This essay on Joel and Ethan Coen’s cult film, The Big Lebowski (1998), proposes that one way of accounting for its narrative, stylistic, and tonal characteristics is to see the filmmakers’ perspective as determined, above all, by the sense of the absurd as elaborated by Albert Camus. This relation is explored, among other things, by considering the Coen brothers’ play with the genres of film noir and the Western in The Big Lebowski; although I also indicate how such a reading requires that Camus’s seminal concept to some extent be qualified with reference to Michel de Certeau’s notion of ‘making do’.

中文翻译：

---

大莱博斯基；或者，与西西弗斯同在

这篇关于乔尔和伊桑·科恩的邪教电影《大莱博夫斯基》（1998 年）的文章提出，解释其叙事、风格和音调特征的一种方法是将电影制片人的视角视为首先由正如阿尔伯特·加缪所阐述的那样荒谬。除了其他方面，通过考虑科恩兄弟在 The Big Lebowski 中对黑色电影和西部片类型的戏剧，探索了这种关系；尽管我也指出，这样的解读是如何要求加缪的开创性概念在某种程度上符合米歇尔·德塞托的“使做”的概念。