DOCSLIB.ORG

A6700 APOCALYPSE NOW (USA, 1979) (Other Titles: Anyni Apokalypsi; Apokalipsis Cera; Czas Apokalipsy)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A6700 APOCALYPSE NOW (USA, 1979) (Other Titles: Anyni Apokalypsi; Apokalipsis Cera; Czas Apokalipsy) A6700 APOCALYPSE NOW (USA, 1979) (Other titles: Anyni apokalypsi; Apokalipsis cera; Czas apokalipsy) Credits: director, Francis Ford Coppola ; writer, Francis Ford Coppola, John Milius Cast: Marlon Brando, Robert Duval, Martin Sheen, Frederic Forrest, Albert Hall, Larry Fishburne, Dennis Hopper Summary: War film set in Vietnam and Cambodia in 1969. Captain Benjamin Willard (Sheen) is sent on a mission via Navy swift boat up the Nam River into Cambodia to terminate the rogue Col. Kurtz (Brando). Kurtz is a Special Forces officer who has ‘gone native,’ gathered a private army of hill tribesmen and begun killing anyone who opposes him. Adair, Gilbert. Hollywood’s Vietnam [GB] (p. 100-120+) ___________. Vietnam on film [GB] (p. 143-68+) Adler, Dick. “What if Apocalypse had been a simple war movie?” Los Angeles (Aug 1979), p. 166, 168-9. Aghed, Jan. “Apocalypse now” Chaplin 21/4 [163] (1979), p. 140-43. ________. “Mot morkrets hjarta” Chaplin 21/6 [165] (1979), p. 232-4. Albarino, Richard. “Coppola: creative over company man” Variety (Aug 21, 1974), p. 3, 6. Alper, David, and Bloch-Morhange, Lise. “Entretien avec Francis Coppola” Cahiers du cinema 304 (Oct 1979), p. 7-22. Alutto, Massimo. [Apocalypse now] Cinema e cinema 24 (Jul-Sep 1980), p. ? Anderson, John. “Reliving the horror and genius of ‘Apocalypse’ now” Newsday (Aug 3, 2001), p. B2. Anderson, Pat, and Wells, Jeffrey. “Apocalypse now: two views” Films in review 30 (Oct 1979), p. 495-6. Anderson, Susan Heller. “Apocalypse now: film stuns Cannes” New York Times 128 (May 21, 1979), p. C15. Anger, Cedric. “Un sonambule dans la jungle” Cahiers du cinema n. 558 (Jun 2001), p. 44-47. Ansen, David. “‘Apocalypse’ then and now” Newsweek 138/8 (Aug 20, 2001), p. 46+ [2 p.] “Apocalypse as TV longform” Variety (Nov 26, 1980), p. 98. “Apocalypse booms along with $1.2-mil posted in 20 days” Variety 296 (Sep 5, 1979), p. 3 + [2 p.] “Apocalypse is now” Boxoffice 115 (Aug 20, 1979), p. 2. “Apocalypse near break-even...” Variety 297 (Dec 26, 1979), p. 1 + [2 p.] “Apocalypse now” American cinematographer 80/3 (Mar 1999), p. 138. [Apocalypse now] Cinema e cinema 7/25-26 (Oct/Dec 1980), p. 177-187. [Apocalypse now] Cinema 2002 (Spanish) 63 (May 1980), p. 60-64. [Apocalypse now] Creem 11 (Nov 1979), p. 60. [Apocalypse now] Daily telegraph [London] (May 24, 1979), p. 15. [Apocalypse now] Daily telegraph [London] (Aug 13, 1979), p. 13. [Apocalypse now] Daily telegraph [London] (Aug 27, 1979), p. 10. [Apocalypse now] Deux ecrans 30 (Jan 1980), p. 17-29. [Apocalypse now] Down beat 47 (Jan 1980), p. 13. [Apocalypse now] Encore 8 (Sep 15, 1979), p. 38. [Apocalypse now] [letter on various editions and endings of the film] Empire n. 56 (Feb 1884), p. 38. [Apocalypse now] Films illustrated 9/99 (Nov 1979), p. 94-98. [Apocalypse now] Framework 14 (spring 1981), p. 42-3. [Apocalypse now] Listener 101/2613 (May 31, 1979), p. 752. [Apocalypse now] Listener 102/2642 (Dec 20-27, 1989), p. 878-9. “Apocalypse now” Look (Aug 1979), p. 54-59. “Apocalypse now” Motion picture guide (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1985. (v. 1, p. 84-5) “Apocalypse now” New York times (Aug 31, 1979), p. C8. [Apocalypse now] Peace news 21/14 (Feb 22, 1980), p. 15. [Apocalypse now] Photoplay 27/8 (Aug 1976), p. 38-9. [Apocalypse now] Photoplay 31/1 (Jan 1980), p. 16-19. [Apocalypse now] Playboy 26 (Oct 1979), p. 28. [Apocalypse now] St. Anthony messenger 87 (Dec 1979), p. 14. [Apocalypse now] [Coppola interview] Screen international n. 41 (Jun 19, 1976), p. 8- 9. [Apocalypse now] Screen international n. 140 (May 27, 1978), p. 1. [Apocalypse now] Screen international n. 221 (Dec 22, 1979), p. 21. [Apocalypse now] Skoop 14/4 (Jun 1978), p. 25-33. [Apocalypse now] Time out 504 (Dec 14, 1979), p. 24-5, 51. [Apocalypse now] US 3 (Jul 10, 1979), p. 62. [Apocalypse now issue] Cinema e cinema 24 (Oct-Dec 1980), p. ? [Apocalypse now: review of the soundtrack] Creem 11 (Jan 1980), p. 57. “Apocalypse now shares top prize at Cannes Film Festival” Current digest of the Soviet press 31 (Jul 4, 1979), p. 12-14. “Apocalypse now to open Aug. 15 in N.Y.” Variety 293 (Jan. 31, 1979), p. 5. “Apocalypse praised by the Soviet press” New York times (Aug 23, 1979), p. C14. “Apocalypse reserved seats sell big” Boxoffice 115 (Aug 5, 1979), p. 1 + [2 p.] “Apocalypse stumble: coin” Variety 297 (Nov 7, 1979), p. 5. “Apocalypse takes $2.5 million, but drops off in fourth week” Boxoffice 155 (Oct 15, 1979) p. 2. Arecco, Sergio. “The dirt of a nation: Apocalypse now” Filmcritica 31/301 (Jan 1980), p. 16-20. Arnold, Gary. “Film notes” Washington post (Sep 20, 1979), p. B14. __________. “Mangled revelations: Apocalypse at last: the stupendous failure of Coppola’s epic” Washington post (Oct 3, 1979), p. B1, B12. Arroyave, Orlando. “La desmesura como obra de arte” Kinetoscopio 13/61 (2002), p. 93-95. Asahina, Robert. “On screen: doomsday deferred” New leader 62/17 (Sep 10, 1979), p. 22-4. Aufderheide, Pat. [Apocalypse now] In these times 3/43 (Sep 26, 1979), p. 12. Auster, Al and Quart, Leonard. “Film review: man and superman: Vietnam and the new American hero” Social policy 11 (Jan/Feb 1981), p. 60-64. _______________________. How the war was remembered: Hollywood & Vietnam [GB] (p. 65-71+ [10 p.]) Averill, P. [Apocalypse now] Win magazine 16/2 (Feb 15, 1980), p. 25. Badsey, Stephen. “The depiction of war reporters in Hollywood feature films from the Vietnam War to the present” Film history 14 (2002), p. 243-260. Baker, Russell. “Sunday observer: Apocalypse forever” New York times 128 (Aug 26, 1979), Sec 6, p. 10. Balcer, Rene. “A masterwork: Apocalypse now” Cinema Canada 57 (Aug 1979), p. 13-16. Baldassarre, Angela. “New ‘Apocalypse’ a complete tale” Times union [Albany, NY] (May 17, 2001), p. P64. Banner, Fiona. The Nam London : Frith Street Books, 1997. Barisone, Luciano. “Per un’anatomia della conoscenza” Filmcritica 31/301 (Jan 1980), p. 21-3. Barra, Allen. “Apocalypse forever” Salon (Aug 3, 2001) [http://www.salon.com] [4 p.] Barszcz, Hanna. “‘Czas Apokalipsy’ - ptoba analtzy antropologicznej” Kino 19 (Jun 1985), p. 37-43. Bates, Milton J. The wars we took to Vietnam : cultural conflict and storytelling Berkeley : University of California Press, 1996. (p. 17-24+) [Reprinted as “Apocalypse now and the New England way” in The Calvinist roots of the modern era (edited by Aliki Barnstone, Michael Tomasek Manson, Carol J. Singley) Hanover, NH : Univ. Press of New England, 1997. (p. 212-27)] Bauer, Erik. “John Milius” Creative screenwriting 7/2 (2000), p. 38-48. Baumbach, Jonathan. “Apocalypse now and then” New York arts journal 16 (Nov 1979), p. 3-6. Beale, Lewis. “Coppola’s wild ‘Nam feature rides again” Toronto star (Aug 4, 2001), Arts, J6. Bell, Arthur. “Bell tells” Village voice 24 (Aug 20, 1979), p. 42. Belton, John (see under title Film sound) Bennetts, Leslie. “Albert Hall” New York times 128 (Aug 24, 1979), p. C4, C16. Benson, Sheila. “Another apocalyptic vision of ‘Apocalypse’“ Los Angeles times (Oct 8, 1991), Calendar, p. 1. Bergson, Phillip. “Give them Vietnam!” Times educational supplement 3314 (Dec 14, 1979), p. 18. Bernard, Jami. “Apocalypse now has more fun; Francis Ford Coppola delves into humanity in his re-edited Vietnam masterpiece” The gazette [Montreal] (Aug 4, 2001), p. ? ___________. [Hearts of darkness] New York post (Nov 27, 1991), p. 27. [Reprinted in Film review annual 1992] Bernardoni, James. “The literary fallacy ... Apocalypse now” in The new Hollywood: what the movies did with the new freedoms of the seventies [GB] (p. 63-82) Bertani, Alessandro. “Uno spaccato sulla victoria” Cineforum 42/411 (Jan/Feb 2002), p. 9-11. Bezombes, Renaud. (see under Offroy, Denis) “Bid letters out on Apocalypse” Variety 294 (Feb 28, 1979), p. 5. Biskind, Peter. [Apocalypse now] Sevendays 3/11 (Sep 28, 1979), p. 29. Bitomsky, Hartmut. “Apocalypse now” Filmkritik 23 (Dec 1979), p. 581-2. Blake, Richard A. “Apocalypse within” America 141 (Sep 1-8, 1979), p. 96. Bliss, Tony. “Apocalypse now: bonanza or bomb?” Soldier of fortune 5/2 (Feb 1980), p. 55-60. Bloch-Morhange, Lise, and Toubiana, Serge. “Entretien avec Fred Roos” Cahiers du cinema 301 (Jun 1979), p. 61-4. _________________. (see also under Alper, David) Bluemie, Robert L. [Apocalypse now] Phoenix 14 (Dec 1979), p. 74+ [2 p.] Bly, Nellie. Marlon Brando : larger than life New York : Pinnacle Books/Windsor Pub. Corp., 1994. Bock, Audie. “American directors look east to Japan for inspiration and art” New York times (oct 5, 1980), sec. D, p. 19, 38. __________. “George Lucas: an interview” Take one 7/6 (May 15, 1979), p. 3-7. __________. “Zoetrope and Apocalypse now” American film 4/10 (Sep 1979), p. 55-60. Boehringer, Kathe. “Banality now” Australian journal of screen theory n. 8 (Jul 1981), p. 89-95. Bogue, Ronald L. “The heartless darkness of Apocalypse now” Georgia review 35/3 (fall 1981), p. 611-26. Bohnen, James. [Apocalypse now] Denver magazine 9 (Sep 1979), p. 12-14. Bonitzer, Pascal. (see under Daney, Serge) Bookbinder, Robert. Films of the seventies Secaucus, N.J. : Citadel, 1982. p. 257-60. Bourget, Jean-Loup. “D’un opera a l’autre” Positif 262 (Dec 1982), p. 24-6. Bowen, Kevin. “Strange hells: Hollywood in search of America’s lost war” in From Hanoi to Hollywood: the Vietnam war in American film [GB] (p. 226-235) Bowyer, Justin. “The horror, the horror: ‘Apocalypse now redux’” in Search & destroy (edited by Jack Hunter) [London] : Creation Books, 2003, c2002.
Load more

Recommended publications
  • Invented Worlds
    THE WIZARD OF OZ 1939, Victor Fleming Invented Worlds > This beloved classic hails from the peak of Hollywood’s Golden Age, 1939, and By Steve Chagollan was directed by the no-nonsense Victor Fleming—who also helmed Gone With the Wind, released that same year. The film’s blend of realism and fantasy is still OLLYWOOD HAS OFTEN been referred to as a fantasy striking to this day, especially the transition from Dorothy’s sepia-toned Kansas to the factory—a place where both reality and make-believe Technicolor brilliance of Oz. Sixty-five sets were constructed over six sound stages are plumbed from the vast recesses of the filmmakers’ at MGM for the effort, and the quest for perfection was so arduous it took the art imaginations. But when directors delve into literal fantasy department a week to settle on the proper and futurism, that imagination is allowed to run truly wild. shade of yellow for the Yellow Brick Road. Fleming told the film’s producer, Mervyn There have been countless milestones over the years that LeRoy, that he wanted to make “a picture that searched for beauty and decency and point to the medium’s ability to transport us to worlds that love in the world.” H only exist in the movies; here are a few choice examples. 68 DGA QUARTERLY PHOTOS: (ABOVE) AMPAS; (RIGHT) PHOTOFEST DGA QUARTERLY 69 BLADE RUNNER (1982), Ridley Scott > It’s hard to believe we’ve caught up with the time frame, 2019, in which Ridley Scott transformed Los Angeles into what he termed a near-future, “mul- tinational megalopolis,” where a rogue group of synthetic humans, known as replicants, are tracked down by a world-weary cop played by Harrison FORBIDDEN Ford.
    [Show full text]
  • Extreme Leadership Leaders, Teams and Situations Outside the Norm
    JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader.
    [Show full text]
  • Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
    Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20).
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Apocalypse Now, Vietnam and the Rhetoric of Influence Autor(Es): Childs, Jeffrey Publicado Por: Centro De Literatura Portuguesa
    Apocalypse now, Vietnam and the rhetoric of influence Autor(es): Childs, Jeffrey Publicado por: Centro de Literatura Portuguesa URL persistente: URI:http://hdl.handle.net/10316.2/30048 DOI: DOI:http://dx.doi.org/10.14195/2182-8830_1-2_1 Accessed : 30-Sep-2021 22:18:52 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt Apocalypse Now, Vietnam and the Rhetoric of Influence JEFFREY CHILDS Universidade Aberta | Centro de Estudos Comparatistas, Univ. de Lisboa Abstract 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.
    [Show full text]
  • California State University, Sacramento Italian 104 a INTRODUCTION to ITALIAN CINEMA I SPRING 2013
    1 California State University, Sacramento Italian 104 A INTRODUCTION TO ITALIAN CINEMA I SPRING 2013 Course Hours: Tuesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2015 Office Hours: Thursday 2-3, 4:30-6:30 and by appointment (every other Wednesday) This on line syllabus will contain assignments and modifications as we progress. Texts and Materials: History of Italian Cinema 1905-2003, Author: Brunetta, Publisher: Princeton University Press, 2011, Price: 28.75 USD (ISBN 9780691119892) Alternate text: Italian Cinema: From Neorealism to the Present by Peter Bondanella (ISBN 0-8264-1247-5) ***For Italian Minors: Italian Through Film The Classics, Antonello Borra and Cristina Pausini, (Yale University Press) ISBN 0-300-10952-0 Professor Barbara Carle's Web Page: http://www.csus.edu/indiv/c/carleb/ Assignments, Web Resources and Links COURSE GOALS and METHODS: To develop a critical understanding of Italian film, a knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema. To learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining.
    [Show full text]
  • Filmempfehlungsliste Der Medienwissenschaft Universität Bonn
    Filmempfehlungsliste Medienwissenschaft Bonn 1. Spielfilme Klassiker der Filmgeschichte Titel Signatur (MeWi-Videothek) LE VOYAGE DANS LA LUNE (Die Reise zum Mond, R. : D 710.3 George Meliès, F 1902) DIE AUSTERNPRINZESSIN (R.: Ernst Lubitsch, D 1919) D 429.2 DAS CABINET DES DOKTOR CALIGARI (R. : Robert Wiene, D D 637.1, D 3.1, 1920) D 1144.1 C 15.1 NOSFERATU - EINE SYNFONIE DES GRAUENS (R.: Friedrich D 34.1 Wilhelm Murnau, D 1922) PANZERKREUZER POTEMKIN (R.: Sergej Eisenstein, UdSSR D 193.1, D 193.1, D 2312.1 1925) STREIK (R.: Sergej Eisenstein, UdSSR 1925) D 870.1 METROPOLIS (R.: Fritz Lang, D 1927) D 435.1, D 511.1 DER BLAUE ENGEL (R.: Josef von Sternberg, D 1930) D 6.1, D 6.2 LITTLE CAESAR (Der kleine Caesar, R.: Mervyn LeRoy, - USA 1931) M – EINE STADT SUCHT EINEN MÖRDER (R.: Fritz Lang, D D 435.2 1931) FRANKENSTEIN (R.: James Whale, USA 1931) D 392.1 IT HAPPENED ONE NIGHT (Es geschah in einer Nacht, R.: D 1016.1 Frank Capra, USA 1934) THE AWFUL TRUTH (Die schreckliche Wahrheit, R.: Leo D 2231.1 McCarey, USA 1937) LE QUAI DES BRUMES (Hafen im Nebel, R.: Marcel Carné, F D 817.1 1938) LA BETE HUMAINE (Bestie Mensch, R.: Jean Renoir, F 1938) D 67 BRINGING UP BABY (Leoparden küsst man nicht, R.: Howard D 2215.1 Hawks, USA 1938) THE WIZARD OF OZ (R.: Victor Fleming, USA 1939) D 599.1 NINOTCHKA (R.: Ernst Lubitsch, USA 1939) E 34.1 GONE WITH THE WIND (Vom Winde verweht, R.: Victor - Fleming, USA 1939) THE GREAT DICTATOR (Der große Diktator, R.: Charlie D 182.1 Chaplin, USA 1940) THE MALTESE FALCON (Die Spur des Falken, R.: John D 8.1 Filmempfehlungsliste Medienwissenschaft Bonn Huston, USA 1941) CITIZEN KANE (R.: Orson Welles, USA 1941) D 547.1 CASABLANCA (R.: Michael Curtiz, USA 1942) D 18., D 1576.1 TO BE OR NOT TO BE (Sein oder Nichtsein, R.: Ernst Lubitsch, USA 1942) DOUBLE INDEMNITY (Frau ohne Gewissen, R.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 09/26/2021 11:21:08PM Via Free Access 100 the Politics of Memory
    5 The articulation of memory and desire: from Vietnam to the war in the Persian Gulf John Storey In this chapter I want to explore, within a context of culture and power, the complex relations between memory and desire.1 More specifically, I want to connect 1980s Hollywood representations of America’s war in Vietnam (what I will call ‘Hollywood’s Vietnam’) with George Bush’s campaign, in late 1990 and early 1991, to win support for US involvement in what became the Gulf War. My argu- ment is that Hollywood produced a particular ‘regime of truth’2 about America’s war in Vietnam and that this body of ‘knowledge’ was ‘articulated’3 by George Bush as an enabling ‘memory’ in the build up to the Gulf War. Vietnam revisionism and the Gulf War In the weeks leading up to the Gulf War, Newsweek featured a cover showing a photograph of a serious-looking George Bush. Above the photograph was the banner headline, ‘This will not be another Viet- nam’. The headline was taken from a speech made by Bush in which he said, ‘In our country, I know that there are fears of another Viet- nam. Let me assure you . this will not be another Vietnam.’4 In another speech, Bush again assured his American audience that, ‘This will not be another Vietnam . Our troops will have the best possi- ble support in the entire world. They will not be asked to fight with one hand tied behind their backs.’5 Bush was seeking to put to rest a spectre that had come to haunt America’s political and military self- image, what Richard Nixon and others had called the ‘Vietnam Syn- drome’.6 The debate over American foreign policy had, according to Nixon, been ‘grotesquely distorted’ by an unwillingness ‘to use power to defend national interests’.7 Fear of another Vietnam, had made America ‘ashamed of .
    [Show full text]
  • 8 Zł Kino Pod Baranami
    bilety po 8 zł 1 3. WAKACYJNY FESTIWAL FILMOWY 28 czerwca - 29 sierpnia 2019 Kino Pod Baranami www.kinopodbaranami.pl bilety po 8 zł TYDZIEŃ 1: 28 czerwca - 4 lipca | 1st WEEK: June 28 - July 4 FILMY, KTÓRE CIĘ ODPRĘŻĄ | THE FILMS WHICH WILL CHILL YOU OUT 28.06 29.06 30.06 1.07 2.07 3.07 4.07 ARTYSTA | THE ARTIST (Michel Hazanavicius) FR 2011, 110' EN 17.00 19.00 15.00 CÓRKA TRENERA | A COACH'S DAUGHTER (Łukasz Grzegorzek) PL 2018, 96' PL 17.15 15.00 22.05 DESZCZOWA PIOSENKA | SINGIN' IN THE RAIN (Stanley Donen, Gene Kelly) US 1952, 103' EN 20.00 14.00 18.00 GENTLEMAN Z REWOLWEREM | THE OLD MAN & THE GUN (David Lowery) US 2018, 93' EN 15.00 19.15 16.00 JESTEM TAKA PIĘKNA! | I FEEL PRETTY (Abby Kohn, Marc Silverstein) US 2018, 110' EN 19.00 17.00 15.00 KSIĘGARNIA Z MARZENIAMI | THE BOOKSHOP (Isabel Coixet) GB/ES/DE 2018, 113' EN 19.00 15.00 17.00 LATO | LETO (Kirył Serebrennikow) RU/FR 2018, 129' RU/EN 15.00 22.15 19.00 MOJE WIELKIE WŁOSKIE GEJOWSKIE WESELE | PUOI BACIARE LO SPOSO (A. Genovesi) IT 2017, 98’ IT 16.00 14.00 22.00 NIEDOBRANI | LONG SHOT (Jonathan Levine) US 2019, 125' EN 22.00 17.45 16.00 OCEAN'S 8 | OCEAN'S 8 (Gary Ross) US 2019, 110' EN 16.00 22.15 20.00 PARYŻ MOŻE POCZEKAĆ | PARIS CAN WAIT (Eleanor Coppola) US 2016, 92' EN 15.00 16.00 19.15 POZYCJA OBOWIĄZKOWA | BOOK CLUB (Bill Holderman) US 2018, 113' EN 17.45 14.00 20.00 RAMEN.
    [Show full text]
  • Heart of Darkness and Apocalypse Now, Na Die Geliefde Land and Promised Land
    POLYPHONIC CONVERSATIONS BETWEEN NOVEL AND FILM: HEART OF DARKNESS AND APOCALYPSE NOW, NA DIE GELIEFDE LAND AND PROMISED LAND Toinette Badenhorst-Roux Hons. B.A. Dissertation submitted for the degree Master of Arts in Linguistics and Literary Theory at the North-West University Supervisor: Prof. H.M. Viljoen Co-supervisor: Prof. A.M. de Lange 2006 Potchefstroom Campus Abstract This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading.
    [Show full text]
  • Joseph Conrad's Heart of Darkness and Francis Ford
    THE EVIL OF MODERNITY: JOSEPH CONRAD’S HEART OF DARKNESS AND FRANCIS FORD COPPOLA’S APOCALYPSE NOW Michel Maslowski Paris IV Sorbonne Cywilizator, oszalały Kurtz, One of the civilizers, a madman named Kurtz, Miał kość słoniową ze śladami krwi, A gatherer of ivory stained with blood, Na memoriale o światłach kultury Scribbed in the margin of his report Pisał “ohyda” a więc już wstępował On the Light of Culture “The horror.” And climbed W dwudziesty wiek. Into the twentieth century. Czesław Miłosz, A Poetical Treatise, 1956 After December 13, 1981 the front pages of world press showed a photograph of a tank in front of the Moskwa Cinema in gray wintertime Warsaw. A huge inscription on the building announced: “Apocalypse Now.” It was the beginning of martial law in Poland. Apocalypse Now by Francis Ford Coppola, is a fi lm adaptation of Joseph Conrad’s 1899 novella Heart of Darkness, which has inspired many artists and still continues to do so. For Czesław Miłosz it presented a prophetic vision of the 20th c.: the time of world wars, genocides and totalitarianisms. The Zeitgeist from Miłosz’s A Poetical Treatise is wearing a necklace made of cut off heads resembling those stuck on the palisade in Kurtz’s camp. For T.S. Eliot, whose 1925 poem The Hollow Men appears in Coppola’s fi lm, Conrad’s work portends a crisis of humankind by stigmatising the “fragility of the base on which modern people built their dilapidating ark, namely language.”1 The literary critic Juan Asensio points out another example of a work directly inspired by Conrad’s novella: The Portage to San Cristobal of A.H.
    [Show full text]