Tetro (Francis Ford Coppola) by Jesús Miguel Sáez-González

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Incandescence du traumatisme dans Tetro de Francis Ford Coppola by Jocelyn Dupont

Subjects: “…Francis Ford Coppola…”
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Mary Shelley’s Frankenstein, a film by Francis Ford Coppola and Kenneth Branagh by Nigel Leask

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Mafieux ou héros ? Mythes et motifs tragiques dans Le Parrain et Le Parrain II de Francis Ford Coppola by Rosario Giovanni Scalia

“…Le Parrain et Le Parrain II de Francis Ford Coppola constituent l’une des principales sources d’information sur la mafia dont disposent les spectateurs du monde entier. …”
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Tucker i inni by Marcin Giżycki

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La fantasía cinematográfica del doble como los pliegues del tiempo sagrado de Mircea Eliade en el filme Youth Without Youth, Francis Ford Coppola dir., 2007 by Rafael Garcia Pavon

“… En este trabajo se hace un análisis hermenéutico del filme Youth Without Youth de Francis Ford Coppola dir., 2007 adaptación de la novela de Mircea Eliade Tiempo de un Centenario, con el objetivo de presentarlo como un filme filosófico sobre el tiempo sagrado. …”
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Alteridade, Orientalismo e Silenciamento em Coração das Trevas e Apocalypse Now Alterity, Orientalism, and Silencing in Heart of Darkness and Apocalypse Now by Aline Scarmen Uchida

Subjects: “…Apocalypse Now de Francis Ford Coppola…”
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Los procesos de auricularización en el cine by Francisco José Cuadrado Méndez

“…Se ejemplifica asimismo toda la exposición con el uso de recursos sonoros y musicales en el largometraje Apocalypse Now (1979, Francis Ford Coppola). …”
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Narrative Structure and Ideology. Eisenstein in Saving Private Ryan by Laura Fernández-Ramírez, Ignacio Nevado

“…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. …”
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Felia Allum, Isabella Clough Marinaro and Rocco Sciarrone (eds.), Italian Mafias Today. Territory, Business and Politics (Cheltenham: E. Elgar, 2019) by Giorgio Baruchello

“…On the other hand, perhaps conditioned by “TV series such as Gomorrah, the US ‘reality’ TV show Mob Wives” (1) or by Francis Ford Coppola’s Godfather movie trilogy, they talk of it as though the mafia were something cool, glamorous, almost enviable: the magic union of Svengali and Giorgio Armani.…”
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La salle de cinéma comme attraction spectacle : le cas Captain Eo à Disneyland Paris by Jean-Baptiste Massuet

“…This article tries to question the link between the public and a precise movie theater, in Disneyland Paris Marne-La-Vallée, proposing again since june 2010 the attraction Captain Eo, science-fiction 3D movie by Francis Ford Coppola in 1986, starring Michael Jackson. Replaced since 1998 by another attraction, Captain Eo comes back one year after the death of the star, and implies un specific link with its public, being a post-mortem tribute. …”
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‘It was what I pulled out of that novel that made the film’. Literary, Film and Musical Adaptations by Marida Rizzuti

“…The article deals with the film adaptation’s of literature, on the basis of two case studies: Carmen Story by Carlos Saura and The Godfather by Francis Ford Coppola. The specificity of this article within the field of adaptation studies is the focus on music and on her function within the transition from the literary to the filmic text: it is here assumed that music plays a key role and becomes bearer of meaning, like the other components, which constitute the new expressive language; moreover, music is a necessary component, while 'returning' the rhythm of the original. …”
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Movie Review "The Rainmaker (1997)" Produced by American Zoetrop Constellations Films by Mutia Siti Fadhillah

“…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. …”
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La plantación en Apocalypse Now Redux. Supervivencias y transformaciones históricas de un género by Rayco González

“… 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. …”
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The Vampire, a Mythical Monster for Eternity by Victoria Hurtado

“…The chosen case of research is Bram Stoker's Dracula (1897) and the film adaptation directed by Francis Ford Coppola (1992). By comparing the changes in the characters and the plot I have tried to frame them as different versions along the history of a myth. …”
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Euclides da Cunha e Joseph Conrad: narrativas consagradas sobre o “mundo desconhecido” by Eli Napoleão de Lima

“…Naipaul, e cineastas como Francis Ford Coppola e Oliver Stone.…”
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“Powerful” Individual-Entrepreneur against “Powerless” Corporations: Anthropological Analysis of the Movie “Tucker: The Man and His Dream” by Miloš Zarić

“…This article presents the semantic analysis of the feature commercial film "Taker: Man and his Dream" (1988), directed by Francis Ford Coppola. The film talks about the life of Preston Tucker (1903-1956), American innovator and a car designer. …”
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Different Adaptations: The Power of the Vampire by Mario Vrbančić, Senka Božić- Vrbančić

“…In this essay we will try to analyse some aspects of the adaptation of Stoker’s novel Dracula in the first preserved film version of Friedrich Wilhelm Murnaus’ Nosferatu (1922), and, one of the latest adaptations, Bram Stoker’s Dracula by Francis Ford Coppola (1992). Some differences are noticeable between the ‘original’ narrative and how its complexity produces new readings, turning Dracula into a commodity appearing on the silver screen. …”
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The Ambivalent Object(s) of America in Wim Wenders by Laurent Shervington

“…In The State of Things (1982), apropos Wenders’ experience working in Hollywood under Francis Ford Coppola, the relationship to objects again changes, this time from the subject’s mastery over objects, to the mastery of the object over the subject. …”
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“Muhteşem Gatsby”nin Edebi Okuması ile Sinematik Okumasının Marksist Yapısalcılık Merceğinden Karşılaştırılması by Şenay Tanrıvermiş

“…Scott Fitzgerald tarafından yazılmış "Muhteşem Gatsby" adlı edebi roman ve Francis Ford Coppola tarafından yönetilen sinematik uyarlaması, kapitalizmin yıkıcı doğasının derinden anlaşıldığı ve zengin olma, bir diğer deyişle toplumun en üst sınıfında olma ideallerinin zirvede olduğu bir dönemde geçmektedir. …”
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