Plotting - Coen's very unusual as they don't show certain scenes (Llewellyn getting killed etc.) but also show scenes that we wouldn't usually get to see (the coin toss scene doesn't further anything). Plot not overly concerned with driving narrative
Woman in pool could be any woman, doesn't matter what she looks like because he loves Carla Jean
When's mum's coffin is lowered there's a 'tick' sound, which is the same as when Anton leaves the house at the end from the bike - sonic connection
If most people were plotting the film they wouldn't include Carson Wells as he doesn't really do much
Bell's opening monologue doesn't make sense until the end of the film - first seen as positive but at the end shows that he's being overwhelmed by modernity
Issues raised for spectator:
Low level of narrative resolution/enigma - nothing is resolved. Negotiated reading (Stuart Hall) and Active spectatorship
Encoding certain messages into the film - Llewellyn shown at the start as an outlaw hero (as he's similar to western heroes)
In encoding process, creator encodes certain enigmas for the audience to decode (Barthes) Not solely created by filmmaker, how a film is interpreted is equally to do with the spectator as it is to do with the filmmaker. Once you've made it how it's interpreted has nothing to do with you. Relates to the negotiated reading of the film
Research
Marxist ideology
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