000			02195cam a2200421 4500500
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041			_afre
042			_adc
100	1	0	_aAssouly, Julie _eauthor
245	0	0	_aLes frères Coen, cinéastes indépendants : l'importance d'une indépendance scénaristique
260			_c2014.
500			_a89
520			_aThe Coen Brothers have been labeled as independent filmmakers ever since they started their career in the middle of the 1980s, and are still considered independent today in spite of their frequent collaborations with the Hollywood studios. This status, quite uncommon in Hollywood, of “emancipated” directors, is made clear through their aesthetic and, to a lesser extent, ideological independence. Their position as directors/producers/screenwriters/editors also provides them with what I will call their “screenwriting independence”. Nevertheless, the questioning of their independent status over the last ten years seems to be related to the financing of some of their films. To what extent are the Coen brothers still independent filmmakers when they collaborate with majors? How does their status as director-writers participate in their independence? Eventually, can we consider the possibility of an alternative way in which the Coens could appear as precursors?
690			_acinéma indépendant
690			_aCircle Films
690			_adistribution
690			_afrères Coen
690			_aNouvel Hollywood
690			_aproduction
690			_aSam Raimi
690			_ascénario
690			_ascénariste
690			_astudio independent
690			_aWorking Title
690			_aCircle films
690			_aCoen brothers
690			_adistribution
690			_aindependent cinema
690			_aNew Hollywood
690			_aproduction
690			_aSam Raimi
690			_ascreenwriter
690			_ascript
690			_astudio independent
690			_aWorking Title
786	0		_nRevue française d’études américaines | 136 | 2 | 2014-02-01 | p. 28-39 | 0397-7870
856	4	1	_uhttps://shs.cairn.info/revue-francaise-d-etudes-americaines-2013-2-page-28?lang=fr&redirect-ssocas=7080
999			_c1650405 _d1650405