Cormac McCarthy’s No Country for Old Men, and Joel and Ethan Coen’s film adaptation of the same name, deliver two separate critiques of sacrificial violence through their particular renderings of Carla Jean Moss’s death scene, as they correspond, respectively, to the theories of René Girard and Slavoj Žižek. In both film and novel, the chase narrative offers a concrete representation of runaway acquisitive mimesis engendering resentment and cathartic violence. This violence is symbolically manifest in the character of Anton Chigurh. An assassin whose killings often employ a ritual of chance, Chigurh is a symbol for both the violence foundational to culture and the fascinating draw such violence continues to have ..
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DOI 10.1353/ctn.2013.0009
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