| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FRANCIS FORD COPPOLA APOCALYPSE": |
|
|
Francis Ford Coppola's "Apocalypse Now", 2004.
An analysis of the message about those who kill in wartime in Francis Ford Coppola's film "Apocalypse Now".
900 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper argues that director Francis Ford Coppola demonstrates in his film, "Apocalypse Now" that those who kill are no better than those who they kill, if those who are killed are devalued solely because they are portrayed as the inferior "other."
From the Paper
"The Vietnam War was one of the most divisive conflicts in American history. Within the controversy was the question of how many people one has to kill before one becomes a killer. Such valuations are often ignored because of ethnocentrism and the creation of an other, an other that is devalued in order to justify the destruction of life in combat. As Windschuttle argues, the construction of identity in every age and every society involves established opposites and others. This happens because the development..."
| |
|
Francis Ford Coppola's " Apocalypse Now", 1981.
This paper discusses Francis Ford Coppola's epic film of the Vietnam War " Apocalypse Now": Plot, characterization, structure, themes, costs, setting, innovations and test marketing.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"Francis Ford Coppola?s long overdue, substantially over-budgeted, $30 million Vietnam war epic, Apocalypse Now, was finally released in America in the summer of 1979. For director Coppola, the film threatened to become a personal Waterloo ?- both financially and creatively. Originally budgeted at $12 million, Coppola risked his own assets, by borrowing $18 million against his homes, yacht, properties and residuals on prior films, in order to complete the project. He also seemed to lose control over the direction of the film, at one point admitting, ?the film was making itself?, and it is easy to draw parallels between difficulties in concluding the movie and those encountered in ending the actual war. But Coppola survived the risky artistic adventure. Partially due to Coppola?s ... "
| |
|
The Deer Hunter by Michael Cimino & Apocalypse Now by Francis Ford Coppola, 1989.
Analyzes films in terms of their portrayal of American involvement in Vietnam.
1,800 words (approx. 7.2 pages), 5 sources, $ 63.95
»
Click here to show/hide summary
From the Paper
""The Deer Hunter" and "Apocalypse Now" were the Vietnam War films that first dealt seriously with the Southeast Asian conflict and that first received critical attention. Michael Cimono's "The Deer Hunter" won many Oscars in 1979 because the public was ready to accept a vision of the war that had brought the United States to the brink of a civil war in a clash of sympathies. Francis Ford Coppola's "Apocalypse Now" was his major follow-up to the enormous success of "The Godfather II," and the director was able to create a surreal statement about the destructive effects of the war. It is the purpose of this paper to fully analyze all the important aspects of the films, and include how society's attitude toward Vietnam was portrayed in both films."
| |
|
"Apocalypse Now" by Francis Ford Coppola and " Heart Of Darkness" by Joseph Conrad, 1994.
A comparison of the 1979 film and the novel on which it is based. Includes scenes, characters, symbolism and the ending.
1,575 words (approx. 6.3 pages), 8 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"The film Apocalypse Now (1979) is a translation of Joseph Conrad's short novel Heart of Darkness to the milieu of the Vietnam War. In doing so, screenwriters John Milius and Francis Coppola utilize the basic plot structure of the novel, with elements altered to reflect the horrors and terrors of the war. Underlying both the novel and the film is the idea of the journey into the darkest areas of the human soul. The film indeed carries this much further than does the novel because where Conrad features a central character who comes to question his own righteousness and to wonder whether all men could not become a Kurtz under the right circumstances, Milius and Coppola see the war in Vietnam as made up of precisely the "right" circumstances. The war is a veritable cauldron of evil forces in which the central character not only fears he might be just like Kurtz, but..."
| |
|
Biography of Francis Ford Coppola, 2005.
A film study that analyzes the life and films of Francis Ford Coppola
1,125 words (approx. 4.5 pages), 1 source, $ 44.95
»
Click here to show/hide summary
Abstract
The paper discusses how Francis Ford Coppola was an Italian filmmaker that sought to identify his own culture through a series of films that depict New Yorkers and the Mafioso mentality of class struggle. The writer examines how,by creating the Godfather Trilogy, Coppola has instilled a classic sense of realism in the crime genre, which transcends all previous films on the subject. Furthermore, Coppola was able to step out of his own tendency to film movies about his family and culture, when creating Apocalypse Now.
From the Paper
"This film study will analyze the life and films of Francis Ford Coppola. Through an understanding of his difficult childhood, one can realize the cinematic energy and attention to family and cultural background, which helped him when creating his films as an adult. By integrating various films in this biography of Coppola's life, the unison of these themes can help bring about a clarity as to the inspiration and creation of his classic works. Francis Ford Coppola was born in 1939 while his parents lived in Detroit, Michigan. The move to New York City shortly after his birth allowed the young Coppola's parents employment in the music profession. This kind of background helped the young Coppola to realize a creative outlet through the various work his parents did in television and film."
| |
|
Francis Ford Coppola's "Godfather" Saga, 2002.
This paper reviews the three films in director Francis Ford Coppola's ?Godfather? saga: ?The Godfather? (1972), ?The Godfather, Part II? (1974) and ?The Godfather, Part III? (1990).
1,425 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper explains that the three films in Coppola's Godfather saga, which is set in the world of the American Mafia throughout most of the Twentieth Century, explore the similarities between family and business interests as fundamental aspects of human behavior. The paper states that ?The Godfather? (1972) tells the story of the end of Don Vito Corleone's reign as head of the family in the late 1940s. The author points out that ?The Godfather, Part II? (1974) continues this story with his son Michael's transfer of the family business to Lake Tahoe and Las Vegas in the 1950s, and is intercut with the early years of Don Vito, from his childhood in Sicily to his rise to power in New York City. The paper continues that ?The Godfather, Part III? (1990) presents the aging Michael and his struggle to legitimize the family's business while powerful forces, including his nephew Vincent Mancini, try to pull him back into crime.
From the Paper
"The story begins, therefore, at a point where the broader implications of the family business are clear. But it also shows the awareness, at least of Don Corleone, that being in this business is a necessity but is not, in itself, desirable. He plans for his youngest son Michael--a college-educated war hero--to escape from it. Michael (Al Pacino) himself tells Kay Adams (Diane Keaton), after being quite frank about the nature of the family business, that all this is his family--not him. He understands his father's desire to protect him from it. The brutality of the business is fully revealed in the 'war' sequence that follows the request for accommodation in establishing a heroin importing operation which is favored by some members of the family but rejected by Don Vito."
| |
|
Francis Ford Coppola's "The Godfather", 2005.
This paper analyzes the editing of one scene in Francis Ford Coppola's "The Godfather".
690 words (approx. 2.8 pages), 1 source, $ 23.95
»
Click here to show/hide summary
Abstract
This essay examines the way that the story arc of the Hollywood episode is conveyed via editing. The author illustrates the use of continuity of shots. The paper describes the relationship between shots and setting.
From the Paper
"In "The Godfather", one of the main lines of narrative has to do with the fact that the Corleone family always returns insult for insult except that the returned insult is always at a higher level than the enemy's first action. That clarifies the lengths to which ..."
| |
|
Francis Ford Coppola's "The Godfather", 1994.
This paper is a sociological analysis of family and community in Francis Ford Coppola's "The Godfather" about criminal group in 1940's.
2,250 words (approx. 9.0 pages), 2 sources, $ 79.95
»
Click here to show/hide summary
From the Paper
"Francis Ford Coppola's film "The Godfather" can serve as an artifact for ethnographic study, presenting as it does a full and detailed picture of a social subgroup in American society. The plot of the film focuses on the criminality of members of this subgroup, but in a broader sense the story of the Corleone family reflects a number of other forces in American society--the immigrant experience, the maintenance of certain Old World social structures in the New World, and a family organization that is different from the prevailing structure in American society at large. The film tells the story of a specific family in a way that reflects the experience of a large number of people from a similar background at this particular time in American history.
The story of The Godfather derives from a novel by Mario Puzo, an Italian-American familiar with this milieu and with the ... "
| |
|
"Godfather III" ( Francis Ford Coppola ), 1992.
Examines visual innovations and techniques and provides a brief comparison of the film and the director's life.
1,125 words (approx. 4.5 pages), 0 sources, $ 39.95
»
Click here to show/hide summary
From the Paper
"The Godfather (I) and Godfather (II) won best picture Oscars in 1972 and 1974 respectively. Godfather (III), the third chapter in the saga of the Corleone family, was also nominated for Best Picture by the Academy of Motion Picture Arts & Sciences. However, the visual awards (sets, costumes, cinematography) in 1974 went to Towering Inferno, and The Great Gatsby and in 1972 to Cabaret.
Godfather (III) is a visual feast for the audience, but its overall story is relatively weaker than its "Best Picture" predecessors. This report will give a visual design analysis and discussion of Godfather (III). Mise-en-scene, lighting, costumes, sets, hairstyles and other elements of visual design will be analyzed. A discussion of the major themes covered in Godfather (III) will also be presented. A brief conclusion will ..."
| |
|
"Dirty Harry" ( Don Siegel ) & "The Godfather" ( Francis Ford Coppola ), 1997.
Examines plots, styles, social messages, characters, values of 1971 & 1972 films.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"The Godfather was the highest-grossing film of 1972, while Dirty Harry was a major success the year before. Both films can be defined loosely as being in the crime genre, but their generic differences are considerable. The Godfather is in the tradition of the gangster film, though it melds this with a traditional family drama, while Dirty Harry is a police drama that owes as much to television as to earlier movies for much of its structure and theme. The Godfather was directed by Francis Ford Coppola in his first major studio feature, while Dirty Harry was directed by Don Siegel, a veteran with many films to his credit by the time he directed this one. The way the two filmmakers approach their material is quite different, and yet in one respect they are similar--both filmmakers respond to the socio-historical forces of their time and embody some aspect of those forces in their.."
| |
|
"The Public Enemy" ( William Wellman ) & "The Godfather"( Francis Ford Coppola ), 1994.
Examines gangster films directed in 1931 & in 1972, focusing on social & family values.
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
»
Click here to show/hide summary
From the Paper
" Motion pictures, though often viewed as no more than fantasy and escapism, often reflect the society and time in which they are produced, and for all the melodrama and "fantasy" of the gangster film genre, this is one type of film that seems destined to be a reflection on the society which produces it. The Public Enemy (William Wellman, 1931) and The Godfather (Francis Coppola, 1972) are separated by 40 years of time. The two films have much in common, but they also reflect different views of their respective social settings and specifically of the nature of the experience of organized crime in America.
Both films involve underlying assumptions about the force of the American Dream and the way in which that dream has been distorted as a justification for crime by certain individuals. Both films reflect the view that some criminals are born and some.."
| |
|
"Apocalypse Now", 2004.
A review of Francis Ford Coppola's film, "Apocalypse Now," based on the novel, "Heart of Darkness," written by Joseph Conrad.
1,882 words (approx. 7.5 pages), 9 sources, MLA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper discusses Francis Ford Coppola's film, "Apocalypse Now," which has been acclaimed as one of the most provocative and insightful films of the genre. The film is based on Joseph Conrad's novel, "Heart of Darkness". The paper examines how Coppola's film follows the text of the novel with regard to the main events, the central characters, and the central themes that appear in the book. The paper contends that Coppola also succeeds in capturing the atmosphere of the book and in translating the essential insights and questions that the book presents into a contemporary context.
From the Paper
"Francis Ford Coppola's Apocalypse Now has been acclaimed as one of the most provocative and insightful films of the genre. The film is based on Joseph Conrad's novel Heart of Darkness. Conrad's novel deals ostensibly with the early years of the colonial invasion of Africa; while Apocalypses Now deals with Vietnam. Coppola's film follows the text of the novel with regard to the main events, the central characters and the central themes that appear in the Heart of Darkness. Coppola also succeeds in capturing the atmosphere of the book and in translating the essential insights and questions that the book presents into a contemporary context. "
| |
|
"Apocalypse Now", 2002.
A review of the film "Apocalypse Now" directed by Francis Ford Coppola.
1,415 words (approx. 5.7 pages), 0 sources, $ 47.95
»
Click here to show/hide summary
Abstract
This paper discusses the film "Apocalypse Now," directed by Francis Ford Coppola based on the book "Heart of Darkness" by Joseph Conran about the Vietnam War. It examines the different themes prevelant throughout such as horror, morality and good verses evil and discusses the accuracy of its historical and political content. It shows how Coppola has a way of meshing all these themes together until they make perfect sense and how one of them alone might be difficult to believe or experience in the film, but together, they form a bond that cannot be broken, one of horror, deception, morality and the question of what is truly good.
From the Paper
"Morality is also a very prevalent theme in the movie. Who is really the moral one here, Kurtz or Willard or the U.S. Army? Not only does the movie question the characters' morality, it questions the entire morality of the Vietnam War. Some of the most horrific scenes are those showing how much some of the commanders really enjoy killing. There is a reason "I love the smell of napalm in the morning" is such a favorite and well-used line from this film. It is because the line conveys all the horror and lack of morality present during the war. It was every man for himself ? not for survival, but for pure selfishness and lack of feeling. When a fighting unit becomes as jaundiced as the men in this film, they are past usefulness, but as the film shows, this is a common occurrence in war ? people lose their morality."
| |
|
The Dehumanizing Aspect of War, 2008.
An analysis of how T.S. Eliot's poem "The Hollow Men", Joseph Conrad's novel "Heart of Darkness", and Francis Ford Coppola's film "Apocalypse Now" reflect upon the dehumanizing aspects of war.
700 words (approx. 2.8 pages), 3 sources, APA, $ 24.95
»
Click here to show/hide summary
Abstract
This paper examines the dehumanization of war as seen in three great modern works of literature and cinema, T.S. Eliot's poem "The Hollow Men", Joseph Conrad's novel "Heart of Darkness", and Francis Ford Coppola's film "Apocalypse Now". The paper holds that, although violent conflict is a common part of our history and of our present, it runs contrary to our sense of humanity. In the three works under discussion, this is a theme which is explored through the characterization of war's brutality and the emotional toll which it takes on those who experience it. The paper posits that the unified theme in all three works is the portraiture of men who have survived the physical strains of war, but have nonetheless been mentally destroyed by what they have witnessed.
From the Paper
"The morbid tone of T.S. Eliot's poem introduces this theme. With a focus on the repeated concept of death, the poem describes the devastation of land, of lives and even emotions such as love and desire. The implication of some raging conflict is driven home by a weary tone, indicative of the emotional exhaustion deteriorating the poems subjects. Such subjects, Eliot cautions, should be remembered, "not as lost / Violent souls, but only / As the hollow men / The stuffed men." (Eliot, 17-20) This is a description which points to the effect of war on those who fight it, robbing them not of their goodness but of their essential claim to being human."
| |
|
The Use of Sound in "Apocalypse Now", 2002.
An analysis of the use of sound and music in the film "Apocalypse Now" by Francis Ford Coppola.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
The paper describes how the film shows the insanity of war and the madness that goes along with it. The author shows how "Apocalypse Now" uses narration, sound effects, music, and dialogue to portray its message. The paper focuses on Coppola?s use of sound effects to reinforce the films theme of the horror and uncertainty of war.
From the Paper
"Apocalypse Now begins by showing a scene with helicopters dropping napalm all over the jungle. The audience is treated to ?The End? by Jim Morrison and the Doors. We hear: ?This is the end?? mixed with the chopping of helicopters passing overhead. From the very beginning, Coppola lets the audience know that they are in for a journey of madness. The sound and music have a lot to do with the success of this scene (Dirks). It will not be the last time we hear the sound of the helicopters overhead."
|
|
|
