winter’s bone – Otis Morley’s A-Level Film Studies Blog

Component 1b: US Film Since 2005 (Spectatorship)

Explore how far the two films you have studied demonstrate the filmmakers’ attempt to control the spectator’s response.
Autumn 2020

Plan:

Introduction

Throughout both Winter’s Bone (Debra Granik, 2010) and No Country For Old Men (Joel and Ethan Coen, 2007), the respective filmmakers persistently attempt to control the spectator’s response in a variety of faceted means. Winter’s Bone implements audience positioning in ways that attempt to elicit empathy within the viewer towards the protagonist, Ree, and her struggles within an oppressive patriarchal society. Granik claims that it is “a feminist film about an anti-feminist world”, implying that the preferred reading is one in which the viewer is encouraged to support Ree’s actions throughout the film. Conversely, the Coen brothers set out to actively subvert the spectator’s preconceptions of narrative in No Country For Old Men, by encoding the film with an ambiguous thematic substance, challenging the spectator’s morals and ideologies. A passive spectator would even perhaps argue that the film is ‘unsatisfying’, as it does not conform to the conventions of a traditional narrative.

Body

Winter’s Bone – incites empathy within the viewer towards the characters, under the context of feminism

Preferred reading – empathising with Ree as an empowered woman and her struggles against patriarchal oppression
Negotiated reading – Ree’s actions are still immoral, despite being in a feminist world
Active spectatorship and negotiated reading during ‘squirrel dream’ sequence. Audience’s own perception will interpret the dream to have a particular meaning – perhaps the squirrel is representative of Ree’s oppression
Audience is positioned to view Teardrop as a symbol of toxic masculinity

No Country For Old Men – subverting audience’s preconceptions

No traditional ‘face off’, the Sheriff is mostly uninvolved with the events of the film
Preferred reading – siding with the Sheriff, sympathy with his disillusionment towards the senseless violence that permeates the state
Fade to black at the end leaves the audience dwelling upon the sheriff’s dreams – symbolism of following his father into the grave
Inevitable frustration towards the ‘unsatisfying’ conclusion – Llewelyn’s off-screen death
Active spectatorship – pensive opening sequence, little to no dialogue. Introspective sheriff monologue – doesn’t drive the plot forward. Exemplifies the rejection of the hypodermic needle theory.
The preconception of unconditionally supporting the protagonist’s actions is subverted when Llewelyn doesn’t give the man any water and instead takes the briefcase

The motivations behind Anton’s ambiguous murders are to be inferred by the audience through active spectatorship – checking boots for blood after inferably killing Carla Jean, nihilistic coin flips

Conclusion

In conclusion, Winter’s Bone and No Country For Old Men use starkly contrasting methods in order to control the viewer’s response. Winter’s Bone predominately implements audience positioning in an attempt to incite empathy towards Ree and her struggles within an oppressive patriarchal society. Through the use of cinematography, mise-en-scène, sound, and dialogue, Granik encourages the spectator to support Ree’s actions. Conversely, No Country For Old Men subverts the spectator’s preconceptions of narrative conventions through the use of unorthodox narrative techniques alongside an inherently ambiguous thematic tapestry. The Coen brothers encourage active spectatorship to be exercised throughout, allowing for layered meanings of the film to be deciphered. Both films aptly demonstrate the power filmmakers possess towards shaping how a spectator responds to a film.

Essay – Version 1

Throughout both Winter’s Bone (Debra Granik, 2010) and No Country For Old Men (Joel and Ethan Coen, 2007), the respective filmmakers persistently attempt to control the spectator’s response in a variety of faceted means. Winter’s Bone implements audience positioning in ways that attempt to elicit empathy within the viewer towards the protagonist, Ree, and her struggles within an oppressive patriarchal society. Granik claims that the film is “a feminist film about an anti-feminist world”, implying that the preferred reading is one in which the viewer is encouraged to support Ree’s actions throughout the film. Conversely, the Coen brothers set out to actively subvert the spectator’s preconceptions of narrative in No Country For Old Men, by encoding the film with an ambiguous thematic substance, challenging the spectator’s morals and ideologies. A passive spectator would even perhaps argue that the film is ‘unsatisfying’, as it does not conform to the conventions of a traditional narrative.

During the opening sequence of Winter’s Bone, the viewer is immediately encouraged to emphasise with Ree‘s struggles in an impoverished and oppressive patriarchy. The film opens with a non-diegetic lullaby, immediately connoting a sense of intimate maternity. Cutting to a wide shot, the children are framed behind the bars of a bed-frame — implying to the viewer that they are trapped within their environment. This opening sequence also conveys the cyclical nature of nurturing – Ree’s sister, Ashlee takes care of her toy kitten, implying the idea that she herself has been nurtured by Ree. Mise-en-scène is also implemented within the domestic landscape, being littered with waste and abandoned items. This, alongside the characters clothing being ragged and humble, emphasises the poverty-stricken way of life Ree and her family leads, positioning the audience as to empathise with them.

Ree’s bravery and defiance within an oppressive patriarchy is also displayed to the spectator during the ‘cattle market’ sequence, during which Ree calls for Thump Milton at the top of her lungs. Milton is unable to comprehend her, further reinforcing the invisible yet prevalent divide between the male and female worlds. Alongside this, the non-diegetic composed score becomes discordant, creating a sense of urgency. It is layered in tandem with the cries of the cattle, creating a sensory overload which reflects Ree’s distraught state of mind. This is another example of audience positioning used in an attempt to control the spectator’s response – eliciting empathy towards Ree in this case.

An example of taking a negotiated reading by using active spectatorship occurs during the ‘squirrel dream’ sequence. During this sequence, Granik utilises unorthodox techniques such as black and white grainy footage filmed with a cheap handheld camera. Granik also implements a 4:3 aspect ratio, further contributing to the surreal nature of the sequence. A negotiated reading would argue that the squirrel in the sequence is perhaps a metaphor for Ree – as both are victims of a disrupted naturalistic environment. The danger faced by the squirrel is displayed through its shuddering fear, captured through the camera’s rapid and disorienting movements. A jarring diegetic chainsaw sound promptly enters the mix, perhaps being representative of the oppressive patriarchy that endangers Ree’s peaceful existence. A worms-eye-view shot of the trees is also used, displaying the squirrel, and by extension, Ree, as dwarfed, emphasizing her vulnerability within an oppressive patriarchal society. This reading is not explicitly conveyed by the film, but is instead only able to be inferred through active spectatorship. Each viewer will interpret this sequence in a slightly different way, exemplifying how this sequence is an example of Debra Granik attempting to control the spectator’s response.

Throughout the film, Ree’s uncle Teardrop is characterised in ways that illustrate him as a symbol of toxic masculinity – a notion that is able to be unravelled through active spectatorship. In the ‘squirrel gutting’ sequence, a focus pull is implemented to draw the spectator’s attention towards Teardrop as he approaches Ree. During their conversation, Teardrop offers some drugs to Ree, asking if she “has the taste for it yet”. Ree adamantly refuses, being indicative of her mental fortitude and purity that she possess over Teardrop, positioning the audience in a way that encourages the spectator to condemn Teardrop. In addition, during the closing sequence, Teardrop vows to seek revenge on the man that killed Ree’s father, reinforcing the cyclical nature of violence and highlighting the idea that Teardrop’s misguided sense of loyalty is a negative force, and that it is ultimately through the actions of women that the problems in the film are resolved. This further encourages the viewer to support Ree’s actions, framing Teardrop as a force of evil.

In contrast to Winter’s Bone’s attempts to control the spectator through the use of audience positioning which encourages the viewer to empathise with Ree, No Country For Old Men controls the viewer’s response by instead setting out to actively subvert the spectator’s preconceptions of narrative conventions, weaving an ambiguous thematic substance that pervades the film. Through this, active spectatorship is required to decipher a particular meaning from the Coen brothers’ enigmatic masterpiece.

The opening scene of the film immediately subverts the spectator’s expectations by beginning with a non-diegetic monologue delivered by Sheriff Ed Tom Bell. The monologue does not serve to provide exposition, but is instead an introspective monologue in which the sheriff reminisces upon the senselessly violent crimes that he has dealt with throughout his career. The viewer is left to question the meaning of this monologue, encouraged to become an active spectator by unravelling the themes of nihilism and determinism that the monologue touches upon. The preferred reading of the film is arguably for the viewer to side with the sheriff, sympathising with his disillusionment towards the nihilism that permeates Texas. This opening scene exemplifies the rejection of the hypodermic needle model which suggested that audiences were to blindly accept any messages presented within media.

Instead of being rewarded with a traditional showdown between the three main characters, the spectator’s expectations are instead subverted by the final scene of the film, with it being a pensive recount of the sheriff’s dreams. The Coens’ decision to end the film with an abrupt cut to black controls the viewer’s response in an interesting way – the spectator is forced to dwell upon the meanings of the sheriff’s dream as the credits roll. While a passive spectator would argue that this final scene is an unsatisfying conclusion to the film, an active spectator would perhaps argue that Ed Tom’s dream is symbolic of the sheriff following his father towards his impending demise.

No Country For Old Men also subverts the preconception of unconditionally supporting the protagonist’s actions during the first scene involving the character of Llewelyn Moss. During the scene, the viewer bears witness to Llewelyn’s selfish actions. He chooses to not give water to a dying man, instead taking the briefcase containing $2 million. Viewers are encouraged to employ active spectatorship – Llewelyn’s actions are arguably morally reprehensible and selfish, but this idea is not explicitly conveyed to the audience. Individual spectators are instead encouraged to decide whether or not Llewelyn’s actions are morally just.

The nature of Llewelyn’s death, being abrupt and offscreen, also serves as a means of controlling the spectator by subverting the their expectations. After a seemingly mundane and innocuous conversation between Llewelyn and a woman sitting in a pool takes place, the scene abruptly fades to black, before we cut to Sheriff Ed Tom Bell’s point of view. The Coens’ employ a POV shot of the sheriff running towards the crime during which camera shake is employed to heighten the tension. Ed Tom, however, is too late – the inevitable causality of death has already taken effect. The fact that Llewelyn is killed in such an unheroic manner by a group of characters we have never been introduced reinforces the futility of humanity, providing acute shock value for the viewer in which their response is controlled by the filmmakers.

Throughout the film, ruthless hitman Anton Chigurh commits a series of senseless, brutal murders in pursuit of the money-filled briefcase. However, Anton’s motivations that fuel his actions are highly ambiguous, choosing his victims seemingly at random, rather than just those who obstruct his aims. The meanings behind Anton’s actions are to be extracted by the viewer – by employing active spectatorship, the Coens encourage the viewer to uncover the truth behind Anton’s murders. During the ‘call it, friend-o’ sequence, Anton leaves a perfectly innocent man’s fate up to a 50/50 coin flip, perhaps reinforcing his nihilistic belief that human life is meaningless and arbitrary. After the owner argues that he didn’t put anything up to win on the coin flip, Anton informs the man that “you’ve been putting it up your whole life, you just didn’t know it”, suggesting that the end of the man’s meaningless existence has already been decided. Alongside this, during the closing sequence, it is implied that Anton does indeed kill Carla Jean. Using active spectatorship, the viewer is able insinuate that Carla is dead after Anton checks his shoes for blood – an action that he has performed many times over the course of the film. An implied reading of the scene argues that due to the fact that Carla did not let the coin decide her fate, Anton decides to end her life purely due to his belief in the insignificance of human life.

In conclusion, Winter’s Bone and No Country For Old Men use starkly contrasting methods in order to control the viewer’s response. Winter’s Bone predominately implements audience positioning in an attempt to incite empathy towards Ree and her struggles within an oppressive patriarchal society. Through the use of cinematography, mise-en-scène, sound, and dialogue, Granik encourages the spectator to support Ree’s actions to support her impoverished family. Conversely, No Country For Old Men subverts the spectator’s preconceptions of narrative conventions through the use of unorthodox narrative techniques alongside an inherently ambiguous thematic tapestry. The Coen brothers encourage active spectatorship to be exercised throughout, allowing for layered meanings of the film to be deciphered. Both films aptly demonstrate the power filmmakers possess towards shaping how a spectator responds to a film.

Component 1b: US Film Since 2005 (Ideology)

How valuable has ideological analysis been in developing your understanding of the themes of your chosen films?
Sample Assessment Materials

Plan:

Introduction

Ideological analysis is a critical viewpoint that has served to be invaluable in the thematic comprehension of both Winter’s Bone (Debra Granik, 2010) and No Country For Old Men (Joel and Ethan Coen, 2007). Viewing Winter’s Bone through the lens of a feminist ideology allows for the examination of how women are oppressed within a male-dominated patriarchy. A feminist lens reveals the film’s implicit messages concerning gender, and how it affects social power dynamics. Conversely, viewing No Country For Old Men through a nihilistic ideological viewpoint has allowed for a broader understanding of its enigmatic themes presented over the course of the film. The film’s antagonist, Anton Chigurh, is the film’s primary embodiment of nihilism – he rejects traditional morals and is instead driven by the meaninglessness of human existence.

Body

Winter’s Bone – feminist ideological analysis is the best approach

Ree’s competence – attending to maternal and paternal duties (chopping wood and cooking)
Bechdel test, male gaze, non-sexualising clothing
Androgynous children appearances – Ashlee wishes to hunt, Sonny is squeamish
Poverty expressed through mise-en-scène
Ree’s interactions with men – Teardrop, sheriff, Thump Milton, etc.
Overwhelming male domination of cattle market – incomprehensible dialogue. Sickening yellow palette, steely blue palette of herding location
Squirrel dream sequence – 4:3, grainy handheld footage, dreamy. Chainsaw symbolic representation of the patriarchy, squirrel is the oppressed women
Narrative resolution solved through female discussion and cooperation

No Country For Old Men – nihilistic ideological approach

Barren landscapes of Texas reflect nihilism
Ed Tom monologue at start. Ed Tom and Ellis dialogue about senseless violence
Anton’s brutal murders. Leaving victims’ fates up to a coin flip. Petrol station owner and Carla Jean
Llewelyn – no empathy towards man begging for water. Takes money briefcase McGuffin, nihilist causality. Sudden offscreen death.
Ed Tom dreams

Conclusion

Ultimately, the meanings of both Winter’s Bone and No Country For Old Men are vastly enriched when taking particular ideological analysis into account. Viewing Winter’s Bone through a feminist lens allows for an astute appreciation of Granik’s implicit “feminist film about an anti-feminist world”. Taking the ideological viewpoint of nihilism for No Country For Old Men, on the other hand, enables the Coen Brothers’ ambiguous thematic substance to be unravelled, ultimately resulting in a deeper appreciation of the film.

Essay – Version 1

When choosing to view the opening sequence of Winter’s Bone through the lens of a feminist ideology, a critical framework rooted in analysing how women are oppressed throughout film, it becomes clear that the protagonist, Ree, is a symbol of feminism and female empowerment. She competently attends to an array of domestic tasks throughout the sequence, such as chopping wood and cooking. This indicates that Ree does not conform to typical gender roles typically presented throughout the Hollywood landscape, performing duties that are stereotypically considered both maternal and paternal. This is accentuated through Ree’s baggy non-gendered clothing – she is not sexualised in any way throughout the film, nonconforming to the ‘male gaze’ that permeates Hollywood.

Similarly, Ree’s siblings Ashlee and Sonny have notably androgynous appearances, implying that gender does not factor into how these children are to be nurtured by Ree. In fact, Granik actively subverts gender stereotypes during the ‘squirrel gutting’ sequence, during which Ashlee displays a desire to hunt animals, whereas Sonny appears to be much more squeamish and reluctant. This subtle subversion of gender stereotypes serves to reinforce the feminist ideology that the film adheres to, deepening the understanding that can be extracted from it. An interesting role reversal also occurs when Ree combs her mother’s hair later in the sequence, a typical action performed by a mother to her daughter. This emphasises the multi-faceted familial duties that Ree is burdened with attending to. The film also passes the Bechdel test numerous times during the opening minutes of the film, with the interaction between Ree and Sonja concerning a horse perhaps best exemplifying the feminist ideology conveyed by the film.

Ree can be seen standing her ground against the male characters that attempt to hinder her goals, such as the sheriff in the opening sequence who informs her that her house is to be sold for her father’s bond. She addresses the sheriff with confident remarks such as “I’ll find him”, highlighting the difficulty she faces within an oppressive, patriarchal society. Ree displays a similar level of defiance and empowerment towards her uncle Teardrop, who represents the oppressive toxic masculinity that pervades the Ozarks. A focus pull is implemented to draw our attention towards him as he edges closer to Ree. Teardrop’s appearance is notably scruffy and ragged, displaying the impoverished state of the Ozarks. A simple shot/reverse shot sequence is employed throughout this scene, as opposed to a low/high angle shot alternation. This indicates that the power dynamic between Ree and Teardrop is equal, aligning with the feminist ideology the film adheres to. After Teardrop informs Ree of Jessop’s car being burned, her expression remains stoic, emphasising Ree’s resilience she has garnered after becoming the family’s primary caregiver.

During the ‘cattle market’ sequence, the oppressive patriarchy is symbolically conveyed through the use of an overwhelming soundscape. The diegetic sound of the unintelligible language of the auction dominates the sound mix, serving to reinforce the idea that the masculine world is incomprehensible to Ree, emphasising the power dynamic between her and the men. The cow at the center of the scene appears frightened, its life dependent on the mercy of the men, further reinforcing the domineering force that the men exert. The men are also all white and middle aged, reinforcing the homogenous patriarchal hive mind the men represent.

A standout sequence of Winter’s Bone is the ‘squirrel dream’ sequence, during which Granik employs unorthodox filmmaking techniques to reinforce the female oppression presented throughout the film. Using a cheap handheld camera, black and white, alongside a 4:3 aspect ratio to create an otherworldly atmosphere, the squirrel in the sequence is a perhaps a metaphorical embodiment of Ree, with both being victims of a disrupted equilibrium. The danger faced by the squirrel is displayed through its shuddering fear, captured through the camera’s rapid and disorienting movements. A jarring diegetic chainsaw sound promptly enters the mix, perhaps being representative of the oppressive patriarchy that endangers Ree’s peaceful existence. A worms-eye-view shot of the trees is used, displaying the squirrel, and by extension, Ree, as dwarfed, emphasizing her vulnerability within an oppressive patriarchal society – a notion that can only be extracted when viewing the film through a feminist ideology.

Although No Country For Old Men could be viewed through a feminist ideological lens, it would perhaps be more insightful to analyse the film through the ideological viewpoint of nihilism. This involves considering the viewpoint that denies the existence of any inherent meaning or value in human life, instead emphasising the absurdity of existence.

The film’s opening sequence begins with a series of bleak yet breathtaking aerial wide shots of the landscape of West Texas. These barren shots serve to establish the inexplicability and meaninglessness of humanity, conveyed through the implied absence of human activity alongside the desolation of the terrain. The landscape is stark and unforgiving, with no signs of life or hope, reinforcing the film’s nihilistic worldview. The imagery is suggestive of the fact that the world is a cold and indifferent place, where human existence is inconsequential.

The opening sequence of the film also introduces the viewer to Llewelyn Moss, the main protagonist. Throughout the sequence, he is often filmed from extreme long shots to reinforce the desolate, unwelcoming landscape. He soon stumbles upon a drug deal gone wrong, after which he remains stoic and unfazed towards the array of dead bodies. Llewelyn also shows no empathy towards the dying man begging for water, implying that he has been desensitised to human suffering – a hallmark of a nihilism. After locating a briefcase full of money, the film’s determinist chain of events are set in motion – Llewelyn’s fate is sealed from the beginning, reinforcing the nihilistic ideology that the film adheres to. Llewelyn’s choice to take the money is indicative of his disregard for traditional morals and societal norms.

Nihilism is perhaps best exemplified through the character of Anton Chigurh, a ruthless hitman driven purely by his belief in the futility of humanity. In the opening sequence, the viewer is introduced to Anton committing two brutal murders in sequence. The first is using a pair of handcuffs, during which a series of birds-eye-view and mid shots display Anton’s senselessly graphic violence, which emphasises his disregard towards human existence. This also acts in stark juxtaposition to the aforementioned pensive opening scene of the film. The second murder involves Anton duping a truck driver into believing he is a policeman before killing him with a highly unconventional weapon: a cattle gun, suggesting that he views humans as mere animals whose existence is futile. He displays no remorse towards extinguishing two human lives in quick succession, reinforcing his character as a symbol of nihilism.

Anton’s flippant attitude towards human existence is perhaps best underpinned by the symbolism that can be inferred through his decision to let his victims decide their fate through a coin flip at multiple points throughout the film. Anton leaves a perfectly innocent man’s fate up to a 50/50 chance, during the ‘call it, friend-o’ sequence, reinforcing his nihilistic belief that human life is meaningless and arbitrary. During the scene, the Coens employ a tight shot/reverse shot sequence throughout, during which the camera gradually pushes in towards the two, further increasing the suspense. After the owner argues that he didn’t put anything up to win on the coin flip, Anton informs the man that “you’ve been putting it up your whole life, you just didn’t know it”, suggesting that the end of the man’s meaningless existence has already been decided.

Sheriff Ed Tom Bell’s opening monologue acts as a perfect introduce to his disillusionment with the nihilism that plagues society. Throughout the monologue, he reminisces upon the senseless crimes that he has dealt with throughout his career, reflecting upon the violence that pervades Texas. He notes that a man who killed a 14-year-old girl told him that “there wasn’t any passion to it” and that “he’d do it again” if they let him out. This serves to reinforce the nihilism towards human existence that dominates the conscience of the region – the sheriff’s disillusionment towards his own traditional beliefs is perhaps reflective of the broader disillusionment that society bears towards the moralistic status quo. The opening monologue sets into motion Ed Tom’s final decision to retire during the film’s closing sequence. A conversation between Ed Tom and his uncle Ellis reveals that the violence stemming from nihilism that permeates the state has ultimately caused Ed Tom to abandon his sense of justice, and retire. When commenting on the violence, Ellis notes that “what you got ain’t nothing new. This country is hard on people. You can’t stop what’s coming”, implying that the atrocities committed by humankind transcend generation, but have instead taken a new form – nihilism. The film’s title even implies that there is no place for “old men” in today’s society – traditional morals are now devoid of any meaning. This analytical viewpoint is indicative of the nuanced meanings that can be extracted from ideological critical analysis.

Ultimately, the meanings of both Winter’s Bone and No Country For Old Men are vastly enriched when taking particular ideological analysis into account. Viewing Winter’s Bone through a feminist lens allows for an astute appreciation of Granik’s implicitly “feminist film about an anti-feminist world”. Taking the ideological viewpoint of nihilism for No Country For Old Men, on the other hand, enables the Coen brothers’ ambiguous thematic substance to be unravelled, ultimately resulting in a deeper appreciation of the film.

Ideology Brainstormed

Winter’s Bone (Debra Granik, 2010) is a film that distinctly adheres to a feminist ideology. Feminism is an ideological approach that seeks to critique how women are represented throughout film, examining the oppression women face by a dogmatically patriarchal society. Applying a feminist ideological approach to Winter’s Bone reveals the film’s underlying message concerning gender and how it affects power dynamics within society.

Throughout the film, the role of women within a patriarchal, impoverished society is explored. The film’s protagonist, Ree, defies the expectations of women within a male-dominated society. She provides for her siblings and catatonic mother, whilst also uncovering the mystery of her father in order to protect her home. Ree performs actions that typically associated with both maternal and paternal duties, such as cooking, nurturing, alongside tree chopping and hunting.

Ree’s uncle, Teardrop, serves to represent the toxic masculinity that exists with the patriarchal community that pervades the Ozarks. He initially serves as a hostile force inhibiting Ree’s quest to find her father, but gradually begins to support her actions as the film progresses.

Conversely, No Country For Old Men (Ethan and Joel Coen, 2007) is an ideologically ambiguous film that can be viewed through a plethora of ideological approaches. My chosen ideological approach to view the film through is nihilism.

Applying a nihilistic approach involves considering the viewpoint that denies the existence of any inherent meaning or value in life, instead emphasising the absurdity of existence. Nihilism holds that traditional moral values, religious beliefs and social norms are mere illusions that mask the fundamental emptiness of existence. No Country For Old Men explores this idea in a variety of ways throughout the film.

The film’s primary antagonist, Anton Chigurh, is the film’s embodiment of nihilism. His motivations and philosophies are notably enigmatic, rejecting traditional moral values and inferably believing instead in the inherent meaningless of human existence. He acts indifferently to human life, being a hitman who kills without remorse or emotion, often letting the roll of a coin determine the fate of his victims. Chigurh’s worldview presented throughout the film ultimately reflects a fundamental belief in the meaningless of existence, with his repugnant actions being justified by his conviction in the fact that he believes nothing in life has inherent value or worth.

Another of the three primary characters, Sheriff Ed Tom Bell, serves to juxtapose Chigurh’s nihilistic ideology. He holds a strong moral code based upon his traditional values concerning the importance of human life. Bell’s strong morals are challenged by the seemingly senseless and inexplicable violence that pervades Texas.

The setting of the film itself, the barren and desolate landscapes of the film serve to reinforce the theme of nihilism. The desolation represents the absence of life and meaning within the world. It also highlights Chigurh’s belief in the futility of human endeavour and the insignificance of human existence. The Coens’ decision to implement a mere 16 minutes of non-diegetic composed score throughout the film also serves to accentuate this idea.

*A mind map of potential ideologies to take into account when analysing No Country For Old Men*

Winter’s Bone Close-Up (Closing Sequence)

Overview

The closing sequence of Winter’s Bone (Debra Granik, 2010) is a powerful yet subdued finale that harkens home the feminist ideology that pervades the film. Ree must perform the horrific act of cutting off her dead father’s hands which will serve as proof of his death. After taking the hands to the sheriff, Ree receives the money portion of her father’s bond. Teardrop visits the family one last timing, informing Ree that he knows who killed Jessop. The sequence and film ends with Ree, Ashlee, and Sonny sitting on the porch of their home, during which Ree reassures her siblings that she will always be there to support them.

*The final shot of the film – Ree stares wistfully into the distance as Sonny looks to her for support. Ashlee plays the banjo, gifted to her by Teardrop*

Key Elements, Context, and Representation

Throughout the film, Ree’s struggle against problems forced upon her by a patriarchal society is a central theme, and this is resolved through her ingenuity and resourcefulness. The only help that is offered to Ree is from the women in the community, further emphasising the feminist ideology of the film, as the men are portrayed as the root of all of the problems that Ree encounters. The narrative resolution of the film is highly unconventional, as the conflict is resolved through cooperation and discussion, rather than a typical violent ‘showdown’ that might occur in a stereotypical Hollywood flick. This unexpected narrative resolution subverts the conventions of a male-driven society, highlighting the idea that problems can be solved through trust and selfless actions. The entire narrative resolution is also female-oriented, reinforcing the feminist ideology of the film.

As Ree cuts off Jessop’s hands, he is ironically objectified, as he only exists as a corpse, subverting the typical male gaze and objectification of women throughout Hollywood. Ree is asked to perform a highly repugnant action, cutting off her father’s hands, but she rises to the challenge and overcomes it, further conveying the notion of female empowerment. During the scene in which Ree delivers Jessop’s hands to the police, the sheriff is ironically repulsed by the hands, but Ree is not, reinforcing the film’s feminist ideology. Ree also possesses leverage over the sheriff as he did not arrest Teardrop earlier in the film, which also contributes to this.

During the final scene, Teardrop gifts two chicks to the children, passing down the responsibility of parenthood. He also tells Ree that he knows who killed Jessop, implying that he is now fuelled by toxic masculinity in order to take action and seek revenge upon his brother. This highlights the idea that Teardrop’s misguided sense of loyalty is a negative force, and that it is ultimately through the actions of women that the problems in the film are resolved. In conclusion, the closing sequence is a poignant resolution to Ree’s story, subverting the typical narrative conventions of the finale of a typical Hollywood film.

Winter’s Bone Close-Up (“Squirrel Dream” Sequence)

Overview

The “squirrel dream” sequence of Winter’s Bone (Debra Granik, 2010) is a surreal and symbolic representation of the film’s central character, Ree. The sequence is a stark departure from the rest of the film, utilising unorthodox techniques such as black and white, grainy footage filmed with a cheap handheld camera, This serves to create a dreamscape-like atmosphere, acting as an extended metaphor for Ree, alongside the patriarchal oppression she faces over the course of the film.

Key Elements, Context, and Representation

As previously mentioned, the sequence is a striking departure from the aesthetic of the rest of the film. Granik utilises unorthodox techniques such as black and white, grainy footage filmed with a cheap handheld camera. The sequence is also shot with a vignette, 4:3 aspect ratio, furthering contributing to the surreal nature of the sequence.

*The squirrel, representing the oppressed women, is centrally framed in the dreamscape black and white 4:3 vignette*

The non-diegetic composed score, which rises in the mix, builds a pensive and ominous atmosphere, further emphasising the surreal and dreamlike quality of the sequence. The squirrel in the sequence is a metaphor for Ree, who is a victim of a disrupted naturalistic environment. The squirrel’s peaceful existence is displayed through the squirrel’s shuddering fear. The camera movements are rapid and disorienting, overwhelming the viewer and adding to the otherworldly nature of the sequence. A worms-eye-view shot of the trees is used, displaying the squirrel, and by extension, Ree, as dwarfed, emphasizing her vulnerability.

The jarring diegetic sound of a chainsaw, representing the squirrel’s impending doom, is symbolic of the masculine-oriented world that Ree is a part of, creating a sense of foreboding. The Dutch angle shot of vultures tearing at carrion symbolises Ree’s poverty-stricken way of life, with the vultures themselves representing the men in her life who cause destruction and harm. The vultures merely abandon the destruction they have caused, representing the fact that Ree must deal with the aftermath of Jessop’s disappearance. This further bolsters the feminist ideology of the film. The final shot of billowing smoke represents ultimate destruction, both physically and emotionally, underscoring the themes of poverty and struggle that pervade the film.

In conclusion, the “squirrel dream” sequence is a surreal yet powerful representation of the film’s protagonist, Ree and the struggles she must face head-on The use of visual and audio techniques creates an otherworldly, dreamlike atmosphere, enhancing the impact of the sequence on the viewer. The feminist ideology of the film is rooted in the representation of Ree as a victim of a masculine-oriented world, and the themes of poverty and struggle that pervade the film.

Winter’s Bone Close-Up (“Cattle Market” Sequence)

Overview

The “cattle market” sequence in Winter’s Bone (Debra Granik, 2010) serves as a poignant representation of the film’s feminist ideology. We witness a cattle auction, which highlights the patriarchal and oppressive nature of the Ozarkian society. The sequence demonstrates the stark contrast between Ree’s world and the world of the oppressive men in power, through visual and auditory elements.

Key Elements, Context, and Representation

The scene takes place in an entirely male-dominated space, where the men possess the power of life and death over the cattle they are auctioning. The diegetic sound of the unintelligible language of the auction dominates the sound mix, serving to reinforce the idea that the masculine world is incomprehensible, and emphasise the power dynamic between Ree and the men. The cow at the center of the scene appears frightened, its life dependent on the mercy of the men, further reinforcing the unequal power dynamic in the room.

*The males are homogeneous*, *symbolised as an oppressive force against Ree. The bars act to separate Ree from the men, displaying the barrier between the two worlds*

Ree is separated from the men by the bars that line the auction space, and her position in the scene is further emphasised by her dwarfed appearance among the intimidating men. The interior of the auction house is sickeningly yellow, connoting the monotonous and oppressive lives led by the men. The cattle also metaphorically mirror Ree’s current state of affairs – the cattle are being sold at auction, symbolic of the notion of Ree’s house potentially being sold for Jessop’s bail bond.

We then cut to a new location in which the steely blue colour palette of the corporate herding facility further emphasises the oppressive nature of the situation, furthered by the cattle moving in the same direction as Ree. When Ree calls for Thump Milton at the top of her lungs, he is unable to comprehend her, further reinforcing the invisible yet prevalent divide between the male and female worlds. At this point, the non-diegetic composed score is discordant, creating a sense of urgency. It is layered in tandem with the cries of the cattle, creating a sensory overload which reflects Ree’s distraught state of mind. The sight of one calf being separated from the others, helpless and screaming, serves as a metaphorical representation of Ree, further conveying the idea that Ree is a victim of the patriarchal society in which she lives.

In conclusion, the cattle market sequence is a powerful demonstration of the film’s feminist ideology, as it serves to highlight the oppressive and patriarchal nature of the Ozark society. Through visual and auditory elements, Debra Granik reinforces the idea that Ree is excluded from the masculine-dominated world, and that she is a victim of the oppressive power dynamic at play.

Winter’s Bone Close-Up (“Squirrel Gutting” Sequence)

Overview

The “Squirrel Gutting” sequence of Winter’s Bone (Debra Granik, 2010) displays Ree, Ashlee, and Sonny hunting for a squirrel to eat. This sequence serves to trounce the patriarchal preconceptions towards this duty, as she nurtures her siblings to thrive in the unforgiving land of the Ozarks.

Key Elements, Context, and Representation

The scene opens with a wide shot filmed on a long lens that displays a centrally-framed Ree wielding a hunting rifle, with Ashlee and Sonny intimately nestled by her side. This immediately subverts the patriarchal associations towards men wielding weapons. Ree simultaneously attends to the maternal duty of nurturing her siblings to thrive in the wild, alongside the paternal duty of administering the hunting. Sonny’s actor sneeze in a manner that appears to be ‘off-script’, to which Ree responds with a naturalistic “bless you” – an ad-libbed yet intimate moment that develops the bond between the siblings.

Diegetic ambience is layered alongside the hushed voices of the characters in the sound mix, reflecting their anticipation towards killing the squirrel. Ashlee interestingly shows heightened interested in learning the art of hunting than Sonny – a notion that is representative of the next generation of women replacing and trouncing the typically patriarchal duties held by men. Ashlee pulls the trigger of the rifle with no reluctance, emphasising her willingness to learn the methods of survival.

We then cut to the family gathered around an outside table as they prepare to skin the squirrel in preparation for cooking it. A low-angle shot of Sonny looking up to Ree illustrates the fact that she is imparting her knowledge of survival onto him. Sonny is notably squeamish towards touching the squirrel’s guts, emasculating him and supporting the feminist ideology that the film strives for. Ree ultimately teaches a practical life lesson to Sonny, fulfilling the parental role that Jessop never could.

*Ree nurturing her siblings in the means of survival*

Following this, we cut to Ree slicing logs – a typically masculine duty. The viewer is able to discern Ree’s uncle, Teardrop, looming in the background of the scene, representing the oppressive male force that hinders Ree’s ability to thrive. A focus pull is implemented to draw our attention towards him as he edges closer to Ree. Teardrop’s appearance is notably scruffy and ragged, displaying the impoverished atmosphere of the Ozarks. A simple shot/reverse shot sequence is employed throughout this scene, as opposed to a low/high angle shot alternation. This indicates that the power dynamic between Ree and Teardrop is equal, aligning with the feminist ideology the film conveys. He informs her of Jessop’s car being burned, to which Ree maintains a stoic expression. She does not react emotionally and dramatically, which is to be expected of the female stereotype portrayed throughout Hollywood. This emphasises Ree’s strengthened resilience she has garnered after becoming the house’s caregiver. Finally, Ree adamantly refuses the drugs offered to her by Teardrop, which is indicative of her mental fortitude over Teardrop, who is reliant on the drugs. She acts as a role model for her siblings, leading them along a path of purity despite the fact that her mother, father, and uncle are all involved with drugs.

Winter’s Bone Close-Up (Opening Sequence)

Overview

The opening sequence of Winter’s Bone (Debra Granik, 2010) establishes the eminently feminist viewpoint within an ‘anti-feminist’ world that is presented over the course of the film. We are introduced to Ree Dolly, a poverty-stricken young woman who takes care of her family made up of her two siblings and catatonic mother in the mountainous Ozark region of Missouri. The underlying ‘McGuffin’ that drives the film’s narrative is also established in the sequence, being the unknown whereabouts of Ree’s father, Jessop. The sequence also establishes the precedent of not conforming to the ‘male gaze’ that typically pervades throughout Hollywood. Ree is not sexualised at any point, and the main narrative occurrences are from the voices and actions of women. The men in the film, such as Teardrop and the sheriff, merely act as a hindrance to Ree’s journey.

Key Elements, Context, and Representation

The film opens with a non-diegetic lullaby, immediately connoting a sense of intimate maternity. Cutting to a wide shot, the children are framed behind the bars of a bed-frame — symbolising the notion that they are trapped within their environment. This opening sequence also conveys the cyclical nature of nurturing – Ashlee takes care of her toy kitten, implying the idea that she herself has been nurtured by Ree. Throughout the sequence, mise-en-scène is implemented within the domestic landscape, being littered with waste and abandoned items. This, alongside the characters clothing being ragged and humble, emphasises the poverty-stricken way of life Ree and her family leads.

The viewer witnesses Ree competently attending to an array of domestic tasks throughout the opening sequence, such as chopping wood and cooking. This indicates that Ree does not conform to typical gender roles typically presented throughout the Hollywood landscape, accentuated by her baggy non-gendered clothing. Ree is not sexualised in any way throughout the film, standing her ground against the male characters that attempt to hinder her goals. Similarly, Ashlee and Sonny have notably androgynous appearances, implying that gender does not factor into how these children are to be nurtured by Ree.

All of the opening scenes are presented to the audience through the use of a handheld camera, as to illustrate an authentic depiction of reality. The film is also shot entirely on location, as to convey an accurate representation of life in the Ozarks. Interestingly, the cast of the film swapped clothes with the local residents of the Ozarks, further preserving the authenticity of the location. Furthering this, the film does not employ any deliberate blocking, which can be seen through Ree’s face being partially obscured by the clothes hanging on the line. This reinforces Debra Granik priority of emphasising naturalism over choreography.

Ree is forced to take on a maternal role, in which her siblings look up to her as a mother figure. Her appearance starkly contrasts that of Ilsa in Casablanca (Michael Curtiz, 1942), as the film portrays women in a much more empowering light. The house itself has no beds – the children are forced to sleep on chairs. Ree also cooks breakfast using lard, a cheaper alternative to oil, reinforcing the poverty-stricken way of life the family leads. An interesting role reversal also occurs when Ree combs her mother’s hair, a typical action performed by a mother to her daughter. This emphasises the multi-faceted familial duties that Ree is burdened with attending to.

*The children sleep on sofas and chairs instead of beds, demonstrating their impoverished way of life*

During the scene when Ree drops off her siblings at school, a closeup of Ree peering into the classroom is displayed. She glances longingly behind the closed door, illustrating Ree’s wistfulness towards rekindling her lost innocence. Afterwards, Ree meets Sonya to discuss her horse, she is framed in a child-like manner than starkly juxtaposes Sonya’s grizzled appearance – she has been hardened by the strenuous way of life in the Ozarks. The film could also be argued as a feminist film at this point, due to the Bechdel test being passed at this early point in the film: Ree and Sonya are two named women having a conversation about horses, unrelated to men.

The sequence concludes with the sudden arrival of the sheriff, who informs Ree about Jessop’s upcoming court appearance and the risk of her house being sold in order to cover his bail bond. During this scene, an ominous non-diegetic composed score underlies the tense gravitas of the situation. Ree stands her ground confidently, addressing the sheriff with confident remarks such as “I’ll find him”. We view the situation from Ree’s empowered perspective, highlighting the difficulty she faces in a patriarchal society from a viewpoint of oppression.

Winter’s Bone Contextualised

Winter’s Bone (Debra Granik, 2010) is an independent drama film based on a 2006 novel of the same name by Daniel Woodrell. Premiering at the Sundance Film Festival in 2010, the film won both the Grand Jury Prize, alongside the Waldo Salt Screenwriting Award. The film also received two 2011 Oscar nominations – Best Picture and Best Adapted Screenplay. The film also kickstarted the acting careers of both Jennifer Lawrence and John Hawkes, who both received Academy Award nominations for their performances in the film.

The film’s director, Debra Granik, is an American independent filmmaker known for directing films including her debut, Down to the Bone (2004) and most recently Leave No Trace (2018). Considered a leading voice in independent cinema, Granik’s films often explore themes of poverty and working-class life, with Winter’s Bone being no exception. The film was widely praised for its naturalistic performances and filmmaking techniques.

Winter’s Bone was produced by Granik and Anne Rossellini through their production company, Anonymous Content. The film’s budget was $2 million, which after multiple failed attempts to finance was provided by a private equity deal. The film grossed $6 million at the box office, tripling its budget. The film was shot on location in the Ozarks of southern Missouri. Many of the supporting roles that spear in the film were first-time actors from the surrounding area, and each home seen within the film were already established – no sets were built. Granik kept most of the existing aesthetics within the homes, with added props being provided by the Ozark people in the community.

Winter’s Bone also features a score predominantly made up of gospel, traditional folk, and bluegrass music, alongside an original soundtrack composed by Dickon Hinchcliffe. The score, particularly the main theme “Didn’t Leave Nobody but the Baby” serves to accentuate the rural environment of the Ozarks, reinforcing the themes of poverty and self-sufficiency. Hinchcliffe’s original compositions aids the film in creating a sense of foreboding and unease, heightening the tension as Ree searches for her father.

*Dickon Hinchcliffe, the film’s composer*

The film’s cinematographer, Michael McDonough utilised a notably muted colour palette throughout the film, emphasising the rugged rurality of the mountainous Ozark region. Handheld cameras were employed throughout the film, building scenes from single perspectives in order to create a sense of realism.

*Cinematographer Michael McDonough uses a grainy combination of yellows, browns, greens, and greys to create an aesthetic reminiscent of a worn photograph*

Winter’s Bone (Debra Granik, 2010)

Winter’s Bone (Debra Granik, 2010) is a film focusing around Ree, played by Jennifer Lawrence in a breakout performance, a poverty-stricken teenage girl living in the rural Ozarks of Missouri. She is borne with the burden of taking care of her two siblings due to her mentally ill mother being unable to do so. Ree is soon informed by the Sheriff that if her father, whose whereabouts is unknown, does not appear in court, their house will be sold to cover his bail bond. Ree then sets out on a quest to locate her missing father, learning the truth of his whereabouts. The film is shot in a mostly naturalistic style, drawing attention to the rugged beauty of the Ozarks. Granik makes use of interesting techniques, such as long takes and a steady camera, which serve to immerse the audience and create a sense of realism.

Debra Granik, the film’s director, is a highly respected independent filmmaker with a career spanning over two decades. Known for her ability to create powerful and nuanced stories, Granik’s films are highly regarded that explore complex and challenging themes. Winter’s Bone is a prime example of this, exploring themes of poverty, family, and self-sufficiency.

The film also helped to launch the careers of several of its cast members, most notably Jennifer Lawrence, who went on to become a highly prolific film star. The film was also critically acclaimed, receiving a 94% on Rotten Tomatoes, alongside several Academy Award nominations. The film also won several awards, including the Grand Jury Prize at the 2010 Sundance Film Festival.

Personally, I did not enjoy Winter’s Bone. The plot appears to be mildly intriguing in concept, but I found the execution to be disengaging and unrewarding. The film moves at an excruciatingly slow pace, one which does not feel deliberate, until the film’s mildly subversive climax. It is filled with uninteresting and unlikeable characters, and I found the cinematography to be serviceable at best. I did find small moments of enjoyment throughout the film, such as the vignette squirrel sequence and breathtaking scenery of the Ozarks.

Overall, I would rate Winter’s Bone ★★.

Component 1b: US Film Since 2005

The next component we are studying is Component 1b: US Film Since 2005. This section of the course entails two films of study, Winter’s Bone (Debra Granik, 2010), an independent film and No Country for Old Men (Joel and Ethan Coen, 2007), a mainstream film. Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two new specialist study areas – Ideology and Spectatorship. This component also involves a direct comparison between the two studied films, akin to Component 1a.