In both films, old - school order must bow in resignation to the new state of capitalist - inflected criminal affairs, but unlike the Coens» postmodern western, Cut Bank never offers a pointed directorial perspective on these matters, and indeed never really develops a committed focus in any particular aesthetic or thematic directio
In both
films, old - school order must bow
in resignation to the new state of capitalist - inflected criminal affairs, but unlike the Coens» postmodern western, Cut Bank never offers a pointed directorial perspective on these matters, and indeed never really develops a committed focus in any particular aesthetic or thematic directio
in resignation to the new state of capitalist - inflected criminal affairs, but unlike the Coens» postmodern
western, Cut Bank never offers a pointed directorial perspective on these matters, and indeed never really develops a committed focus
in any particular aesthetic or thematic directio
in any
particular aesthetic or thematic direction.
The American west
in particular contains narratives of prosperity, disappointment, destruction, with attendant racism, classism, and sexism that persist
in our national and cultural identity as a whole — from
Western films and Warner Bros. cartoons to the global image of the romanticized American cowboy
in panoramic vistas, to the lawns we keep on our property.