scholarly journals Three Adaptations of Dracula: Friedrich Murnau, Tod Browning, Francis Ford Coppola, and the Liminal Vampire

2021 ◽  
pp. 399-410
Keyword(s):  
Francis Ford Coppola ◽  
Tod Browning

: Freaks . Tod Browning.

1964 ◽  
Vol 17 (3) ◽  
pp. 59-61
Author(s):  
John Thomas
Keyword(s):  
Tod Browning

Bologna, My Love: Il Cinema Ritrovato

2019 ◽  
Vol 73 (2) ◽  
pp. 72-79
Author(s):  
Carla Marcantonio
Keyword(s):  
Social Justice ◽  
Fairy Tale ◽  
Large Scale ◽  
Francis Ford Coppola ◽  
The Social ◽  
Ongoing Project

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.

MODALIDADES DO DISCURSO E DO CORPO: MODOS DE VER O VAMPIRO NA LITERATURA E NO CINEMA

2014 ◽  
Vol 2 (1) ◽  
Author(s):  
Jamille da Silva Santos
Keyword(s):  
Michel Foucault ◽  
Bram Stoker ◽  
Francis Ford Coppola ◽  
Neil Jordan

Este trabalho tem como objetivo verificar a construção do sujeito vampiro, suas transformações e relações sociais, considerando um esquema genealógico a partir dos estudos de Michel Foucault. Portanto, voltamos o nosso olhar para um estudo literária específica do gênero. De um lado, delineamos como corpus três narrativas literárias: Drácula, de Bram Stoker; O vampiro, de J. Polidori e Carmilla, de S. Le Fanu. De outro, discutimos onze filmes: Nosferatu, de F. W. Murnau; Drácula, de Tod Browing; O filho do Drácula, de Robert Siodmak; O vampiro da noite, As noivas do Drácula e Drácula: o príncipe das trevas de Terence Fisher; Drácula de John Bodhan; Drácula, de Francis Ford Coppola; Entrevista com o vampiro, de Neil Jordan; Blade, de Sthephen Morrington; e Crépusculo, de Catherine Hardwicke). De maneira geral, investigaremos uma recorrência da posição ocupada pelo sujeito vampiro, evidenciamos modificações ocorridas em torno de sua imagem social e marcadas em seus corpos. Mais especificamente, primeiro, analisamos a posição do sujeito vampiro na literatura, tomando para tal estudo a literatura específica de vampiro aqui citada, focalizando o corpo. Depois, observamos as modificações ocorridas no corpo e na conduta do vampiro deslocadas da literatura para o cinema. E, finalmente, focalizamos as relações sociais dos sujeitos vampiros, voltando o nosso olhar para um jogo de poder/saber entre o vampiro e a mulher nas produções cinematográficas. Como citar: SANTOS, Jamille da Silva. Modalidades do discurso e do corpo: modos de ver o vampiro na literatura e no cinema. Orientador: Nilton Milanez.  2014. 87f. Dissertação (mestrado em Linguística) – Programa de Pós-graduação em Linguística, Universidade Estadual do Sudoeste da Bahia, Vitória da Conquista, 2014. Disponível em: xxxxxxxxxxxxxxxx. Acesso em: xxxxxxxx

Race, Gender, and Genre in Spec Ops: The Line

2016 ◽  
Vol 70 (2) ◽  
pp. 38-48 ◽  
Author(s):  
Soraya Murray
Keyword(s):  
Video Games ◽  
Young People ◽  
Sense Of Place ◽  
Collateral Damage ◽  
Gaming Industry ◽  
Francis Ford Coppola ◽  
Heart Of Darkness ◽  
Cost Of War ◽  
Women And Children ◽  
And Training

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.

REALISMO DE CONFRONTO, ATORES-MONSTROS E MONSTROS-ATORES

2021 ◽  
Vol 12 (1) ◽  
Author(s):  
Rodrigo Guéron ◽  
Marcela Souza Amaral
Keyword(s):  
Tod Browning

Considerando a hipótese do conceito de “Realismo de Confronto”, oriundo da observação de filmes contemporâneos, buscamos trazer uma questão que não é exclusiva aos filmes de nossa época, a de um realismo que coloca em questão o próprio real. Ao analisarmos as relações e as tensões entre atores e não atores e personagens, situações reais e/ou fictícias, encontramos proximidade com a teoria de Deleuze sobre as relações entre o virtual e o atual no cinema e a afirmação do filósofo que “o ator é um monstro”. Analisando o filme Monstros (Freaks, Tod Browning, 1932) e relacionando-o a outros mais contemporâneos, articularemos o “realismo de confronto” às relações entre o atual e o virtual no corpo dos atores.

Grave Visions: Visual Experience and Adaptation

2021 ◽  
Author(s):  
Richard David Evan
Keyword(s):  
Visual Experience ◽  
Point Of View ◽  
Early Cinema ◽  
Gothic Novel ◽  
Francis Ford Coppola ◽  
Mise En Scene ◽  
Critical Insight ◽  
The Spectator ◽  
The Look ◽  
Insight Into

Rather than approaching the ‘look’ of adaptation through point of view or the ‘vision’ of the adapter, this chapter examines the material, visible texture of screen adaptation. Using two adaptations of Bram Stoker’s gothic novel Dracula, I analyse how each uses mise en scène, cinematography, and editing to thicken and make tangible Stoker’s questioning of the reliability of vision in modernity. The first, Nosferatu (F.W Murnau, 1922) employs the tricks of early cinema to shock spectators, while the second—Bram Stoker’s Dracula (Francis Ford Coppola, 1992)—uses a neo-baroque aesthetic that ruptures the screen and engulfs the spectator, much like one of Dracula’s victims. This chapter suggests that critical insight into an adaptation can be found quite literally in sight, and embraces how the materiality of adaptation overlaps with the materiality of vision.

“I Believe in America”

2019 ◽  
pp. 48-87
Author(s):  
Paul A. Cantor ◽  
Paul A. Cantor
Keyword(s):  
United States ◽  
American Dream ◽  
The United States ◽  
Way Of Life ◽  
Old World ◽  
Economic Relations ◽  
Francis Ford Coppola ◽  
American Experience ◽  
Corporate Organization ◽  
Difficult Transition

In his Godfather films, Francis Ford Coppola created American classics by dwelling on a classic American experience—immigration. In the story of the Corleone family, Coppola portrays Sicilian immigrants struggling to create a new and better life in the United States. They must navigate the difficult transition from the Old World to the New, and also from the past to the present, from a quasi-feudal way of life in Sicily to a modern America characterized by impersonal economic relations and corporate organization. Vito Corleone achieves the American dream by succeeding in business and providing for his family, but his hopes for his sons are dashed. Carrying on Vito’s struggle, Michael Corleone defeats all his enemies, and yet in the process he destroys his family. Coppola sees the American dream as a source of tragedy, and this chapter analyzes both Vito and Michael as tragic heroes.

The Godfather Trilogy

2016 ◽  
Author(s):  
Fran Mason
Keyword(s):  
Francis Ford Coppola ◽  
Hollywood Cinema ◽  
American Cinema ◽  
New Hollywood ◽  
Auteur Theory ◽  
Italian American ◽  
The Family ◽  
Crime Family ◽  
And Gender ◽  
Gangster Films

The Godfather Trilogy forms an important body of work in American cinema, not only because the films, particularly Part I (1972) and Part II (1974), have received acclaim from journalists, critics, and audiences but also because they have received so much attention from academics. The emphasis in the study and appreciation of the trilogy has, however, been on Parts I and II, partly because of their complexity and longevity but also because of how they helped redefine the gangster genre in portraying the Mafia on film, and because of the films’ contributions to the development of New Hollywood Cinema in the 1970s (all of which have formed important perspectives in academic approaches to the trilogy). Part III (1990) has been felt by critics either to be a disappointment or a coda to the prior incarnations of the series, although it has also attracted academic interest for these very reasons. It is, however, Parts I and II that have served as the main focus of critical attention and not only as gangster films—even if the study of genre has had further influence because their generic revisions introduced the Mafia film. This innovation has produced a range of academic responses that locate the films via reference to histories of organized crime and author Mario Puzo’s representation of the Mafia crime family in the novel on which Parts I and II are based as well as accounts that extend discussion to consider their influence on related representations of the criminal underworld, their impact on popular conceptions of the Mafia, and their representation of Italian-American ethnicity and related areas such as the family and gender. The family has also formed another nexus of connections in criticism because it is so often treated in relation to American culture, and this has also generated a significant body of work on the political and ideological consideration of capitalism in the films. Finally, because Francis Ford Coppola was an important influence in New Hollywood Cinema, there have also been significant considerations of all three films by reference to auteur theory and to Coppola’s balancing of artistic and commercial imperatives.

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