Du dépouillement surgit le silence : une adaptation sous couvert de minimalisme audiovisuel.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.15171
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Works matching IS 17626153 AND DT 2023 AND VI 21 AND IP 55
Results: 9
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Entre humour noir et réflexivité : écouter la voix de Moss dans No Country for Oíd Men.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.15131
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3
« It starts when you begin to overlook good manners. Any time you quit hearin Sir and Mam the end is pretty much in sight» : la jérémiade dans No Country for Oíd Men.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.15084
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4
Esthétique de la trace dans No Country for Oíd Men (Ethan et Joel Coen, 2007).
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.15044
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5
« Shots in mirrors » : Les jeux de miroir dans No Country For Oíd Men (Coen 2007).
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.15023
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6
"The man who wasn't there"--and was "out there": Chigurh as cinematic figure.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.14988
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7
"But lo the thing's inside and can you guess his shape?": the semiotic elaboration of Cormac McCarthy's autotextual creature in his early novéis and No Country for Oíd Men.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.14951
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8
« Ever step you take is forever » fin de l'héroísme et vacuité spirituelle dans No Country for Oíd Men.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.15064
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9
Introduction.
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- LISA E-Journal / Revue LISA, 2023, v. 21, n. 55, p. 1, doi. 10.4000/lisa.14864
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