Friday 7 June 2013

Coppola

Francis Ford Coppola is one of the most acclaimed directors of the 1970s. Francis has made two main masterpieces of our time which are The Conversation Apocalypse and now his crowing achievement The Godfather. 
The Godfather is Gangster Genre, he then made a squeal to this and it was the first one to win an award. 
The Apocalypse, the Philosophical message is rather trite. 

As male critic. 
It is a well-known stereotype, which is always based on truth, that The Godfather appeals more to men than to women.
With The Godfather, my eyes were opened to the mastery of film, the intricate details that compose a film into the brilliant moving portrait it is. 

All of Coppola films follow The fall of the America. National Bankruptcy. Hyper-inflation. Severe Credit Crisis. The Death of the Dollar and the Euro. Socialism. Even Martial Law. For the first time since the Great Depression, the world’s problems have become our problems.


 The Apocalypse
Robert Dunvall is in both films
1st Squadron, 9th Air Cavalry Regiment commander and surfing fanatic. Kilgore is a strong leader who loves his men but has methods that appear out-of-tune with the setting of the war.
The Godfather 
Don Corleone's informally adopted son, he is the family lawyer and consigliere (counselor). Unlike the Corleone, he is of German-Irish descent, not Sicilian.
Marlon Brandon 
He is the Mafia leader in the Godfather 
Head of the US army and heads operations in Columbia 




http://www.britannica.com/EBchecked/topic/44609/auteur-theory



auteur theory, theory of filmmaking in which the director is viewed as the major creative force in a motion picture. Arising in France in the late 1940s, the auteur theory—as it was dubbed by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin andAlexandre Astruc. A foundation stone of the French cinematic movement known as the nouvelle vague, orNew Wave, the theory of director-as-author was principally advanced in Bazin’s periodical Cahiers du cinéma (founded in 1951). Two of its theoreticians—François Truffaut and Jean-Luc Godard—later became major directors of the French New Wave.
The auteur theory, which was derived largely from Astruc’s elucidation of the concept of caméra-stylo(“camera-pen”), holds that the director, who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay. In other words, such fundamental visual elements as camera placement, blocking, lighting, and scene length, rather than plot line, convey the message of the film. Supporters of the auteur theory further contend that the most cinematically successful films will bear the unmistakable personal stamp of the director.

http://cejsh.icm.edu.pl/cejsh/element/bwmeta1.element.58ea9b21-64bf-3d4c-9aa4-6fd633f657d0

The aurhor examines authorship in the so-called New Hollywood. With the arrival of a new generation of directors (i.a., Coppola, Spielberg, Lucas, Scorsese) the policy of authors (la politique des auteurs) came to be perceived in an entirely new way whereas the film maker's name alone was frequently identified with a trademark or a brand, which enabled the film distributors to sell a specific production at a good price. Names of the 'great' directors served as a kind of remedy in the era of the waning American studio system. In line with such a definition of film marketing, the institution of the author was to serve as the guarantee of communication between the audience and the film. The author alone ceased to be a vague presence (like the literary author or like the author promoted in European films) but became a representative of big business. What's more, 'being the auteur' turned into a business. He also points out that the emergence of the contemporary 'auteur' in the New Hollywood was influenced by three major changes in the film culture: the increase in the number of blockbusters made by syndicated film studios, the emergence of films made by the mini-major studios and the importance of the technology of home video. 

The author also points to the characteristic figure of the 'auteur'-star ('auteur' defined by his commercial star status) in which two significant groups of authors can be distinguished; commercial 'auteur' - e.g. Mel Gibson or Robert Redford and 'auteur' of commerce 


Categories
 

Journal
 
Kwartalnik Filmowy , ISSN 0452-9502

Year
 

Issue
 

Pages
 
25-43

Document type
 
ARTICLE




http://www.alphavillejournal.com/Issue%201/ArticlesPDF/EditorialRascaroli.pdf


At the same time, the emergence and continued existence of the 
critical category did establish European cinema as an object of study; and the idea of a style
and approach to filmmaking that can be called European has been advocated by the way in 
which  many  non-European filmmakers—among  whom New Hollywood directors such as 
Martin Scorsese and Francis Ford Coppola—referred and paid homage to European auteurs
as a model and as a source of inspiration. European cinema has thus always existed within 
these and other critical, scholarly and artistic discourses, both as an aesthetic object and as a 
set of allusions. Such allusions were ultimately ideological,  insomuch as they set the 
parameters of European film in comparison and contrast to Hollywood, on the basis of a set 
of charged binaries, such as industry vs. auteurism, escapism vs. realism, cinema of action vs. 
cinema of inaction