Following careful thought on which director to study, I chose Francis Ford Coppola. Although he has directed more films than I have had the opportunity to experience, I have viewed enough to understand his progression and style of his work. Over almost forty years of work, Coppola has directed about twenty-five films, produced near forty-five, composed two, and acted in eight. He is known predominantly for Apocalypse Now (1979) and The Godfather I (1972), II (1974), and III (1990). However, he
Throughout the film "Apocalypse Now " by F.F. Coppola, there is a parallel between the Indian wars and the Vietnamese war. We can compare the Vietnamese with the Indians and the American soldiers with the cowboys. In the beginning, it is the triumph of the Cowboys, that is to say, the triumph of US soldiers. Colonel Kilgore's US Cavalry arrives in helicopters, playing Wagner's Ride of the Walkyries. A lot of elements show their superiority : the number of soldiers, their military power
The Master vs. The Student: Antonioni and Coppola Michelangelo Antonioni initiated a shift in Italian film in the 1950s. He kept some aspects of Italian Neorealism but then moved away into the world of the art film. With Blow-up, which was made possible by a deal MGM for a series of films in English, he takes a meandering, odd storyline and places it in trendy, ?swinging? London (Thompson & Bordwell, 426-7). He further reinforces the distance between the diegetic world of the film and the
oppressed teenage girls living in suburbia in the mid-70’s. After examining numerous articles, a few of them made an impact on my perspective. The first of many articles is Todd Kennedy’s piece, Off with Hollywood’s Head: Sofia Coppola as Feminine Auteur. Kennedy discusses how Coppola has a tendency to lean toward directing films that cater toward females’ interest, either because of the visual imagery or women’s feelings of connectedness with the characters. The author reveals that The Virgin Suicides
feeling of comradery to the soldiers within the audience. b) A particular scene that best exemplifies the aestheticization of war is from Apocalypse Now (1979) by Francis Coppola. In the scene where the United States army helicopters attack a Vietnamese village suspected of concealing weapons and assisting the enemy, Coppola embellishes the idea of destruction and sheer terror by using a low angle camera shot that transforms the visualization of a helicopter into a flying death machine. The scene
directed by Francis Ford Coppola. The film’s main theme is devastation, violence, and horror. In this film Coppola thoroughly scrutinized the main characters ideas, behavior, and emotions to depict the darkness and the horror of war. His goal was to make the audience part of the horror. He wanted the audience to have a tremendous impact on this film and he succeeded with the perfect use of sound and editing in the ending sequence of his film. I will demonstrate how Coppola exploits a wide array of
“Marie Antoinette” (2006) directed by Sofia Coppola is a drama/comedy, that is centered on the life of the notorious Queen of France, in the years leading up to the French Revolution. Coppola’s film style was very modern avant garde. The film focuses on Antoinette point of view throughout all her adventures and difficulties. She was the character with whom the viewer identified with the most, her observation were the most important (aside from the audience). Therefore there were many close ups and
Comparing Apocalypse Now by Franice Coppola and Heart of Darkness by Joseph Conrad Francis Coppola’s Apocalypse Now was inspired by Joseph Conrad’s novel Heart of Darkness that informs the film throughout. A comparison and contrast can be made between the two. Both have the same themes but entirely different settings. Heart of Darkness takes place on the Congo River in the Heart of Africa while Apocalypse Now is set in Vietnam. The stock characters in both have the same general personalities
correct. Things aren’t as they appear. American Beauty and The Virgin Suicides give classic examples of how “normal” and “happy” suburban life is anything but. American Beauty, directed by Sam Mendes (1999) and The Virgin Suicides, directed by Sofia Coppola (2000), share many of the same themes even though the plots are contrasted. Underneath the layers of white picket fences, beautiful houses, and safe neighborhoods, lies a truth. A truth so dark that it leads to the destruction of many characters in
Army. Kurtz is a highly recognized and admired military officer, "Walt Kurtz was one of the most outstanding officers this country has ever produced. He was a brilliant and outstanding in every way…” and has a very successful career in the army (Coppola 1979). The Kurtz in Heart of Darkness is a successful business man, politician, and explorer. This Kurtz wears the mask of many faces but all the characters that mention Kurtz treat him like a god. It’s these traits that cultivate curiosity within