Show Less
Restricted access

Art, Ethics and Provocation

Series:

Edited By Anna Suwalska-Kolecka and Izabella Penier

The main purpose of this volume is to look into a wide spectrum of artistic ventures which cross boundaries and challenge habitual thinking, consequently involving an element of provocation. While it is true that not all great art is provocative, the most memorable artefacts are these which have confounded our aesthetic expectations or stirred our moral imagination. However, as the turn of the millennium witnessed ever more shocking artistic gestures of provocation, the question arises if there are any limits to artistic freedom. The essays collected in this book offer a truly interdisciplinary perspective and deal with creative acts of transgression from a broad range of fields: literature, theatre, visual art, film, anthropology, and others. This volume will appeal to readers interested in artistic and academic pursuits that are subversive and irreverent.
Show Summary Details
Restricted access

The Coen Brothers’ Fargo as a Transgressive Comedy

Extract



Abstract: In Fargo Joel and Ethan Coen deliberately blur the distinction between fiction and non-fiction by manipulating their audiences into believing they have been faced with an almost documentary account of a real tragedy. However, the picture is actually a transgressive comedy ranked among the American Film Institute’s top 100 funniest American films. Vacillating between mock naturalism, horror and farce, the directors transgress not only the viewers’ conventional sensibilities but also expectations concerning the film’s setting, genre and characters. Perspicacity becomes one of Fargo’s leading themes as soon as the viewer realises the direct link between the directors’ deceptions and the main character’s incessant lies and understands the necessity to approach the picture with extremely acute perception. By mirroring their protagonist’s prevarications and manipulations the Coens add another dimension to their narrative tasking their audiences with scrutinising what has been presented and uncovering the filmmakers’ grotesque sense of humour concealed beneath the grim surface.

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.