Has F. Scott Fitzgerald Become a Literary Icon?
In O Brother, Where Art Thou? and Mystery Train the Coen brothers and Jim Jarmusch choose the state of Mississippi and the city of Memphis, Tennessee as the settings of their heroes’ peregrinations. Music permeates Joel Coen’s and Jim Jarmusch’s cinematic spaces, so much that it influences their n...
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
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2003
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RFEA_098_0111RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2003-4-page-111?lang=en https://doi.org/10.3917/rfea.098.0111 Has F. Scott Fitzgerald Become a Literary Icon? Antolin, Pascale2003 fre Revue française d’études américaines | 98 | 4 | 2003-12-01 | p. 111-115 | 0397-7870 RFEA_09825 In O Brother, Where Art Thou? and Mystery Train the Coen brothers and Jim Jarmusch choose the state of Mississippi and the city of Memphis, Tennessee as the settings of their heroes’ peregrinations. Music permeates Joel Coen’s and Jim Jarmusch’s cinematic spaces, so much that it influences their narrative and stylistic perspectives and structures their works. The aim of this paper is to examine how the Coen brothers’ and Jarmusch’s choice of the musical field as a territory for their reconstructions of the South enables them to collate distinct artistic domains and genres in their representations of “border incidents” between stories, legends and history.Cairn free access |
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Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
In O Brother, Where Art Thou? and Mystery Train the Coen brothers and Jim Jarmusch choose the state of Mississippi and the city of Memphis, Tennessee as the settings of their heroes’ peregrinations. Music permeates Joel Coen’s and Jim Jarmusch’s cinematic spaces, so much that it influences their narrative and stylistic perspectives and structures their works. The aim of this paper is to examine how the Coen brothers’ and Jarmusch’s choice of the musical field as a territory for their reconstructions of the South enables them to collate distinct artistic domains and genres in their representations of “border incidents” between stories, legends and history. |
| author |
Antolin, Pascale |
| spellingShingle |
Antolin, Pascale Has F. Scott Fitzgerald Become a Literary Icon? |
| author_facet |
Antolin, Pascale |
| author_sort |
Antolin, Pascale |
| title |
Has F. Scott Fitzgerald Become a Literary Icon? |
| title_short |
Has F. Scott Fitzgerald Become a Literary Icon? |
| title_full |
Has F. Scott Fitzgerald Become a Literary Icon? |
| title_fullStr |
Has F. Scott Fitzgerald Become a Literary Icon? |
| title_full_unstemmed |
Has F. Scott Fitzgerald Become a Literary Icon? |
| title_sort |
has f. scott fitzgerald become a literary icon? |
| publishDate |
2003 |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2003-4-page-111?lang=en https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.098.0111 |
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