Journal articles: 'Francis Ford'

1

Kovacs, Steven. ": Tucker . Francis Ford Coppola." Film Quarterly 42, no. 4 (July 1989): 26–28. http://dx.doi.org/10.1525/fq.1989.42.4.04a00070.

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Sáez-González, Jesús Miguel. "Tetro (Francis Ford Coppola)." Vivat Academia, no. 107 (July 15, 2009): 158. http://dx.doi.org/10.15178/va.2009.107.158-159.

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Kovacs, Steven. "Review: Tucker by Francis Ford Coppola." Film Quarterly 42, no. 4 (1989): 26–28. http://dx.doi.org/10.2307/1212825.

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Pascal, Ana. "Manual de instrucciones para perder el control." Arkadin, no. 8 (August 17, 2019): e013. http://dx.doi.org/10.24215/2525085xe013.

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Reseña a Francis Ford Coppola (2018). El cine en vivo y sus técnicas. Barcelona, España: Reservoir Books, 240 páginas Reseña de la más reciente publicación de Francis Ford Coppola, este libro es el corolario de una exploración intensiva de las posibilidades narrativas, estéticas, tecnológicas y de los modos de producción, distribución y fruición del cine en vivo, un nuevo medio que el director vislumbra como el futuro posible del cine.

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Wiest, Jean-Paul. "The Legacy of Bishop Francis X. Ford." International Bulletin of Missionary Research 12, no. 3 (July 1988): 130–35. http://dx.doi.org/10.1177/239693938801200304.

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Thomas, Peter. "Review: Francis Ford Coppola's ‘The Godfather’ Trilogy." Media International Australia 97, no. 1 (November 2000): 153. http://dx.doi.org/10.1177/1329878x0009700117.

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Norris, Margot. "Modernism and Vietnam: Francis Ford Coppola's Apocalypse Now." MFS Modern Fiction Studies 44, no. 3 (1998): 730–66. http://dx.doi.org/10.1353/mfs.1998.0070.

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Tait, R. Colin. "The two Vitos: De Niro’s translation of Vito Corleone in The Godfather Part II." Journal of Adaptation in Film & Performance 14, no. 3 (December 1, 2021): 317–35. http://dx.doi.org/10.1386/jafp_00060_1.

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Robert De Niro and Marlon Brando are the only two actors to win an Academy Award for playing the same character: Vito Corleone in Francis Ford Coppola’s Godfather series. My article examines the similarities and differences between the actors’ interpretations of the iconic Don Corleone. I draw on lessons on script interpretation they both learned from their acting teacher Stella Adler and Robert De Niro’s goal of ‘being in the present circumstances of the moment’ to examine De Niro’s translation of Brando, the script, Mario Puzo’s novel and their interpretation of Corleone’s embodiment of masculinity. Using De Niro’s scripts, documents and notes related to his research of Corleone in the Harry Ransom Center, I outline the specific steps that De Niro took to translate and reinterpret Corleone. By triangulating the three major personalities most responsible for creating the memorable role, we can separate the various author-functions of three very different creators ‐ Francis Ford Coppola, Marlon Brando and Robert De Niro.

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Bergami G. Barbosa, Pablo. "Le désir de pouvoir dans Le Parrain de Francis Ford Coppola." Topique 146, no. 2 (2019): 97. http://dx.doi.org/10.3917/top.146.0097.

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Oliveira, Cláudio. "Francis Ford Coppola dá receitas de cinema e macarrão em Cuba." Sinopse (São Paulo) 1, no. 1 (June 8, 1999): 13. http://dx.doi.org/10.11606/issn.1807-8907.v1i1p13-13.

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Martínez Gómez, Raciel D. "<em>El padrino</em>: como la vida misma." La Palabra y el Hombre. Revista de la Universidad Veracruzana, no. 41 (December 17, 2018): 86–87. http://dx.doi.org/10.25009/lpyh.v0i41.2588.

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A propósito del aniversario 45 del estreno de la película El padrino, dirigida por Francis Ford Cappola, Raciel Martínez reseña una de las trilogías más destacadas en el mercado norteamericano. En paralelo revisa la construcción del proyecto cinematográfico, así como los retos de adaptación de la novela en que se inspiró el guion.

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Lida de Malkiel, Maria Rosa. "Mediaeval Studies in Honor of Jeremiah Dennis Matthias Ford. Edited by Urban T. Holmes, Jr. and Alex J. Denomy, C. S. B. Harvard University Press, 1948, xxxii + 376 págs. y 10 ilustraciones. Ramón Menéndez Pidal, Un viejo romance cantado por Sabbatai Ceví. Págs. 185-190. Francis M. Rogers, Insular Portuguese Pronunciation: Alleged Flemish Influence. Págs. 211-221." Nueva Revista de Filología Hispánica (NRFH) 3, no. 1 (January 1, 2007): 83–85. http://dx.doi.org/10.24201/nrfh.v3i1.3367.

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Se reseñaron: Mediaeval Studies in Honor of Jeremiah Dennis Matthias Ford. Editedby Urban T. Holmes, Jr. and Alex J. Denomy, C. S. B. HarvardUniversity Press, 1948, xxxii + 376 págs. y 10 ilustraciones.Ramón Menéndez Pidal, Un viejo romance cantado por Sabbatai Ceví.Págs. 185-190.Francis M. Rogers, Insular Portuguese Pronunciation: Alleged FlemishInfluence. Págs. 211-221.

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Leask, Nigel. "Mary Shelley’s Frankenstein, a film by Francis Ford Coppola and Kenneth Branagh." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 1 (December 1, 1996): 263–69. http://dx.doi.org/10.22201/ffyl.poligrafias.1996.1.1587.

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Leask, Nigel. "Mary Shelley’s Frankenstein, a film by Francis Ford Coppola and Kenneth Branagh." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 1 (December 1, 1996): 263–69. http://dx.doi.org/10.22201/ffyl.poligrafias.1996.1.1587.

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15

Ruiz Mas, José. "Médicos-viajeros y viajeros-convalecientes de habla inglesa en la España mediterránea durante el siglo XIX." Epos : Revista de filología, no. 24 (January 1, 2008): 175. http://dx.doi.org/10.5944/epos.24.2008.10579.

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Es mi intención en este artículo señalar el cambio de tendencia de los viajeros expatriados convalecientes de habla inglesa de residir en lugares tradicionalmente de moda como Italia, Francia y Portugal con anterioridad al siglo XIX por las costas mediterráneas españolas conforme avanzaba el siglo. Los primeros casos de residentes extranjeros que se instalaron en España fueron los acompañantes y parientes de los enfermos (hijos o esposas, como son los casos de Lord y Lady Holland y Richard Ford). El primer tercio del siglo XIX fue también testigo de cómo algunos de estos viajeros convalecientes, una vez instalados en España, se aprovecharon del caos reinante causado por las distintas desamortizaciones de propiedades eclesiásticas, especialmente de la de Mendizábal, para adquirir obras de arte españolas a precios muy ventajosos (Ford, Standish). A partir de mediados del siglo el cada vez mayor número de expatriados convalecientes residentes en España avanzó paralelamente a la exitosa publicación de relatos de viajeros médicos de habla inglesa por el Mediterráneo (Francis, Bennet, Lee) u otros viajeros ex-convalecientes (Cox, Playfair), todos los cuales hacían lo posible por recomendar en sus obras las zonas ideales de residencia según la dolencia del convaleciente. Estos relatos de viajes fueron pródigos a la hora de recomendar las costas, las ciudades costeras y las islas españolas (Baleares, Canarias) por su cálido clima y por la inexistencia de fiebres o epidemias.

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Childs, Jeffrey. "Apocalypse Now, Vietnam, and the Rhetoric of Influence." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (March 28, 2014): 11–24. http://dx.doi.org/10.14195/2182-8830_1-2_1.

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Readings of Francis Ford Coppola's Apocalypse Now (1979) often confront the difficulty of having to privilege either its aesthetic context (considering, for instance, its relation to Conrad's Heart of Darkness [1899] or to the history of cinema) or its value as a representation of the Vietnam War. In this paper, I will argue that viewing the film as a meditation on the nature and rhetoric of influence allows us to bridge this gap and provides us with valuable insights into both the film's aesthetic precursors and the circumstances of its historical setting.ResumoAs leituras do filme Apocalypse Now (1979) de Francis Ford Coppola são muitas vezes marcadas pelo imperativo de escolher entre uma abordagem ao seu contexto estético (referindo, por exemplo, a relação do filme com a obra Heart of Darkness [1899], de Conrad, ou com a história do cinema) e uma análise do seu valor enquanto representação da Guerra do Vietname. Neste ensaio, irei defender que uma aproximação ao filme enquanto meditação sobre a natureza e a retórica da influência permite preencher esta lacuna e realçar aspectos fundamentais quer acerca dos precursores estéticos da obra, quer sobre as circunstâncias específicas do seu contexto histórico. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_1

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Ressely, Kinga. "Egy ország önmagában: A liberalizmusnak szüksége van a nemzetre." Köz-gazdaság 17, no. 2 (August 2, 2022): 282–86. http://dx.doi.org/10.14267/retp2022.02.18.

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Francis Fukuyama filozófus, politológus közgazdász, jelenleg a Stanford Egyetem Freeman Spogli Nemzetközi Tanulmányok Intézetének főmunkatársa. Továbbá az előbb említett intézet Demokrácia, Fejlődés és Jogállamiság Központjának oktatója, illetve a Ford Dorsey Nemzetközi Politika mesterszakának vezetője. Kutatási területe többek közt a fejlődés különböző problémái és a nemzetközi politika. Legfőbb művei: “The End of History and the Last Man” (1992), “The Demand for Dignity and the Politics of Resentment” (2018), ‘Liberalism and Its Discontents” (2022). (...)

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Jensen, Michael, and Heeyon Kim. "Becoming Francis Ford Coppola: The Importance of Reputational Rank in Artistic Career Success." Academy of Management Proceedings 2016, no. 1 (January 2016): 16197. http://dx.doi.org/10.5465/ambpp.2016.16197abstract.

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19

Giżycki, Marcin. "Tucker i inni." Kwartalnik Filmowy, no. 110 (August 26, 2020): 205–12. http://dx.doi.org/10.36744/kf.361.

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Artykuł stanowi przypomnienie innowatorów i wynalazców, którzy przegrali walkę z wielkimi korporacjami. Autor skupia się na dwóch takich przypadkach: Edwinie Howardzie Armstrongu – wynalazcy superheterodyny i odkrywcy możliwości nadawania programów radiowych na falach FM, oraz Prestonie Thomasie Tuckerze – konstruktorze nowatorskiego samochodu, o którym Francis Ford Coppola zrobił film Tucker – konstruktor marzeń (1988). Podobny los spotkał też Barthélemy’ego Thimonniera – wynalazcę maszyny do szycia, a nawet kilku pionierów kina, którzy nie zdążyli w porę opatentować swoich wynalazków, m.in. Louis Aimé Augustina Le Prince’a.

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Silva, Lucas Calil Guimarães, and Renata Ciampone Mancini. "APOCALYPSE NOW E O CORAÇÃO DAS TREVAS: O EMBATE ENTRE INDIVÍDUO E SOCIEDADE." CASA: Cadernos de Semiótica Aplicada 12, no. 1 (July 21, 2014): 233. http://dx.doi.org/10.21709/casa.v12i1.7124.

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O filme Apocalypse Now (1979), de Francis Ford Coppola, inspirado no romance O Coração das Trevas (1902), de Joseph Conrad, discute o conflito entre indivíduo e sociedade no contexto da Guerra do Vietnã, nos anos 60 e 70 do século XX. Este trabalho pretende mostrar, embasado pela Semiótica francesa, as estratégias utilizadas pelo diretor para explicitar essa oposição na linguagem cinematográfica e preservar a fidelidade temática em relação às questões abordadas pelo livro, passado durante o Imperialismo britânico na África, no século XIX.

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Drewniak, Mateusz. "Podróż do jądra ciemności. Rozważania o apokalipsie w „Czasie Apokalipsy” Francisa Forda Coppoli i „Nie-Boskiej komedii” Zygmunta Krasińskiego." Studia Filmoznawcze 43 (February 2, 2023): 55–73. http://dx.doi.org/10.19195/0860-116x.43.3.

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The article offers a comparative analysis of two outstanding texts of culture: Apocalypse Now by Francis Ford Coppola and The Undivine Comedy by Zygmunt Krasiński in relation to their multifaceted renditions of the apocalypse motif. The text looks at these works from different perspectives examining their protagonists, settings and forms. The analysis presents a revision of their revolutionary potential within and outside of the romantic paradigm. It also touches upon mechanisms governing apocalypse and inscribes them into film, literary and historical studies.

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Bykova, N. I. "Artistic Solution of the Image of Colonel Kurtz in Francis Ford Coppola’s Film “Apocalypse Now”." Culture Space of Russian World 5, no. 3 (2021): 7–9. http://dx.doi.org/10.24147/2782-2532.2021.5(3).7-9.

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Fehlhaber, Svenja. "The Anti-Experience as Cultural Memory: Francis Ford Coppola’s Apocalypse Now and the Vietnam War." aspeers: emerging voices in american studies 6 (2013): 55–78. http://dx.doi.org/10.54465/aspeers.06-08.

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Drawing on the theoretical frameworks of trauma studies and of memory studies as well as on prominent postwar discourses, this paper investigates the position and function of Francis Ford Coppola’s 1979 Vietnam War film Apocalypse Now with regard to a materializing collective memory of this war. The paper starts out by establishing the theoretical framework of memory studies as well as those intratextual and intertextual criteria through which a respective cultural product may enter the realm of cultural memory. It contextualizes the film within the interrelated history of Hollywood war cinema, the reintegration of Vietnam veterans into US society, and the political and medical discourses surrounding the conceptualization of PTSD. The close reading of the film reveals that the functional unity of an intratextually generated “experiential mode” (Erll 390), which enables a mass audience’s experience of Benjamin Willard’s ‘anti-experience,’ actualizes Apocalypse Now’s potential through the use of intertextual generic and contextual references to become part of an active cultural memory of the Vietnam War.

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Costello, F. "Francis Bernard Hartley Calvin Lambert Maurice Nellen Elsie Gwendoline Oates (nee Ford) Ernest Victor Page." BMJ 321, no. 7268 (October 28, 2000): 1085. http://dx.doi.org/10.1136/bmj.321.7268.1085.

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González, Rayco. "La plantación en Apocalypse Now Redux. Supervivencias y transformaciones históricas de un género." Athenea Digital. Revista de pensamiento e investigación social 22, no. 1 (March 15, 2022): e2994. http://dx.doi.org/10.5565/rev/athenea.2994.

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Este artículo explora la recuperación de un género fundamental de la historia cultural americana, “la novela de plantación”, en la secuencia del nuevo montaje de Apocalypse Now Redux (2001) de Francis Ford Coppola. Mediante la recuperación irónica de algunos de sus lugares comunes, Coppola logra atribuir nueva significación al final de la Guerra de Vietnam, acontecimiento que tuvo una gran importancia en la historia reciente de Estados Unidos. Haciendo uso de las herramientas de la semiótica de la cultura, el análisis pretende elaborar también un marco analítico para analizar la funcionalidad que esta operación de revivificar géneros del pasado puede tener para el presente histórico.

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Irmer, Thomas. "Apocalypse Baal." Maska 30, no. 175 (November 1, 2015): 104–13. http://dx.doi.org/10.1386/maska.30.175-176.104_1.

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Due to it being a subject of a judicial copyright dispute, Frank Castorf’s staging of Brecht’s Baal raises the question about what needs to be protected: copyright or theatre practice. Castorf’s stagings are known for their text montages and various shifts in space and time, which is what he did again in his latest performance, where he combined Brecht’s Baal with Francis Ford Coppola’s Apocalypse Now, concentrating a number of female figures into one and moving the action to theVietnam War. After the premiere, Brecht’s heiress, Barbara Brecht-Schall, procured an injunctionprohibiting the piece. This was her last public act: she died a few months later.

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McGunnigle, Christopher. "My Own Vampire: The Metamorphosis of the Queer Monster in Francis Ford Coppola's Bram Stoker's Dracula." Gothic Studies 7, no. 2 (November 2005): 172–84. http://dx.doi.org/10.7227/gs.7.2.6.

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Cho, Yong Kyoung. "Research on Film Score’s Contribution to Storytelling・2 - An analysis of Francis Ford Coppola’s [The Godfather]." CONTENTS PLUS 18, no. 5 (October 30, 2020): 41–56. http://dx.doi.org/10.14728/kcp.2020.18.05.041.

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Bernard, Veronika. "The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)." CINEJ Cinema Journal 1 (October 17, 2011): 6–63. http://dx.doi.org/10.5195/cinej.2011.39.

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Reviews referring to Francis Ford Coppola’s Columbia Pictures Bram Stoker’s Dracula classic of 1992 recurrently mention the images owing to the camera work of Michael Ballhaus as the striking feature of the movie and highly praise them for their thematically coherent effect.. The colours, if mentioned at all, leave reviewers undecided to sceptical when it comes to evaluating their contribution to the overall composition of the film, though. By providing a semiotic analysis of colours and symbolic imagery the below article will show how colours and imagery in their inter-relatedness create coherence and cohesion with Coppola’s interpretation of Stoker’s Dracula as a religiously inspired morality play set in the context of Victorian cultural values and self-perception.

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Kaymaz, Özlem Tuğçe. "The Thin Blue Line: How can we destroy actuality with editing?" CINEJ Cinema Journal 1, no. 2 (April 20, 2012): 72–78. http://dx.doi.org/10.5195/cinej.2012.44.

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Reviews referring to Francis Ford Coppola’s Columbia Pictures Bram Stoker’s Dracula classic of 1992 recurrently mention the images owing to the camera work of Michael Ballhaus as the striking feature of the movie and highly praise them for their thematically coherent effect.. The colours, if mentioned at all, leave reviewers undecided to sceptical when it comes to evaluating their contribution to the overall composition of the film, though. By providing a semiotic analysis of colours and symbolic imagery the below article will show how colours and imagery in their inter-relatedness create coherence and cohesion with Coppola’s interpretation of Stoker’s Dracula as a religiously inspired morality play set in the context of Victorian cultural values and self-perception.

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Torres, Sonia. "VITORIANOS, MODERNOS E SALVAGEPUNKS: REVERBERAÇÕES E ASSOMBROLOGIAS DO SÉCULO 19." Organon 33, no. 65 (December 14, 2018): 12. http://dx.doi.org/10.22456/2238-8915.85977.

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A cultura contemporânea (tanto a high culture quanto a low culture) está cada vez mais enamorada do século 19. Alguns exemplos que ilustram esta hipótese: os filmes dirigidos por Francis Ford Coppola, Jane Campion e Ang Lee; os romances de A. S. Byatt e William Gibson; as revisitas a Oscar Wilde e Lewis Carroll, fotografia nostálgica, produtos de computação gráfica, o cyberpunk e o steampunk. No texto desenvolvido aqui, discuto as reverberações da era vitoriana na contemporaneidade, argumentando que, a contrapelo da margem a que Pound relega o passado vitoriano, no início do século 20, o espectro persistente dos vitorianos ronda todas as formas de modernide. PALAVRAS-CHAVE: era vitoriana; século longo; século breve; modernidades.

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Kempna-Pieniążek, Magdalena. "Niedokończona konkwista. O niezrealizowanym projekcie filmowym Wernera Herzoga." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 41–52. http://dx.doi.org/10.19195/0860-6668.22.3.4.

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Unfinished conquest. On Werner Herzog’s unmade film projectThe paper shows Werner Herzog’s unmade project The Conquest of Mexico in the context of the director’s complex relations with mainstream cinema. The film which was supposed to initiate closer Werner Herzog–Francis Ford Coppola cooperation with time became known as one of cinema’s “unfinished masterpieces”. Trying to pinpoint the causes of the project’s failure, the author of the paper analyses the status of European auteur in contemporary Hollywood. One of the main contexts of the analysis is Indiewood, where the influence of mainstream cinema meets the potential of independent cinema and where such directors as Werner Herzog may find their place without the necessity of abandoning their artistic visions.

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Alves, Carolina Assunção e. "Imagens de si na tela do cinema: reflexões sobre o Ethos Fílmico." Cadernos de Estudos Lingüísticos 55, no. 2 (December 19, 2013): 67–84. http://dx.doi.org/10.20396/cel.v55i2.8637291.

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Uma das funções do discurso fílmico, assim como dos outros tipos de discurso, é causar um determinado impacto sobre o público, ou seja, ele é portador de alguma dimensão argumentativa. Para isso, a instância de produção emprega estratégias dentre as quais é possível verificar a presença das provas retóricas. Uma delas é o ethos, que implica a construção de uma ou mais imagens de si por parte do enunciador, a fim de obter a adesão pretendida. No caso do filme narrativo de ficção, as circunstâncias determinantes da troca comunicativa chamam atenção para certas particularidades: a linguagem cinematográfica, o star system, os aspectos comerciais e dramáticos, as identidades envolvidas dentro e fora do mundo ficcional. O objetivo deste artigo é refletir sobre as possíveis configurações do ethos nesse gênero discursivo específico, com base principalmente nas categorias estabelecidas por Amossy (2006) e sob a perspectiva da teoria semiolinguística de Charaudeau (2001). A fim de poder melhor visualizar a aplicação das ideias propostas, será realizada uma análise do ethos no filme O Poderoso Chefão II (The Godfather Part II, 1974), de Francis Ford Coppola.

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Ahonen, Kimmo, and Rami Mähkä. "Imperialistinen trippi Kaukoitään." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 33, no. 3-4 (December 11, 2020): 25–43. http://dx.doi.org/10.23994/lk.100438.

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Yhdysvaltalaiset Vietnamin sota -elokuvat ovat muokanneet mielikuvia sodasta ja toimineet välineinä kansakunnan menneisyyden hallintaan. Tarkastelemme artikkelissamme Francis Ford Coppolan ohjaamaa Ilmestyskirja. Nyt -elokuvaa (Apocalypse Now, 1979) Vietnamin sodan historiatulkintana. Keskitymme artikkelissamme Ilmestyskirjan historialliseen kontekstualisointiin, jossa sitä tarkastellaan suhteessa Vietnamin sodan ja Hollywoodin Vietnam-kuvausten historiaan. Pohdimme myös Ilmestyskirjan imperialismisuhdetta ja sen luonnetta sotaspektaakkelina. Coppolan Ilmestyskirjan monivaiheinen käsikirjoitus- ja tuotantoprosessi kesti yli vuosikymmenen. Käytämme lähteenämme alkuperäisen teatterilevitykseen tuotetun version (1979) ohella vuonna 2001 julkaistua Redux-versiota. Historialliset elokuvat, jollainen Ilmestyskirjakin on, ovat kertomuksia historiasta ja ovat historiapolitiikan ohella osa historiakulttuuria. Yhdysvaltojen käymän Vietnamin sodan tosiasiallista historiaa katsotaan yhä enemmän elokuvien välittämien representaatioiden luoman harson läpi. Ilmestyskirjan yksittäiset kohtaukset ja sitaatit ovat toistuvien viittausten kohteena populaarikulttuurissa. Analysoimme erityisesti Redux-version ”plantaasikohtausta”, joka kytki tarinan alkuperäisversiota syvemmin Vietnamin sodan, imperialismin ja dekolonisaation historiapoliittiseen kontekstiin. Argumenttimme on, että Ilmestyskirja sekä reflektoi Vietnamin sodan historiaa että osallistui sen ”kirjoittamiseen”, mutta taiteellisuutensa vuoksi enemmän historiakulttuurisena kuin -poliittisena tulkintana Vietnamin sodasta. Coppolan elokuva onkin imperialistinen trippi Yhdysvaltain lähimenneisyyteen. An Imperialistic trip to the Far East: Francis Ford Coppola’s Apocalypse Now as a historical interpretation of the Vietnam War American-produced films have shaped images of the Vietnam War and acted as a means of handling the national past. In this article, we examine Francis Coppola’s film Apocalypse Now (1979) as an interpretation of the Vietnam War. We focus on the historical contextualization of the film: how it resonates with the history of the Vietnam War and is a part of the history of Hollywood’s treatment of the subject. We also examine Apocalypse Now’s relationship with imperialism and its nature as a war spectacle. The production of Apocalypse Now was complicated and took more than a decade to be completed. This article uses both the original theatrical release (1979) and the extended “Redux” version from 2001 as its source material. Of the latter, we focus especially on the “French Plantation” scene, which was omitted completely from the original version. The scene clearly attempts to contextualize the Vietnam War and for that reason is an important source for analyzing Apocalypse Now as an interpretation of the historical event. Finally, we examine the film as a historical film and, as such, a part of history culture. The film, and the “French Plantation” scene in particular, carries politically-charged themes of decolonization, imperialism and US history. Our argument is that Apocalypse Now, which featured several controversial events and phenomena experienced by people participating in the film’s production, both reflected and actively “wrote” the history of the Vietnam War.

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RODRIGUES, Roberto C. "Blood & Couture: Dracula by Eiko Ishioka (石岡瑛子)." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 141–66. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.9.

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In this paper, through a bibliographical research and debate, we intent a filmic and artistic analysis of the feature film ‘Bram Stoker’s Dracula’ (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡瑛子 (1938 – 2012). The film’s critical reception as well as its consequent elevation to a ‘canon’ status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach of Ishioka's costume design legacy, that flirts significantly with the Parisian ‘haute couture’ for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.

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Mullins, Phil. "Polanyi and Grene on Merleau-Ponty." Tradition and Discovery: The Polanyi Society Periodical 48, no. 3 (2022): 15–32. http://dx.doi.org/10.5840/traddisc202248317.

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This historically oriented essay treats Michael Polanyi and Marjorie Grene’s discussions of Maurice Merleau-Ponty in their correspondence in the 1960s. It traces Grene’s growing enthusiasm for Merleau-Ponty and notes both Polanyi’s criticism and praise for Merleau-Ponty’s perspective in relation to his account of tacit knowing. The essay also comments on Polanyi’s criticism of Gilbert Ryle and his effort to align his perspective with Francis Walsh’s and F. S. Rothchild’s neurophysiological ideas about the operation of mind. I discuss the innovative Ford Foundation-funded conference program, spearheaded by Polanyi and Grene, that brought together an interdisciplinary group of scholars interested in transforming the prevailing philosophical paradigm. This project is the context in which discussion about Merleau-Ponty, Polanyi, and other figures flourished and Grene produced a complicated but fascinating set of little-known publications.

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Fernández-Ramírez, Laura, and Ignacio Nevado. "Narrative Structure and Ideology. Eisenstein in Saving Private Ryan." Área Abierta 22, no. 3 (November 24, 2022): 353–66. http://dx.doi.org/10.5209/arab.82186.

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This paper highlights the relevance of the structural design of Saving Private Ryan (Steven Spielberg, 1998) in conveying its message, in line with S. M. Eisenstein's theoretical principles. An analysis of its scenes has been carried out, identifying their emulation of, or "collisions" with, preceding "schemas". The film presents events characteristic of the classical model of the World War II combat subgenre, but its articulation is unforeseen and evidences authorial action as in the critical model of Vietnam, specifically as in Apocalypse Now (Francis Ford Coppola, 1979). This contrast integrates citizens of different ideological persuasions. It also borrows the structural model and deceptive ending to a initial enigma from Citizen Kane (Orson Welles, 1941) so as to allude to the same theme: the true essence of man, in this case of the veteran, represented by the elderly Ryan.

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Fadhillah, Mutia Siti. "Movie Review "The Rainmaker (1997)" Produced by American Zoetrop Constellations Films." Semarang State University Undergraduate Law and Society Review 2, no. 1 (January 30, 2022): 115–32. http://dx.doi.org/10.15294/lsr.v2i1.54926.

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The Rainmaker is a 1997 American legal drama film based on John Grisham's 1995 novel of the same name, and written and directed by Francis Ford Coppola. It stars Matt Damon, Danny DeVito, Danny Glover, Claire Danes, Jon Voight, Roy Scheider,Mickey Rourke, Virginia Madsen, Mary Kay Place and Teresa Wright in her final film role. Differences from the novel. The film follows the book in most details, but changes the order of events: in the book, the confrontation ending with Rudy's self-defense killing of Kelly's abusive husband occurs after the end of the trial, not during. Also, the film leaves out an important piece of information from the book that was a central point of Rudy's case: the fact that the leukemia victim had an identical twin, which would have made a transplant virtually certain to work as it would have been a perfect genetic match.

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Marcantonio, Carla. "Bologna, My Love: Il Cinema Ritrovato." Film Quarterly 73, no. 2 (2019): 72–79. http://dx.doi.org/10.1525/fq.2019.73.2.72.

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FQ books editor Carla Marcantonio guides readers through the 33rd edition of Il Cinema Ritrovato Festival held each year in Bologna at the end of June. Highlights of this year's festival included a restoration of one of Vittorio De Sica's hard-to-find and hence lesser-known films, the social justice fairy tale, Miracolo a Milano (Miracle in Milan, 1951). The film was presented by De Sica's daughter, Emi De Sica, and was an example of the ongoing project to restore De Sica's archive, which was given to the Cineteca de Bologna in 2016. Marcantonio also notes her unexpected responses to certain reviewings; Apocalypse Now: Final Cut (2019), presented by Francis Ford Coppola on the large-scale screen of Piazza Maggiore and accompanied by remastered Dolby Atmos sound, struck her as a tour-de-force while a restoration of David Lynch's Blue Velvet (1986) had lost some of its strange allure.

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Soboleva, Valeria S. "THE THEME OF LONELINESS IN SOFIA COPPOLA’S OEUVRE." Articult, no. 1 (2022): 52–67. http://dx.doi.org/10.28995/2227-6165-2022-1-52-67.

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The theme of a human's estrangement from society or from himself has become a relevant object of study many social sciences of the twentieth century. Then the dominant existential paradigm served as fertile ground for the creation of a number of films dedicated to the representation of the phenomenon of loneliness, thereby prompting researchers to study the features of this phenomenon in cinema. The article focuses on identifying the essence and specificity of the theme of loneliness as a socio-cultural phenomenon on the example of the films of the outstanding modern director, the daughter of an influential figure in American cinema Francis Ford Coppola, Sofia Coppola. Based on the analyzed images, the author concludes that, despite the previously known cinematic techniques and plot moves in Coppola's works that convey a feeling of loneliness (the character's unstable emotional state, his difficulties of interaction with society, etc.), the director, however, rethinks this complex of ideas and introduces his own special, delicate vision of such a complex problem.

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Doti, Marcelo Micke. "Juventude, literatura e cinema." Revista Fim do Mundo, no. 7 (June 30, 2022): 202–24. http://dx.doi.org/10.36311/2675-3871.2022.v3n7.p202-224.

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Parte-se da ideia de significante cultural e educação como processos de formação de sentidos nos anos 1980 traçando em linhas indeléveis, tecidas delicadamente para serem linhas abertas e não fechadas, sobre significações da década de 80. Desenvolve o tema cultural contra pano de fundo do neoliberalismo ascendente e seus significados marcando a vida da juventude e sua educação não formal: educação das emoções, paixões e afetos; sentidos importantíssimos de posicionamento da juventude na existência e nas estruturas sociais. Assim imbrica cultura com ideologia em um campo de signos e sua instrumentalização como poder. Coloca-se o filme de Francis Ford Coppola, The outsiders (1983), como um significante cultural dos anos 1980 e traça elementos próprios à adolescência. Neste adensamento constante de problemáticas políticas, culturais e sociais (neoliberalismo), a significância dos anos 1980 na forma dos elementos culturais na forma de educação dos sentidos chega-se a algumas conclusões atuais do desamparo neoliberal.

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Borg, Matthew. "The Francis Ford Coppola Encyclopedia2011336James M. Welsh, Gene D. Phillips and Rodney F. Hill. The Francis Ford Coppola Encyclopedia. Lanham, MD and Plymouth: Scarecrow Press 2010. xvii+328 pp., ISBN: 978 08108 7650 7 (print); 978 0 8108 7651 4 (e‐book) £44.95 $70." Reference Reviews 25, no. 7 (September 20, 2011): 46–47. http://dx.doi.org/10.1108/09504121111168730.

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Murray, Soraya. "Race, Gender, and Genre in Spec Ops: The Line." Film Quarterly 70, no. 2 (2016): 38–48. http://dx.doi.org/10.1525/fq.2016.70.2.38.

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Spec Ops: The Line (Yager Development, 2012) is widely regarded by game critics as an antiwar statement, an Apocalypse Now (Francis Ford Coppola, 1979) of video games; or, at the very least, one critical of its genre conventions. While most military shooter games are seen as inuring young people to violence and functioning as military simulations, or as recruitment and training tools, The Line presents ethical quandaries, unwinnable scenarios, collateral damage, and the psychological cost of war. This article considers the racialized world-making of an Arab mega-city in ruins as a new heart of darkness, a mythic American construction of militarized masculinity that becomes profoundly troubled under the duress of inglorious conflict, as well as the mobilization of women and children as symbols of victimhood to rationalize a military response. Through its analysis of gameplay, story, and the game's convincing sense of place, this article considers the significance of the physical rubble and moral ruin visualized in Spec Ops: The Line within the context of the gaming industry.

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ALVES, Carolina Assunção e. "A prova retórica do logos no filme narrativo de ficção." DELTA: Documentação de Estudos em Lingüística Teórica e Aplicada 32, no. 2 (August 2016): 295–323. http://dx.doi.org/10.1590/0102-445084403694122197.

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RESUMO O logos consiste na prova retórica técnica/artística, segundo (Aristóteles, 2000), em que o orador demonstra ou tenta demonstrar a verdade pelo discurso; ou seja, trata-se do uso do raciocínio lógico com o objetivo de fundar uma proposição persuasiva. Para autores como (Amossy, 2006) e (Olbrechts-Tyteca e Perelman, 2008), os gêneros discursivos, uma vez que sempre visam a algum tipo de impacto sobre o público, são providos de argumentatividade em diferentes graus e intenções. Neste artigo, pretendemos discutir possibilidades de emprego da prova retórica do logos no filme narrativo de ficção, sob a perspectiva da análise argumentativa do discurso e da teoria semiolinguística (Charaudeau, 2001). O método utilizado consiste na aplicação de algumas categorias do logos à análise argumentativo-discursiva de algumas sequências do filme O Poderoso Chefão II (The Godfather Part II, 1974), de Francis Ford Coppola, levando em consideração os elementos da linguagem cinematográfica envolvidos. Esta pesquisa permitiu verificar a proficuidade da abordagem do filme de ficção como objeto de estudo nessa área, bem como a relação intrínseca entre as provas retóricas do ethos, do pathos e do logos.

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Pittner, Fruzsina, and Iain Donald. "Gaming the Heart of Darkness." Arts 7, no. 3 (September 4, 2018): 46. http://dx.doi.org/10.3390/arts7030046.

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The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and was published as a novella in 1902. Since then, the story has been criticised for racism by Nigerian writer Chinua Achebe and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now, influencing computer games such as Far Cry 2 and Spec Ops: The Line. In examining the adaptations of Heart of Darkness, we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives.

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Gardner, Dugald. "Henry Wade (1876–1955), pioneer of urological surgery, museum conservator and war veteran." Journal of Medical Biography 27, no. 3 (October 3, 2017): 149–58. http://dx.doi.org/10.1177/0967772017733353.

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Henry Wade graduated in the Edinburgh Medical School in 1898 before spending two years with the British army during the Anglo-Boer war. Returning to this country, he joined Francis Caird, surgeon to the Edinburgh Royal Infirmary. Appointed Conservator of the museum of the Royal College of Surgeons of Edinburgh, Wade met young William Ford Robertson. In a study of experimental cancer they concluded that some neoplasms were caused by bacteria. Wade became increasingly recognised as an authority in urology. His growing practice was interrupted by the First World War. Already a member of the Royal Army Medical Corps, he served for five years in the Middle East, in Gallipoli and then with the army in an approach to Jerusalem. Resuming civilian life, Wade combined an extensive urological practice with membership of the Council of the RCSEd. He became President in 1935. Married in 1924, his wife died four years later after an operation by a colleague, David Wilkie. Director of Surgery to the Scottish Emergency Medical Service when the Second World War broke out, Wade was made a Knight Bachelor in 1946. He died in 1955.

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Freebury-Jones, Darren. "John Fletcher’s Collaborator on The Noble Gentleman." Studia Metrica et Poetica 7, no. 2 (December 31, 2020): 43–60. http://dx.doi.org/10.12697/smp.2020.7.2.03.

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Although John Fletcher is recognized as one of the most influential dramatists of the early modern period, many of the theories concerning the divisions of authorship in his collaborative plays continue to present insoluble difficulties. For instance, according to the soundly based chronology developed by Martin Wiggins, many plays attributed in part to Francis Beaumont appear to have been written after Beaumont had ceased writing (c. 1613), or even after he died in 1616. A prime example would be The Noble Gentleman (1626), which E. H. C. Oliphant and Cyrus Hoy attributed in part to Beaumont. Modern scholarship holds that this was Fletcher’s last play and that it was completed by another hand after Fletcher died in 1625. This article offers the most comprehensive analysis yet undertaken of the stylistic qualities of the “non-Fletcher” portions in this play in relation to dramatists writing for the King’s Men at the time, thereby opening up several new lines of enquiry for co-authored plays of the period. Seeking to broaden our understanding of the collaborative practices in plays produced by that company in or around 1626, through a combination of literary-historical and quantitative analysis, the article puts forth a new candidate for Fletcher’s posthumous collaborator: John Ford.

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Gefen, Rina, and Rachel Weissbrod. "Collaborative self-translation in the screenplays of The Godfather trilogy." Journal of Screenwriting 12, no. 1 (March 1, 2021): 39–54. http://dx.doi.org/10.1386/josc_00047_1.

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This study examines the adaptation of the novel The Godfather into screenplays by author Mario Puzo and director Francis Ford Coppola. Combining translation and adaptation studies, we regard this adaptation as a case of ‘collaborative self-translation’, a concept that has so far been rarely applied beyond translations studies, and use a model designed for the study of adaptation to analyse it. However, we expand the model by applying it to screenplays, and examining prequel and sequel, which are mainly present in the second and third screenplays of the trilogy. In addition to calling attention to the screenplay as a vital stage in the transformation of a literary work into a film, this article shows that the adaptation model can be a valuable tool to systematically analyse adapted screenplays, thus expanding the methodological repertoire of both adaptation and screenwriting studies. Moreover, it was found that the combined discussion of adaptation, sequel and prequel may contribute to an understanding of the complex relations between them and the source. Based on these theoretical insights, we show that through merging the creative powers of Puzo and Coppola, the screenplays shed new light on social, family and cultural themes that appear to some extent in the novel, taking the conventions of the crime genre in new and surprising directions.

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Judkins, B. M. "Corporate Crime Under Attack: The Ford Pinto Case and Beyond. By Francis T. Cullen, William J. Maakestad, and Gray Cavender. Anderson. 398 pp. $16.95." Social Forces 67, no. 3 (March 1, 1989): 818–19. http://dx.doi.org/10.1093/sf/67.3.818.

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Rodgers, Catherine. "La puissante écriture intertextuelle de Marie Darrieussecq dans Il faut beaucoup aimer les hommes." La vengeance dans le roman francophone, no. 119 (February 16, 2022): 111–23. http://dx.doi.org/10.7202/1086334ar.

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In 2010 Marie Darrieussecq published Rapport de Police, Accusations de plagiat et autres modes de surveillance de la fiction as a response to the accusations of plagiarism brought against her by Camille Laurens and Marie NDiaye. In this essay she claims her right to an openly intertextual writing. Il faut beaucoup aimer les hommes belongs to this type of writing: Darrieussecq draws strong images from other texts to renew and extend them. In particular, she reworks certain topoi, such as love at first sight, heterosexual passion, and White-Black relations. Her main intertexts are Passion simple by Annie Ernaux, Heart of Darkness by Joseph Conrad and Apocalypse Now, the film that Francis Ford Coppola made from it. She also uses several texts by Marguerite Duras, as well as songs, proverbs, key sentences, and anecdotes. She thus explores many clichés, including those relating to two legendary places, Hollywood and Africa. This rich intertextuality could have led to the dilution of her own voice if she had not also anchored her text in her own experience, by including the discreet presence of an auctorial I, and by ensuring through a large epitext that the autobiographical comparisons with its protagonist Solange are known as well as the fact that her text was also born from personal research on Africa and Hollywood. With Il faut beaucoup aimer les hommes, Darrieussecq has written a powerful and personal text despite, or rather thanks to, its vast intertextuality.

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Journal articles on the topic 'Francis Ford'

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