In The Pathos of Failure, Thomas Elsaesser explains the emergence of new ideology in American filmmaking, reflecting the resolution of "confidence in storytelling" (280) and the resolution of target-oriented characters psychologically related It is. He stated that these motivated personality "prevented the affirmation of the story - result model [gradually replacing it with another person whose shape was not gradually revealed"] (281). Christian Keithley outlines this form in more detail by "traps the image of affection", he believes that changes in cultural attitudes lead to skepticism about the utility of actions. )
However, Gilmore believes that this is "two wonderful films in America, a mixture of western and black movies", reflecting both aspects of the American spirit. "The country of the elderly," Coens combines these two types into a movie, but this is a tragic and existential, endless black in the movie. According to Richard Gilmore, the hero stays among the inevitable emotions, "The world is moving forward, not related to human desires and concerns", and our future can not be separated. . Our past behavior
Some critics think that black movies are genres. It will rely on clearly defined rules and expectation systems like other types of movies. For example, it is Western or musical. Calling black movies like types like Flippo and Naremore, Hirsch has many problems. First, the genre tends to straddle the times rather than being bound to them, and in the 1940's black movies are closely related to Hollywood. This particular criticism of black as a type depends on whether recent movies are regarded as a continuation of the black tradition. In addition, black movies tend to cross traditional type boundaries (Hirsch 5). There are western movies, gang movies, comedy movies. Obviously, the black manufacturer did not intentionally start making black. The criticism of using a black movie as a type is that it does not include all movies that are considered black.