This article is written based on a current research studying myths of bluesmen in two American movies: O Brother Where Art Thou (2000) and Crossroad (1986) focusing on their story lines. From the classic American Studies i.e. myth-and-symbol perspective, it examines the significance of the myths, their impacts to the whole structure, notably plots, settings and characterizations, and their interconnections to one another. Intertextuality is the primary method conducted in the analytical process. This relates the mental pictures and images i.e. the depictions of bluesmen and their life seen in the two movies, to the myths of bluesmen in the actual American society. It can be seen in the story lines that the two works as having “communication” to each other, in creating and preserving the myths of bluesmen. Furthermore, the preserved elements of the myths is seen to be continually used by the succeeding authors to maintain the ties between the works and the audiences, and to build stronger popular yet stereotypical characters, settings, and plots of any bluesmen’s stories in the upcoming future. This, on the other hand, may create a false historical basis which tends to generalize views on blues and its history in relation to American culture.

Keywords: bluesmen, myths, American Studies, American movies, intertextuality