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Raising Arizona

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Raising Arizona

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    1. Raising Arizona The Coen Brothers: Joel and Ethan

    2. Joel Coen: You start with things that are incredibly recognizable in one form, and then you play with them.

    3. Joel and Ethan Coen they speak with a single creative voice . . . as a two-man ecosystem Function interchangeably on the set and work together every step of the filmmaking process Joel named as director Ethan named as producer Roderick Jaynes: pseudonym for their editorial work Writers: Their screenplays are renowned for their attention to such production factors as set design, camera angles and movement, and framing their scripts manage to convey a vivid sense of the finished film. Work with a regular cast of colleagues and actors who can feel their way through it, kind of like (the Coens) can.

    4. Schizophrenia & Postmodern Andrew Moss simulate symptoms of schizophrenia in their viewers In film theory, this breakdown occurs within the semiotics of the cinematographic imageediting and depth of fieldsplitting the viewer between two incommensurable narratives Postmodernism suggests multiple and irreconcilable realities.

    5. Andrew Moss While often designated a screwball comedy, a farce, and/or a black comedy . . . . Beyond its hick wit, however, lies the deeply psychological fate of a man battling his own divided soul. Its very narrative depends upon the incompatibility of opposing forces We all live in media res.

    6. StoryboardingTodd Anderson The Coens fanatical devotion to this practice is legendary. They storyboard extensively; relatively little camera coverage or dialogue is improvised on their sets. Economicalmaximizes the conservation of time and money

    7. Storyboarding An efficient way to communicate their ideas to the people with whom they collaborate, which in turn allows for greater preparedness on their parts.

    8. Raising Arizona Voice-over narration Storytellers mediation is ironically at odds with the story world circumstance Juxtaposition of subjective point of view of narrative with the objective point of view of the camera creates humor

    9. Clichd Characters Characters are tragicomically transparent in their relationships to the cultural representations that dominate their lives Encapsulates a time of American crisis: Reganomics & the destruction of the family unit Their self-identities originate in the stereotypes, images, and phrases they have appropriated from various mass cultural sources. H. I. McDunnough: Narrator/protagonist exists most fully in the language he uses to describe his world Cartoon universe represented by tattoo he shares with the biker Recidivism & Reganomics: the chronic tendency toward repetition of criminal or antisocial behavior patterns caused by political climate Ed Drill Sergeant Attitude: Female police officer in a mans world Victim of Infertility: Heightened reaction to her infertility Kidnapper bent on balancing the scales of justice: Fervent, felonious drive toward motherhood Mother defending the sanctity of the family unit

    10. Aesthetic Paradigm: Cartoon Color Palette Woody Woodpecker: http://video.google.com/videosearch?q=woody+woodpecker&rls=com.microsoft:en-us:IE-SearchBox&oe=UTF-8&sourceid=ie7&rlz=1I7ADBR_en&um=1&ie=UTF-8&ei=deOhSYbDG56Dtwfsh836DA&sa=X&oi=video_result_group&resnum=8&ct=title#

    21. Credits Russell, Carolyn R. The Films of Joel and Ethan Coen

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