later portrayal of Moss and Chigurh, as although Moss is ostensibly the hero, he nevertheless steals money, and although presented as the villain, Chiguhr walks away from the story mostly unharmed. This idea of clear cut villains and hero's are typical tropes of Westerns, which intend to reflect the integrity of the American nation, whereby good is rewarded and bad is punished without error. 


the final scene of Chigurh further illustrates the use of visual and soundtrack cues in presenting the subversive nature of the film. When the car crash between Chigurh and an unknown driver occurs, spectators are persuaded to believe that Chigurh has been killed, mirroring the typical formula of western films whereby the 'villain' reaches an inevitable downfall. However he survives,and the back to camera tracking shot of him walking away from the scene instead mirrors the conventional end to the narrative of a 'hero'. Here, spectators are persuaded to become active in questioning the ability for such a morally corrupted character to be exonerated and walk away as a hero. spectators pre-conceived conceptions of Western films portraying two characters at either end of the spectrum of morality, and the hero surviving is challenged. Instead, the Coen brothers highlight through a modernist story line, the disillusionment of this conventional message which is seen not only in Westerns but the majority of American cinematic creations. perhaps the film intends to convey how in reality, there is no 'morally pure' individuals, and instead everyone internalises a multitude of characteristics and moral codes.   

NCFOM context/meaning/response

NCFOM context/meaning/response

- Takes place in Texas, USA in 1980 after the conclusion of the Vietnam War, one of the bloodiest conflicts in American history, and which is referenced at points throughout the film.
- a post-modern Western that examines the disillusionment towards good triumphing over evil and the hero riding off into the sunset. 
- Moss, although ostensibly the hero/protagonist, does pay for stealing money, suggesting that sometimes evil can be punished. 

NCFOM shootout scene

Shoot-out scene:

lighting:
-dark/lack of lighting- sense of anticipation/mystery/uncertainty
-golden lighting/ dark/ lack of lighting in both motel and outside- moral ambiguity/immorality over morality- constant sense of danger- spectator can't escape feeling of persistent danger/threat

shots/camera:
-long/slow pace shots- build up on tension/intensity
-low angle shot showing Moss sitting on bed- gives him power/control dead space around him however may make him seem more vulnerable
-Kusaehov effect- spectator persuaded to align with him over Chiguhr
-close ups/ mid-shots of Moss- spectator alignment
-speed up of shots after first shot

sound:

-monotonous phone ringing from outside room
-monotone ring in background- build of tension
-lack of non-diegetic music- audience lack of direction of how to feel- more sutured- audience can make up own mind- more active spectatorship- as Moss does not want to make noise, the lack of sound enhances relationship/alignment with him
-beeps in background- become louder/quicker- intensifies scene

-shadow of feet behind door- forebodes fight scene/danger- horror trope- hybrid genre
-spectator never sees Chiguhr until the end of the scene- can't align with him- elusive character
-all that is revealed from his character is through sound/shadows- footsteps walking towards Moss behind car
-shootout takes place in urban street rather than desert- subverts western
- no resolution to their shootout/confrontation
- aiming to recreate time but time has moved on so can't

NCFOM opening scene

opening scene:

• micro features
• western generic conventions
• alignment of character
• spectator response
• passive/active
• preferred, negotiated, optional, aberrant

-lack of non-diegetic music
-sound of wind/voice of sheriff
-vast landscapes/establishing shot- static camera- barbed wire fence/telegraph poles/cables
-pan's to police car- seems incongruous

In the opening sequence of No Country for Old Men, the film appears to conform to the Western genre. The deep depth of field shots showing the desert landscape suggests to the spectator that they are watching a take on a western. this, with the voice over of the sheriff, which is a typical western genre convention. however, the barbed wire and telegraph poles present in the sequence of desert shots hints to spectators that this film may challenge conventional western films, which were originally set in the late 1800s. furthermore, the shots eventually pan to a police car, which appears incongruous to the dessert setting, and the western genre, which conveys to the spectator that this film may intentionally subvert ideas and the ideology of this genre. this encourages the spectator to become an active rather than passive spectator as their perceptions of the Western genre are being challenged.

Chigurh introduction:

costume- dark, subverts western attire
casting- spanish actor
camera filming from behind (back to camera shot)
not in focus in back of police car - enigma code around character

The spectator is first introduced to Chigurh at the beginning of the film, though his introduction may intentionally prevent alignment from spectators. His dark and plain costume, along with the back to camera shots creates a sense of anticipation for viewers, as we are ambivalent about his intentions. He is also filmed out of focus when he is sitting in the police car, emphasising the enigma code that he displays, resulting in the spectators uncertainty, and inability to align themselves with him. the fact that his attire so obviously subverts the traditional western style of Stetson hats and boots, further persuades spectators to feel uncertain about the character, and to consider his place or role in a western setting, which through the first sequence of landscape shots was so clearly established.


feedback:
"He is also filmed out of focus" - sounds like the filmmakers did this unintentionally. Use the phrase 'shallow depth-of-field'
"traditional western style" - 'style' not the right word here - use genre/codes/conventions

character alignment

character alignment:

passive spectator- we absorb the messages that are given to us by the character/films ideology, possibly though alignment e.g. we are persuaded to align with Ben and Moss, and so we may become passive spectators as we accept how they behave as plausible/acceptable
however, we may become active spectators as the film encourages us to question the characters behaviour and the ideology that we are being exposed to e.g. Ben and Moss both behave in immoral ways that we would otherwise question if we were not aligned with them.

Western genre

western genre (late 1800s)

- use of close ups/ extreme close ups
- gun at waist shots
- silences/winds (no non-diegetic music in NCFOM)
- horses
- dessert/small towns/bar (saloon)
- sheriff
- whiskey
- trains/carts
- native american's
- cowboy hats/boots
- riding off into distance/sunset (lone rider) save town then leave (continuation of journey)


Ideology and spectatorship:

hero- never wants to accept civilisation, as embodied by the woman, who brings notions of community/family. he is always desiring to be on the move in Wild West. the cowboy is the embodiment of frontiersman-ship (doesn't want to live in civilisation).
cowboy also ways represented as being caught between 2 values- ideological contradictions in myth of frontiersman-ship- nations ambiguous attitudes to the west- civilising the west meant giving up the freedom it represented/freedom of the individual. (Hayward)
one might look at NCFOM and consider how it subverts expectations of Westerns. the expectations of watching Coen Brothers films also.