No more legend to print. Sur quelques hantises de No Country for Old Men by Lambert Barthélémy

“…While it is initially a question of radical violence and offers a critical rereading of the imaginary of the frontier, it also examines the textual obsessions and the very close relationship that No Country for Old Men maintains with Tom Sawyer and King Lear. …”
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« Shots in mirrors » : Les jeux de miroir dans No Country For Old Men (Coen 2007) by Julie Assouly

“…The Coen brothers’ adaptation of No Country For Old Men pays tribute to the many mirrors featured in McCarthy’s novel. …”
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Esthétique de la trace dans No Country for Old Men (Ethan et Joel Coen, 2007) by Christophe Gelly

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Spurgeon, Sara L. ed. Cormac McCarthy: All the Pretty Horses, No Country for Old Men, The Road. by Ben Robbins

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Entre humour noir et réflexivité : écouter la voix de Moss dans No Country for Old Men by Françoise Sammarcelli

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« Ever step you take is forever » : fin de l’héroïsme et vacuité spirituelle dans No Country for Old Men by Martin Berny

“…Joel and Ethan Coen’s take on No Country for Old Men can be seen as even darker and more pessimistic than the text it stems from. …”
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“The man who wasn’t there”—and was “out there”: Chigurh as cinematic figure by Nicole Cloarec

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Introduction by Jennifer Johnson-Goliger, Stéphanie Noirard

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« It starts when you begin to overlook good manners. Any time you quit hearin Sir and Mam the end is pretty much in sight » : la jérémiade dans No Country for Old Men by François Gavillon

Subjects: “…No Country for Old Men…”
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“But lo the thing’s inside and can you guess his shape?”: the semiotic elaboration of Cormac McCarthy’s autotextual creature in his early novels and No Country for Old Men by Yvonne-Marie Rogez

“…This paper explores the signifying resurgence of apparently “empty” signifiers and their correlative signified in Cormac McCarthy’s first five novels and later works such as No Country for Old Men and The Road. The impossibility of the semiotic representation of this “creature”, combined with the author’s famed excess of signified surrounding and describing it, as well as its autotextual construction, reveal McCarthy’s most interesting and undervalued creation. …”
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Du dépouillement surgit le silence : une adaptation sous couvert de minimalisme audiovisuel by Louis Daubresse

“…We will examine in turn the dramaturgical role that this silence from the Coen movie plays in the fictional universe of No Country for Old Men, and the primary space in which it unfolds. …”
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The Wandering Character in the Coen Brothers’ Films: When the Southern Gothic Meets the Western by Julie Assouly

“…Those archetypes can be found in their contemporary versions in Blood Simple (1984), Raising Arizona (1987) or No Country for Old Men (2007) – movies in which the iconography of the Western is pregnant – and to some extent in Fargo (1996) which provides a re-reading of the frontier myth. …”
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