The most prominent resemblance between Bram Stoker’s Dracula (1992) and the infamous Apocalypse Now (1979) is the glimmer sense of realism thorough the movie. The director, Francis Ford Coppola has been known for his verisimilitude; effortlessly creating and directing each setting in the film looks schematized and deliberately natural. Innately, the one of the most apparent functions of a setting is to create an impression of reality that presents the viewer a sense of a real place and time and the sensation of being there. His consciousness of realism admits the great importance of an authentic setting play in making his films overwhelmingly imaginable. With a judiciously supervision from the director, numerous factors such as location and setting, costume and visual design contribute to a successful plausible film.
Francis Ford Coppola relies heavily on the personification element of the film to establish a deep emotional connection with the viewers. His two films, Bram Stoker’s Dracula (1992) and Apocalypse Now (1979) drawn the viewers into the protagonist’s point of view; making it exceptionally personal. Coppola opts to choose the narrative structure, to create a sense of eyewitness mannerism of the events of the story to the viewers. The narrative structure is beautifully exemplified in both films, where the protagonists (Jonathan Harker in Bram Stoker’s Dracula and Benjamin Willard in Apocalypse Now) sway the viewers through their constant subjective narration.
In Apocalypse Now, Coppola also examines the location comprehensively, due to its vital element to the story. Coppola’s decision to shoot the film in the Philippines, as it resembles Vietnam the most, leaves an immensely engaging effect to the film. The location of ...
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...ne should, and I think everyone should do everything they do that way. Movies have to have quality and integrity because they have such a tremendous influence on the world and on people.” (Coppola)
Works Cited
Apocalypse Now. Dir. Francis F. Coppola. Perf. Martin Sheen and Marlon Brando. Paramount Pictures, 1979. DVD.
Bram Stoker's Dracula. Dir. Francis Ford Coppola. Prod. Francis Ford Coppola. By James V. Hart. Perf. Gary Oldman, Winona Ryder, and Anthony Hopkins. Columbia Pictures, 1992. DVD.
Brody, Richard. "What It Takes to Make a Great Movie." The New Yorker. The New Yorker, 21 Sept. 2012. Web. 12 Dec. 2013.
Hearts of Darkness--a Filmmaker's Apocalypse. Dir. Fax Bahr, George Hickenlooper, and Eleanor Coppola. By Fax Bahr and George Hickenlooper. Prod. George Zaloom and Les Mayfield. Perf. Francis Ford Coppola and Eleanor Coppola. Triton Pictures, 1991. DVD.
Since the 19th Century, Bram Stoker’s Dracula has entertained its readers taking them to heights of excitement in the climax
Bram Stoker’s Dracula is not only a classic story of men and monsters, but a dramatic reactionary work to the perceived threats to Victorian society in nineteenth century England. In modern times there have been many film adaptations of the novel, each developing a unique analysis or criticism of the literary text within the framework of the society and time period in which it was created. The 1972 film Blacula is one of the most culturally specific variations on the story of Dracula, and highlights many of the themes and messages found in Stoker’s original text. Among the primary similarities between the novel and the film is the portrayal of race, sexuality, nationality, and culture, and the characterization in each work speaks to the fears and ideals of their respective dominant societies.
Loosely based on the novel Dracula by Bram Stoker, the film is the story of a
Hamlet. Dir. Franco Zeffirelli. Perf. Mel Gibson and Glenn Close. Videocassette. Warner Home Video, 1990.
A portion of the best movies ever in a wide assortment of literary genres have been adapted from short tales. In particular, when we look to the classical horror movies adapted from books; it seems that there is a remarkable number of fictitious films that were based on short stories.
Comparing the 1931 version of Dracula, starring Bela Lugosi, with Frances Ford Coppola's Bram Stoker's Dracula 1993 version yields some similarities. Both films are of the same genre: Horror. Both films are set around the same time period. Also, both deal with a vampire coming to England and causing disruptions in people's lives. Beyond these few similarities are numerous contrasts.
Braveheart. Dir. Mel Gibson. Prod. Mel Gibson. By Randall Wallace. Perf. Mel Gibson, Sophie Marceau, and Patrick McGoohan. Paramount Pictures, 1995.
Fatal Attraction. Dir. Adrian Lyne. Perf. Michael Douglas, Glenn Close, and Anne Archer. Paramount Pictures, 1987. At School.
Antirealism in film transcends and brainstorms the fantasies that never become reality. Even though antirealism is apprehensive with a smaller amount then actual stuff, our observation for an...
The movie “Apocalypse Now”, directed by Francis Coppola, is based on Conrad’s novel The Heart of Darkness. The movie has to do with survival, obsession, and finding ones self. The inclination of this paper is to let the reader get a better understanding of how Captain Willard (the main character) goes through survival, obsession, and courage while trying to hunt down Kurtz.
Although one is a book and the other is a movie, both Apocalypse Now which is directed by Francis Ford Coppola and Heart of Darkness by Joseph Conrad portray very detailed scenes by using various elements in their respective works. A scene is particular that stands out is the death of the helmsman which contains many similarities but also many differences between the two works. Similarities like the iconic fog that appears serve to convey a message of the helpless that the characters feel because at the mystery of their surroundings and of the uncertainly of what their tasks.
“Apocalypse Now” is a legendary war film 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 sound and editing to create suspense, intensity, and anxiety in the sequence to affect the audience’s emotions, using diegetic ambient sound effects, non-diegetic music, voice over and four editing types.
Many Hollywood adaptations of novels focus on commercializing topics like sex to get viewers (Seger 4). When it comes to the topic of cinematography in “1984,” most of us will readily agree that the director Michael Radford perfectly captured the dystopian nation Oceania described by Orwell. Where this agreement usually ends, however, is on the question of commercialism incorporated to increase ticket sales. Whereas some are convinced, the restriction of personal and sexual relationships engages and captures the viewer’s perception of the dangers of a totalitarian government. On the other hand, other scholars contend that the constant concentration of sexual affairs in the movies takes away from the content Orwell was more concerned with.
Dracula. Dir. Francis F. Coppola. Perf. Gary Oldman, Winona Ryder, Anthony Hopkins. Columbia Pictures Corporation, 1992. DVD.
The Shining. Dir. Stanley Kubrick. Perf. Jack Nicholson, Shelly Duvall, Scatman Crothers. Warner Bros. Pictures, 1980. Film.