Francis Ford Coppola:
A Bibliography of Materials in the UC Berkeley Library

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Overview and general articles

Articles and Books on Individual films


Bergan, Ronald.
Francis Coppola New York: Thunder's Mouth Press; Berkeley, CA: Distributed by Publisher's Group West, 1998.
UCB Main PN1998.3.C67 B47 1998

Biskind, Peter.
Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock-'n'-Roll Generation Saved Hollywood / Peter Biskind. New York, NY: Simon & Schuster, c1998. (see also video based on this book)
UCB Main PN1998.2 .B56 1998
UCB Moffitt PN1998.2 .B56 1998

Braudy, Leo
"The Sacraments of Genre: Coppola, DePalma, Scorsese." In: Native Informant: Essays on Film, Fiction, and Popular Culture / Leo Braudy. pp: 240-52. New York: Oxford University Press, 1991.
Main Stack PN1995.B719 1991
Moffitt PN1995.B719 1991

Breskin, David.
"Francis Coppola." In: Inner views : filmmakers in conversation Expanded ed. New York : Da Capo Press,
Moffitt PN1998.2.B74 1997

Casillo, Robert.
"Moments in Italian-American Cinema: From Little Caesar to Coppola and Scorsese." In: From the Margin: Writings in Italian Americana / edited by Anthony Julian Tamburri, Paolo A. Giordano, Fred L. Gardaphe. West Lafayette, Ind.: Purdue University Press, c1991.
Main Stack PS508.I73.F76 1991
Moffitt PS508.I73.F76 1991 374-96.

Cavallero, Jonathan J.
Italian/American filmmakers in American motion pictures: The films of Capra, Scorsese, Savoca, Coppola, and Tarantino (Disseration: Indiana University, 2007)
Full-text available online (UC Berkeley users only)

Chaillet, Jean-Paul and Elizabeth Vincent.
Francis Ford Coppola, translated from the French by Denise Raab Jacobs. New York: St. Martin's Press, c1985.
Main Stack PN1998.A3.C7853131 1985

Chaillet, Jean-Paul and Elizabeth Vincent.
Francis Ford Coppola. In original French. Paris: Edilig, 1984. Series: Cinegraphiques.
Main Stack PN1998.A3.C7845 1984

Chown, Jeffrey.
Hollywood Auteur: Francis Coppola. New York: Praeger, 1988.
Main Stack PN1998.3.C67.C48 1988
Moffitt PN1998.3.C67.C48 1988

Clarke, James
Coppola London : Virgin, 2003.
MAIN: PN1998.3.C67 C53 2003

Coppola, Francis Ford
Francis Ford Coppola : interviews Jackson : University Press of Mississippi, c2004.
Main Stack: PN1998.3.C67 A3 2004

Corrigan, Timothy
"Auteurs and the New Hollywood." In: The New American Cinema / edited by Jon Lewis. pp: 38-63. Durham: Duke University Press, 1998.
Main Stack PN1993.5.U6.N47 1998

Corrigan, Timothy
"The Commerce of Auteurism: Coppola, Kluge, Ruiz."In: A Cinema Without Walls: Movies and Culture After Vietnam / Timothy Corrigan. pp: 101-36. New Brunswick: Rutgers University Press, c1991.
Main Stack PN1993.5.U6.C64 1991
Moffitt PN1993.5.U6.C64 1991

Cowie, Peter.
Coppola. London: Deutsch, c1989.
Main Stack PN1998.A3.C78558 1989
Moffitt PN1998.3.C69.C67 1990 (New York: Scribner, 1990 edition)

A Decade Under the Influence [videorecording]
The 1970s was an extraordinary time of rebellion as political activism, the sexual revolution, the women's movement and the music revolution contributed to social unrest. A new generation of filmmakers, galvanized by a new freedom of expression began targeting their films toward a new audience, with stories that reflected the reality of the era. Here a cast of pioneering writers, directors, producers and actors talk about the 70's, their films and their colleagues.
Media Center: DVD 2129

Easy riders, raging bulls how the sex-drugs-and-rock 'n' roll generation saved Hollywood [videorecording]
New York, NY : Sony Music Entertainment, Inc., 2004. A documentary of Peter Biskind's controversial, best-selling book, which chronicles edgy, impressionistic pictures made by maverick, now-legendary directors such as Scorsese, Coppola, Lucas, Altman, Polanski and Peckinpah. Includes interviews with many directors, writers, actors, etc. Based on the book of the same title by Peter Biskind
Media Center: DVD 2763

Francis Ford Coppola
mit Beitragen von Bodo Frundt ... [et al.]. Munchen : Hanser, c1985.
MAIN: PN1998.A3 C78541 1985

Gilbey, Ryan.
"Francis Ford Coppola." In: It don't worry me : the revolutionary American films of the seventies New York : Faber and Faber, c2003.
MAIN: PN1993.5.U65 G55 2003
MOFF: PN1993.5.U65 G55 2003
PFA : PN1993.5.U6 G55 2003

Goodwin, Michael.
On the edge: the life and times of Francis Coppola. 1st ed. New York: Morrow, c1989.
Main Stack PN1998.3.C67.G66 1989
Moffitt PN1998.3.C67.G66 1989

Hull, Stephanie; Viano, Maurizio-Sanzio
"The Image of Blacks in the Work of Coppola, De Palma, and Scorsese." In: Beyond the Margin: Readings in Italian Americana / edited by Paolo A. Giordano and Anthony Julian Tamburri. p. 169-97. Madison, N.J.: Fairleigh Dickinson University Press; London: Associated University Presses, c1998.
Main Stack PS153.I8.B495 1998

Jacobs, Diane.
"Francis Ford Coppola." In: Hollywood Renaissance South Brunswick : A. S. Barnes, c1977.
MAIN PN1998.A2.J28

Johnson, Robert K.
Francis Ford Coppola. Boston: Twayne Publishers, 1977. Series: Twayne's theatrical arts series.
Main Stack PN1998.A3.C7855
Moffitt PN1998.A3.C7855

Kolker, Robert Phillip.
A cinema of loneliness: Penn, Kubrick, Scorsese, Spielberg, Altman / Robert Phillip Kolker. 2nd ed. New York: Oxford University Press, 1988.
Main Stack PN1993.5.U6.K571 1988
Moffitt PN1993.5.U6.K571 1988

Lewis, Jon
Whom God Wishes to Destroy--: Francis Coppola and the new Hollywood / Jon Lewis. Durham: Duke University Press, 1995.
Main Stack PN1998.3.C69.L48 1995

Lourdeaux, Lee.
Italian and Irish filmmakers in America: Ford, Capra, Coppola, and Scorsese. Philadelphia: Temple University Press, 1990.
Main Stack PN1995.9.C35.L68 1990
Moffitt PN1995.9.C35.L68 1990

Phillips, Gene D.
"Francis Coppola: The Lower Depths."In: Major Film Directors of the American and British Cinema / Gene D. Phillips. pp: 143-59. Bethlehem: Lehigh University Press; London: Associated University Presses, c1990.
Main Stack PN1998.2.P55 1990
Moffitt PN1998.2.P55 1990

Schumacher, Michael.
Francis Ford Coppola: a filmmaker's life / Michael Schumacher. 1st ed. New York: Crown Publishers, c1999.
UCB Main PN1998.3.C67 S38 1999
BANC: PN1998.3.C67 S38 1999

Vernaglione, Paolo
Francis Ford Coppola Published: Roma: Gremese, c1997.
UCB Main PN1998.3.C67 V47 1997

Von Gunden, Kenneth.
Postmodern auteurs: Coppola, Lucas, De Palma, Spielberg, and Scorsese. Jefferson, N.C.: McFarland, c1991.
Moffitt PN1998.2.V66 1991

Zuker, Joel Stewart.
Francis Ford Coppola: a guide to references and resources. Boston, Mass.: G.K. Hall, 1984.
Main Stack PN1998.A3.C78594 1984

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Overview and General Articles

Bart, Peter.
"'George and Francis show' returns; twenty-five years after 'American Graffiti,' Lucas and Coppola seem re-energized as they embark on separate strategies." (Column). Variety, v371, n11 (July 27, 1998):2 (2 pages).

Bart, Peter.
"It's business, not personal." Variety v366, n8 (March 24, 1997):4 (2 pages).

Braudy, Leo.
"The Sacraments of Genre: Coppola, DePalma, Scorsese." Film Quarterly 39:3 (1986:Spring) 17
UC users only

Braudy, Susan.
"Francis Ford Coppola." Atlantic Monthly (Boston, MA), Aug., 66-73. 1976

Breskin, David.
"Francis Ford Coppola; the Rolling Stone interview."Rolling Stone, n597 (Feb 7, 1991):60 (9 pages).

Cardullo, Bert
"Love Story, or Coppola vs. Coppola." The Hudson Review, Vol. 57, No. 3 (Autumn, 2004), pp. 463-470
UC users only

Carver, Benedict.
"New dreams for Zoetrope: Coppola refocuses studio's aims, style." Variety, v371, n10 (July 20, 1998):7 (2 pages).

Chabal, Patrick
"Copping out with Coppola." Cambridge Quarterly, 13:3 (1984) p.187
UCB users only

"Coppola, Francis Ford." Current Biography, v52, n7 (July, 1991):10 (6 pages).

Gentry, Ric.
"Francis Ford Coppola: An Interview." Post Script, Spring/Summer87, Vol. 6 Issue 3, p2-12, 11p,
UCB users only
An interview with filmmaker Francis Coppola is presented. When asked about whether he is more interested in the form and the technology than in the content, Coppola said he is interested in what kind of content the technology can produce. According to Coppola, he would like to do a soap opera. He recalls the first time he saw or used a videotape recorder.

Gentry, Ric.
"Francis Coppola: an interview, part II." Post Script, 1988, Vol. 8 Issue 1, p52-63, 12p;
UCB users only

Grigoriadis, Vanessa.
"Directing Literature." (Francis Ford Coppola's Zoetrope magazine) New York v30, n10 (March 17, 1997):26 (2 pages).

Jones, Kent
"Mythmaker Francis Ford Coppola: the great conductor of American cinema." Film Comment. Mar/Apr 2002. Vol. 38, Iss. 2; pg. 30, 5 pgs
UCB users only
"There are few sights in U.S. cinema more touching than the career of Francis Ford Coppola. It has included the Godfather trilogy, the exhaustingly documented ordeal of Apocalypse Now, and the impossible dream of American Zoetrope. The last of these began as a production company but became a cinematic artists' utopia and multimedia empire that once brought Michael Powell, Jean-Luc Godard, and Monte Hellman under its wing. More than any other director since the silent era, Coppola thinks like a conductor: Although there have been plenty of musically inclined filmmakers, there have been precious few for whom all the elements of a film function in the manner of different orchestra sections." [Art Index]

Kearney, Jill.
"Francis Ford Coppola simply wants to create a whole new art form." Mother Jones, v13, n7 (Sept, 1988):19 (6 pages).

Kolker, Robert Phillip.
"Film Genre: A Dialogue: The Eighties." Post Script: Essays in Film and the Humanities, vol. 1 no. 3. 1982 Spring-Summer. pp: 30-32.

Kearney, Jill
"The Road Warrior; Francis Coppola returns to risky, personal moviemaking with his new film, Tucker - the true story of a maverick car designer so revolutionary he was forced out of business. (Sound familiar?)"American Film, v13, n8 (June, 1988):20 (9 pages).

Lane, John Francis.
"The Coppola Connection: Cinecitta and the new technology." (Francis Ford Coppola's use of Rome's Cinecitta studios) Sight and Sound v58, n4 (Autumn, 1989):219 (2 pages).

Moses, Gavriel.
"As We (They) See (Hear) Them (Us): Cain/Antonioni/Antonioni/Coppola." VIA: Voices in Italian Americana, vol. 2 no. 1. 1991 Spring. pp: 1-8.

Phillips, Gene.
"Hollywood Auteur: Francis Coppola." Literature-Film Quarterly, v18, n2 (April, 1990):137 (1 pages).

Rosen, Marjorie.
"Francis Ford Coppola." [Interview]Film Comment, v10, n4 (July/August 1974): 43-9

Saada, N.
"Francis Ford Coppola: toujours prophete." Cahiers du Cinema no. 557 (May 2001) p. 40-3

Setlowe, Richard.
"A writer first: Coppola, with 3 script Oscars, gained biz foothold as a crack rewrite talent." Variety, v369, n9 (Jan 12, 1998):152 (2 pages).

Vigliotti, Cynthia L.; Vivo, Gianna; Attardo, Salvatore; and Brown-Clark, Sarah.
"Stereotyping Ethnicity: The Ideology Of Filmic Representations Of Italian Americans And African Americans." Proceedings of the American Italian Historical Association 999 30: 218-226.
" Discusses stereotypical representations of Italian Americans and African Americans in film as "noble savages" to assert that while cinematic portrayals of African Americans have improved since the "Blaxpoitation" movies of the 1970's, the depiction of Italian Americans as "violent, sexual, (and) animalistic" persisted into the late 20th century. The article traces the function of "the noble savage" image in literature and speculates on reasons why Italian American directors Francis Ford Coppola and Martin Scorcese seem to reinforce negative "Anglo stereotyping" of Italian Americans in their films, suggesting the directors are ambivalent about their own ethnicity and that the "gangster" image represents "anti-assimilation efforts" and resistance to cultural erasure." [America: History and Life]

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Articles and Reviews of Individual Films

Apocalypse Now!


Adair, Gilbert.
Vietnam on Film: From The Green Berets to Apocalypse Now / Gilbert Adair. New York: Proteus: distributed by Scribner, c1981.
UCB Main PN1995.9.W3 .A3 UCB Moffitt PN1995.9 .W3A3

Alonge, Andrea Giaime
Tra Saigon e Bayreuth : "Apocalypse now" di Francis Ford Coppola / Andrea Giaime Alonge. Torino [Italy] : Tirrenia Stampatori, 1993.
Main (Gardner) Stacks

Bachmann, Holger.
"Hollow Men in Vietnam: A Reading of the Concluding Sequence of Apocalypse Now." Forum for Modern Language Studies vol. 34 no. 4. 1998 Oct. pp: 314-34.
UC users only

Bardakjy J.
"An Iliadic Apocalypse - Shades Of Homer Achilles In Coppola Colonel-Kurtz." Classical Bulletin, 1995, v71 n2:111-116.
UC users only

Bates, Milton J.
"Apocalypse Now and the New England Way." In: The Calvinist Roots of the Modern Era / edited by Aliki Barnstone, Michael Tomasek Manson, Carol J. Singley. pp: 212-27. Hanover, NH: University Press of New England, 1997.
Main Stack PS228.C34.C35 1997

Bayles, Martha.
"The Road to Rambo II: Hollywood's Visions of Vietnam." New Republic v199, n3 & 4 (July 18, 1988):30 (6 pages).

Bernardoni, James
"The Literary Fallacy." In: The New Hollywood: What the Movies Did With the New Freedoms of the Seventies. pp: 44-83.
Main Stack PN1993.5.U6.B39 1991

Bloom, Donald A.
"Hero and Antihero in Conrad and Coppola." West Virginia University Philological Papers, vol. 35. 1989. pp: 52-64.

Bock, Andie
"Zoetrope and Apocalypse Now." American Film IV/10, Sept 79; p.55-60.
Traces historical development of Coppola's American Zoetrope productioncompany to 1979.

Bookbinder, Robert.
The Films of the Seventies. pp: 257-60. 1st ed. Secaucus, N.J.: Citadel Press, c1982.
UCB Main PN1993.5.U6 B651 1982

Boyum, Joy Gould
Double Exposure: Fiction Into Film. pp: 110-117+ New York: Universe Books, 1985.
UCB Main PN1997.85 .B691 1985b
UCB Moffitt PN1997.85 .B69 1985 (another edition)

Boyum, Joy Gould
"Conrad, Eliot, Wagner, Coppola...Coppola?" Wall Street Journal, (Aug. 24, 1979)

Brien, Alan.
"The Most Compelling War Film Ever Made."Sunday Times (London) (Dec. 16, 1979)

Britton, Andrew
"Sideshows: Hollywood inVietnam."Movie (UK) /27-28, Winter-Spring 80-81; p.2-23.
Examines the way in which Hollywood portrayed the Vietnam war in such filmsof the 1970's as "The deer hunter", "Apocalypse Now" and "Coming Home".

Brown, Michelle.
"Apocalypse Yet Again . . . The Boundaries of Paradox in Apocalypse Now: Notes on Bakhtin's Carnival." Cinefocus, vol. 2 no. 1. 1991 Fall. pp: 40-47.

Burke, Anthony.
"Violence and Reason on the Shoals of Vietnam." Postmodern Culture vol. 9 no. 3. 1999 May. pp: 38
UCB users only

Burum, Stephen; Pizzello, Stephen.
"A clash of two cultures." American Cinematographer v 82 no2 Feb 2001. p. 94-103.
UC users only
"An interview with cinematographer Vittorio Storaro about his work onFrancis Ford Coppola's Apocalypse Now, in advance of his receipt of theAmerican Society of Cinematographers' Lifetime Achievement Award. Thoughcritics were sharply divided in their assessments of Apocalypse Now whenit was released in 1979, Coppola's visionary Vietnam war epic, whichcemented Storaro's reputation as one of the world's most brilliant andinnovative cinematographers, is now regarded as a modern classic. Topicsdiscussed by Storaro in the interview include how he implemented the mainphotographic concept of the film, which sprang directly from the idea of one culture superimposing itself on another; the cameras and lenses usedon the film; his relationship with Coppola; and the film's use of dramaticsilhouettes inspired by Burne Hogarth's illustrations for Tarzan comicstrips." [Art Abstracts]

Cahir, Linda Costanzo.
"Narratological Parallels in Joseph Conrad's 'Heart of Darkness' and Francis Ford Coppola's 'Apocalypse Now.'" (Vietnam Revisited: Mythological Journeys/Narrative Structures) Literature-Film Quarterly v20, n3 (July, 1992):181 (7 pages).
UC users only
Likens Conrad's narrative structure in 'Heart of darkness' to that of thecinema's role as storyteller. Considers these parallels in an examinationof Coppola's 'unofficial' adaptation for "Apocalypse now". Plus aconfirmation that Coppola presents a faithful understanding of Conrad'sideas, notably regarding ethical dilemmas.

Champlin, Charles.
"Conrad, Vietnam Meet in Apocalypse."Sunday Times (London) (Dec. 16, 1979)

Chatman, Seymour.
"2 1/2 Film Versions of Heart of Darkness." In: Conrad on Film / edited by Gene M. Moore. pp: 207-23. Cambridge; New York: Cambridge University Press, 1997.
Main Stack PR6005.O4.Z581165 1997

Dean, Tim.
"The Germs of Empires: Heart of Darkness, Colonial Trauma, and the Historiography of AIDS." In: The Psychoanalysis of Race. pp: 305-29. New York: Columbia University Press, 1998.
Ed/Psych Library BF175.4.R34.P78 1998

Deltcheva, Roumiana.
"Destination Classified: On the Transformation of Spatial Forms in Applyingthe Narrative Text to Film." (the Case of Heart of Darkness and ApocalypseNow)Canadian Review of Comparative Literature/Revue Canadienne de LitteratureComparee, vol. 23 no. 3. 1996 Sept. PAGES:753-64.

Dempsey, M. and Pym, John
"Apocalypse Now." (Review). Sight & Sound XLIX/1, Winter 79/80; p.5-10. illus.
Two reviews of the film, the second by J.P. concentrates on the adaptationof Conrad's novel.

Di Giuseppe, R.
"Imperialism as Entertainment: Coppola's Adaptation of Heart of Darkness." Quaderni di Lingue e Letterature, vol. 20. 1995. pp: 93-103.

Dorall, E. N.
"Conrad and Coppola: Different Centres of Darkness." Southeast Asian Review of English, vol. 1 no. 1. (Dec.1980), pp: 19-26.

Dryden, Linda J.
"'To Boldly Go': Conrad's Heart of Darkness and Popular Culture." Conradiana: A Journal of Joseph Conrad Studies. 34 (3): 149-70. 2002 Fall.

During, Simon.
"Postmodernism or Post-Colonialism Today." Textual Practice, vol. 1 no. 1. 1987 Spring. pp: 32-47.

Edelman, R.
"Viet Vets Talk About Nam Films." (Article). Films in Review XXX/9, Nov 79; p.539-542. illus.
Various US veterans of the Vietnam war comment on three war films "ComingHome", "The Deer Hunter" and "Apocalypse Now".

Elsaesser, Thomas.
"The Hollow Heart of Hollywood: Apocalypse Now and the New Sound Space." In: Conrad on Film / edited by Gene M. Moore. pp: 151-75. Cambridge; New York: Cambridge University Press, 1997.
Main Stack PR6005.O4.Z581165 1997

Fertel, R. J.
"Vietnam War Narratives and the Myth of the Hero." War, Literature, and the Arts: An International Journal of the Humanities vol. 11 no. 1. 1999 Spring-Summer. pp: 268-93.

Fiedler, Leslie A.
"Mythicizing the Unspeakable." (a reading of three popular films about theVietnam War) Journal of American Folklore v103, n410 (Oct-Dec, 1990):390 (10 pages).

Foran, Charles
"Celluloid Wars: Vietnam." Queen's Quarterly, vol. 112, no. 2, pp. 255-65, Summer 2005

Furia, R.D.
"'Apocalypse Now': The Ritual Murder of Art Western Humanities Review 34:1 (1980:Winter) 85

Gates, Philippa.
"'Fighting the Good Fight:' The Real and the Moral in the Contemporary Hollywood Combat Film." Quarterly Review of Film & Video, Oct-Dec2005, Vol. 22 Issue 4, p297-310, 14p
UC users only

Gezari, Janet.
"Kurtz's Night Table." Literary Imagination, Winter2008, Vol. 10 Issue 1, p53-61, 9p
UC users only
"This article addresses issues of racism in the books "Heart of Darkness" and "The Secret Sharer" by Polish author Joseph Conrad. The article draws associations between "Heart of Darkness" and the motion picture "Apocalypse Now," directed by Francis Ford Coppola, actor Marlon Brando's understand of the character Colonel Kurtz after reading "Heart of Darkness," and the correspondences between Conrad's text and Coppola's film." [EBSCO]

Gillespie, Gerald.
"Savage Places Revisited: Conrad's Heart of Darkness and Coppola's Apocalypse Now." The Comparatist: Journal of the Southern Comparative Literature, vol. 9. 1985 May. pp: 69-88.

Grant, J. Kerry
"Conrad's Heart of Darkness." (Francis Ford Coppola's film adaptation of Joseph Conrad's 'Heart of Darkness')(Critical Essay) The Explicator Summer 2003 v61 i4 p213(3) (1031 words)
UC users only

Greene, Naomi
"Coppola, Cimino: The Operatics of History." Film Quarterly XXXVIII/2, Winter 84-85; p.28-37.
UC users only
Looks at 1970's US melodramas: "The godfather", "The godfather part II","Heaven's Gate", "Apocalypse Now" and "The Deer Hunter".

Grenier, Richard.
"Coppola's Folly."Commentary v 68:4 (October 1979), pp: 67-73
UC users only

Greiff, Louis K.
"Soldier, Sailor, Surfer, Chef: Conrad's Ethics and the Margins of'Apocalypse Now.'" (Vietnam Revisited: MythologicalJourneys/Narrative Structures)Literature-Film Quarterly v20, n3 (July, 1992):188 (11 pages).
UC users only
"The moral conflict that takes place between the main characters of JosephConrad's 'Heart of Darkness' occurs between supporting characters inFrancis Ford Coppola's 'Apocalypse Now.' One position is that of thededicated craftsman or professional, protected from moral collapse bydedication to an ideal. Opposed to that is the role of the hollow man,empty of morality and ready to embrace evil. These roles are notrepresented as well in the main characters of the film as well as in thesubordinate characters who exist on the film's margin." [Magazine Index]

Hansen, Miriam
"Traces of Transgression in 'Apocalypse Now.'" Social Text, Theory/Culture/Ideology, vol. 1 no. 3. 1981. pp: 45-53.
UC users only

Haber, Darren.
"Deconstructing Francis: Apocalypse Now and the End of the 70's."Images: A Journal of Film and Popular Culture

Hagen, William M.
"Apocalypse Now (1979): Joseph Conrad and the Television War." In: Hollywood as Historian: American Film in a Cultural Context / edited by Peter C. Rollins. pp: 230-245. Lexington, Ky.: University Press of Kentucky, c1983.
UCB Main PN1995.9.H5 H64 1983
UCB Moffitt PN1995.9.H5 H64 1983

Hagen, William M.
"Heart of Darkness and the Process of Apocalypse Now." Conradiana: A Journal of Joseph Conrad Studies, vol. 13 no. 1. (Fall 1980), pp: 123-35

Haupfuhrer, Fred.
"History According to Hollywood, Says George MacDonald Fraser, Is More Accurate Than You'd Think." (interview) People Weekly v30, n17 (Oct 24, 1988):113 (3 pages).

Hellman, John.
"Vietnam and the Hollywood Genre Film: Inversions of American Mythology in The Deer Hunter and Apocalypse Now." American Quarterly, vol. 34 no. 4. 1982 Fall. pp: 418-439.
UC users only
"Both films use a popular narrative formula to interpret the American experience in the Vietnam War. The Deer Hunter alludes to Cooper's The Deerslayer. It reveals the frontier hero in a different wilderness, Vietnam, in which parts of the narrative formula are inverted. Apocalypse Now employs elements of Conrad's Heart of Darkness, but its design proceeds mainly from the classic American detective story. The hard-boiled hero in Apocalypse Now, however, lacks the moral certainty of his American model, and lives to see his ideal exposed as corrupt." [from ABC-CLIO, America, History and Life]

Horsley, Jake.
"Millennial blues : from Apocalypse now to The matrix." In: The blood poets : a cinema of savagery 1958-1999 Lanham, Md. : Scarecrow Press, 1999.
Main Stack PN1995.9.V5.H67 1999
PFA PN1995.9.V5.H67 1999

Idiart, Jeannette.
"American Gothic Landscapes: The New World to Vietnam." In: Spectral Readings: Towards a Gothic Geography / edited by Glennis Byron and David Punter. pp: 127-39. New York: St. Martin's Press, 1999.
Main Stack PN3435.S73 1999

Jacobs, Diane.
"Coppola Films Conrad in Vietnam." In: The English Novel and the Movies / edited by Michael Klein and Gillian Parker. pp: 211-217. New York: Ungar, [1981]. Series title: Ungar film library.
UCB Main PN1997.85 .E53
UCB Moffitt PN1997.85 .E53

Jeffords, Susan.
"Friendly Civilians: Images of Women and the Femininization of the Audience in Vietnam Films." Wide Angle, vol. 7:4. 1985. pp: 13-22.

Jones, Malcolm
"Speaking Of War: Coppola talks about art and combat with author David Halberstam." (INTERVIEW)(Francis Ford Coppola)(Arts and Entertainment) Newsweek August 20, 2001 p47 (1316 words)

Kerr, Philip
"Apocalypse... again: The Vietnam war has possessed the imaginations of film-makers for a quarter of a century. But one hellish vision of the conflict still dominates the canon." (The Back Half). New Statesman (1996) Nov 26, 2001 v130 i4565 p38(2) (1316 words)

Kiliçarslan, Cem
"The Masculinist Ideology and War-Combat Films: Reassertion of Masculinity in Hollywood." Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi; jun2009, Vol. 26 Issue 1, p101-120, 20p
UC users only

Kinder, Marsha
"The Power of Adaptation in 'Apocalypse Now!'." Film Quarterly, vol. 33:2 (Winter 1979/80) pp: 12-20.
UC users only
Discussion of the ways in which Coppola has used Conrad's 'Heart of Darkness' as the basis for "Apocalypse Now".

Kranz, Rachel
"Apocalypse Now! and The Deer Hunter: The Lies Aren't Over." Jump Cut, no. 23. (October 1980) pp: 18-20
Analyses the historical inaccuracies of 'The Deer Hunter' and 'Apocalypse Now' as Vietnam war films.

Kuchta, Todd M.
"Framing 'the Horror': Voice and Voice-Over in Heart of Darkness and Apocalypse Now." Studies in the Humanities, vol. 21 no. 1. 1994 June. pp: 45-59.

Langman, Fred.
"'Heart of Darkness': from Conrad to Coppola." Quadrant (Sydney) (24) Nov., 30-3. 1980

Laskowsky, Henry J.
"Heart of Darkness: A Primer for the Holocaust." Virginia Quarterly Review, vol. 58 no. 1. 1982 Winter. pp: 93-110.

Lindroth, James R.
"The Subjective Insert: Tradition and Memory in Two Contemporary Films." Perspectives on Contemporary Literature, vol. 9. 1983. pp: 114-123.

Lothe, Jakob.
"From Conrad to Coppola and Steiner." Conradian, vol. 6 no. 3. 1981 Sept. pp: 10-14.

Lothe, Jakob.
"The Problem of Narrative Beginnings: Joseph Conrad's Heart of Darkness and Francis Ford Coppola's Apocalypse Now." Revue des Lettres Modernes: Histoire des Idees et des Litteratures. 1286-4633: 35-58. 2002.

McDonald, Neil
"Apocalypse Now and then." (Film). Quadrant Jan-Feb 2002 p80(5) (3759 words)

Marcus, Greil
"Journey Up the River: An Interview with Francis Coppola." Rolling Stone,(Nov. 1 1979), pp: 51-7

McCormick, Ruth
"Apocalypse Now!" Cineaste, v 9:4 (Fall 1979), pp: 51-3.

McInerney, Peter
"Apocalypse Then: Hollywood Looks Back at Vietnam" Film Quarterly, v 33:2(Winter 1979/80), pp: 21-32
UC users only

Meneghelli, Donata
"What Can a Film Make of a Book? Seeing literature through Apocalypse Now and Barry Lyndon." Image [&] Narrative, Issue 8.

Miller, J. Hillis.
"Heart of Darkness Revisited." In: Heart of Darkness: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives. Edited by Ross C. Murfin. pp: 206-20. 2nd ed. Boston: Bedford Books of St. Martin's Press, c1996.
UCB Main PR6005.O4 H4 1996
UCB Moffitt PR6005.O4 H4 1996

Norris, Margot.
"Modernism and Vietnam: Francis Ford Coppola's 'Apocalypse Now.'" (Modernisms and Modern Wars) Modern Fiction Studies v44, n3 (Fall, 1998):730 (37 pages). UC Berkeley users only
"Francis Ford Coppola rejected historical verisimilitude and reference when making his Vietnam War film 'Apocalypse Now.' Instead, he chose the mythical approach of modernism. In fact, the film's many surrealistic scenes and moments give a strong insight into the incomprehensibility of the Vietnam War. Coppola clearly recognizes that the film is not war, or a simulation, but a representation that must problematize itself. The film played a key role in forcing Americans to reconsider events in Vietnam." [Magazine Index]

Norris, Margot.
"A Choice of Nightmares: Reading 'Heart of Darkness' through Apocalypse Now." In: Approaches to teaching Conrad's "Heart of darkness" and "The secret sharer" / edited by Hunt Hawkins and Brian W. Shaffer. pp: 120-25. New York : Modern Language Association of America, 2002. Approaches to teaching world literature.
Main Stack PR6005.O4.H4739 2002

Ondaatje, Michael
"Apocalypse then and now." Film Comment v 37 no3 May/June 2001. p. 43-7.
"An excerpt from The Conversations: Walter Murch and the Art of Editing Film, which will be published in 2002. Walter Murch is a real oddity in Hollywood: a true intellectual and Renaissance man who seems wise and private at the eye of a number of temporary filmmaking storms. In spring 2000, at the suggestion of Francis Ford Coppola, Murch started to reedit Apocalypse Now, a movie he had worked on in 1977-79 both as sound designer and coeditor. Now, 20 years on, all the takes and discards and lost scenes were removed from vaults to be mulled over again. In an interview, Murch discusses various aspects of the original film and the decision to reedit it." [Magazine Index]

Osteen, Mark
"Luminous Spaces: Teaching 'Heart of Darkness' through Film." In: Approaches to teaching Conrad's "Heart of darkness" and "The secret sharer" / edited by Hunt Hawkins and Brian W. Shaffer. New York : Modern Language Association of America, 2002.
Main Stack PR6005.O4.H4739 2002

Ostwalt, Conrad E., Jr.
"Hollywood and Armageddon: Apocalyptic Themes in Recent Cinematic Presentation." In: Screening the Sacred: Religion, Myth, and Ideology in Popular American Film / edited by Joel W. Martin, Conrad E. Ostwalt, Jr. pp: 55-63. Boulder: Westview Press, 1995.
Main Stack PN1995.5.S36 1995

O'Toole, Lawrence
"Crawling on the Edge of a Razor." Mclean's v92 (Aug. 27, 1979) pp: 37-8

O'Toole, Lawrence
"Descent Into Hell." Mclean's v92 (Aug. 27, 1979) pp: 34-7

Palmer, R.B.
"The Darker Heart of Coppola'sApocalypse Now."Persistence of Vision /1, Summer 84; p.5-12.
Analyses the visual and thematic structures of the film.

Phillips, Gene D.
"Apocalypse Now: A Film Version of Heart of Darkness." In: Readings on Joseph Conrad / Clarice Swisher, book editor. pp: 143-49. San Diego, CA: Greenhaven Press, c1998. Greenhaven Press literary companion to British authors
Main Stack PR6005.O4.Z78656 1998

Philpott, Simon; Mutimer, David.
"Inscribing the American Body Politic: Martin Sheen and Two American Decades." Geopolitics, Summer2005, Vol. 10 Issue 2, p335-355, 21p
UC users only

Pym, John
"An Errand Boy's Journey." Sight and Sound v 49:1 (Winter 1979/80) pp: 9-10
UC users only

Rasmussen, Karen; Downey, Sharon D.
"Dialectical Disorientation in Vietnam War Films: Subversion of the Mythology of War." Quarterly Journal of Speech v77, n2 (May, 1991):176 (20 pages).
Author Abstract: "Dialectical disorientation" is a rhetorical form that creates uncertainty and ambiguity through confrontation between two competitive and complementary orientations. This essay examines its dynamics in four films addressing the war in Vietnam: The Deer Hunter, Apocalypse Now, Platoon, and Full Metal Jacket. We argued that the works subvert traditional American war mythology. The films present the war as destructive rather than regenerative and purposeless rather than meaningful. This divisive scene creates a context in which principles governing behavior in war--militarism and moralism--become inoperative. The essay first details the development of disorientation in the films and . (continued) then examines the rhetorical and social implications of the analysis. COPYRIGHT Speech Communication Association 1991.

Reid, Robert
"The unmapped interior in Joseph Conrad's Heart of darkness and Francis Ford Coppola's Apocalypse now." In: Fake-city syndrome : American cultural essays / edited by Kate Gale, Charles Rammelkamp. Los Angeles : Red Hen Press, 2002.
Main (Gardner) Stacks E169.12 .F34 2002

Rich, B. Ruby
"Apocalypse Now!: Coppola's American Way."Jump Cut, no. 23 (October 1980) pp: 16-18

Richardson, Michael
"Apocalypse Now on a Borderline of Consciousness." In: Otherness in Hollywood Cinema Continuum International Publishing, 2010 New York, NY, USA
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN6714 .C6515 2010

Riley, Brooks
"Heart Transplant." Film Comment v 15:5 (Sept.-Oct. 1979) pp: 36-7
Discusses the evolution of "Apocalypse now" from Conrad's story 'Heart ofDarkness' to the script by John Milius.

Roberts, Adrew Michael; Easingwood, Peter.
"Beyond the male romance: repetition as failure and success in 'ApocalypseNow'." (Critical Essay) Critical Survey v9, n1 (Jan, 1997):19 (17 pages).
Joseph Conrad's novella 'Heart of Darkness' helped Francis Ford Coppola to introduce a level of introspection into 'Apocalypse Now' that rescued the film from falling into simplistic features that dominated portrayals of the Vietnam War. The film successfully engages with issues of communicability, aestheticization of violence, and spectator complicity.

Rosenbaum, Jonathan
"Vietnam, The Theme Park" (Hearts of Darkness: A Filmmaker's Apocalypse) In: Movies as Politics. pp: 134-39.. Berkeley: University of California Press, c1997.
Moffitt PN1995.9.P6.R67 1997

Sharrett, Christopher.
"Intertextuality and the Breakup of Codes: Coppola's Apocalypse Now." Sacred Heart University Review, vol. 6 no. 1-2. 1985-1986 Fall-Spring. pp: 20-39.

Sharrett, Christopher
"Operation Mind Control: Apocalypse Now and the Search for Clarity." Journal of Popular Film and Television, vol. 8 no. 1. (Spirnt 1980), pp: 34-43
UC users only
In a largely favourable discussion, the author describes the disintegrationof liberal society portrayed in the film.

Shichtman, Martin B.
"Hollywood's New Weston: The Grail Myth in Francis Ford Coppola's Apocalypse Now and John Boorman's Excalibur." Post Script: Essays in Film and the Humanities, vol. 4 no. 1. 1984 Fall. pp: 35-48
Interprets "Apocalypse now" and "Excalibur" in terms of Jessie Weston's perception of the Grail quest.

Schneider, Tassilo.
"From Cynicism to Self-Pity: Apocalypse Now and Platoon." Cinefocus, vol. 1 no. 2. 1990 Fall. pp: 49-59.

Solomon, Keith
"The Spectacle of War and the Specter of "The Horror": "Apocalypse Now" and American Imperialism." Journal of Popular Film & Television 35:1 (Spring 2007) p. 22-31
UC users only

Steier, Saul
"Make Friends with Horror and Terror: 'Apocalypse Now.'" Social Text, Theory/Culture/Ideology, vol. 1 no. 3. (Fall1980) pp: 114-22
UC users only

Sterritt, David.
"Coppola, 'Apocalypse Now' and the ambivalent 70's." (movie review)Chronicle of Higher Education v47, n47 (August 3, 2001):B18 (2 pages).

Stewart, Garrett.
"Coppola's Conrad: The Repetitions of Complicity." Critical Inquiry, vol. 7 no. 3. 1981 Spring. pp: 455-474.
UC users only

Suid, Lawrence
"'Apocalypse Now' Francis Ford Coppola Stages His own Vietnam War." (Book extract). Cineaste VIII/3, Winter 77-78; p.32-33,61.
Difficulties that F.F. Coppola encountered while trying to start, continueand finish production of his latest film 'Apocalypse now'.

Sundelson, David.
"Dance Macabre." Conradiana: A Journal of Joseph Conrad Studies, vol. 13 no. 1. 1981. pp: 41-44.

Sussman, Gerald.
"Bulls in the (Indo) China Shop: Coppola's "Vietnam" Revisited." (Francis Ford Coppola)(critique of a documentary on the filming of Apocalypse Now) Journal of Popular Film and Television v20, n1 (Spring, 1992):24 (5 pages).
UC users only
"'Hearts of Darkness: A Filmmaker's Apocalypse' is about Francis Ford Coppola's filming of Apocalypse Now in the Philippines and is based on footages taken by Coppola's wife. The documentary is criticized for not giving the social, economic and cultural consequences of the presence of the US production in the Philippines. It presented the film as a realistic portrayal of the Vietnam war although it follows other Hollywood productions in their cathartic approach to the subject. The film may have reinforced public consensus for the Libyan, Panamanian and Iraqi assaults." [Magazine Index]

Tomasulo, Frank P.
"The Politics of Ambivalence: Apocalypse Now as Postwar and Antiwar Film." In: From Hanoi to Hollywood: the Vietnam War in American Film /edited by Linda Dittmar and Gene Michaud. pp: 145-58. New Brunswick: Rutgers University Press, c1990.
Main Stack DS557.73.F76 1990
Moffitt DS557.73.F76 1990

Trussler, Michael.
"Apocalypse 'Now': Does Conrad Really Sound Like Jim Morrison." Arachne: An-Interdisciplinary Journal of the Humanities, 1997, 4:1, 31-55.

Van Gelder, Peter
"Apocalypse now (1979)." In: That's Hollywood : a behind-the-scenes look at 60 of the greatest films ever made / Peter van Gelder. New York, NY : HarperPerennial, 1990.
PFA PN1998.V8 1990

Vargas, German E.
"Narrative Mode, Mixed Images, and Adaptation in Francis Ford Coppola's Apocalypse Now." Atenea, vol. 24, no. 2, pp. 91-101, December 2004
UC users only

Verrips, Jojada
"The Golden Bough and Apocalypse Now : an-other fantasy." Postcolonial Studies, Volume 4, Issue 3 November 2001 , pages 335 - 348
UC users only

Vien, Nguyen Khac
""Apocalypse Now" viewed by a Vietnamese." Framework 14 (1981:Spring) p.42
UC users only

Wander, P.
"The Aesthetics of Fascism." Journal of Communication XXXIII/2, Spring 83; p.70-78.
Explores the question of how art handles the implication that slaughter isattractive, necessary or somehow glorious in four films: "The Deer Hunter","Patton", "MASH" and "Apocalypse Now".

Watson, Wallace.
"Willard as Narrator: A Critique and a Modest Proposal." Conradiana: A Journal of Joseph Conrad Studies, vol. 13 no. 1. 1981. pp: 35-40.

Whaley, Donald M.
"Adaptation studies and the history of ideas : the case of Apocalypse now." In: The literature/film reader : issues of adaptation / edited by James M. Welsh, Peter Lev. Lanham, Md. : Scarecrow Press, 2007.
Main (Gardner) Stacks PN1997.85 .L516 2007

Whaley, Preston
"Heart of darkness and Apocalypse now : reflectors of a precarious social knowledge." In: Authority and transgression in literature and film / edited by Bonnie Braendlin and Hans Braendlin. Gainesville : University Press of Florida, c1996.
Main Stack PN56.A87.A87 1996

Whillock, David Everett.
"Narrative Structure in Apocalypse Now." In: America Rediscovered: Critical Essays on Literature and Film of the Vietnam War / edited by Owen W. Gilman, Jr., Lorrie Smith. pp: 225-237. New York: Garland, 1990. Series title: Garland reference library of the humanities; vol. 986.
UCB Main PS228.V5 A44 1990
UCB Moffitt PS228.V5 A44 1990

Williams, Tony.
"Missing in Action: The Vietnam Construction of the Movie Star." In: From Hanoi to Hollywood: The Vietnam War in American Film / edited by Linda Dittmar and Gene Michaud. pp: 129-44. New Brunswick: Rutgers University Press, c1990.
UCB Main DS557.73 .F76 1990
UCB Moffitt DS557.73 .F76 1990

Whillock, David Everett.
"Narrative Structure in Apocalypse Now." In: America Rediscovered: Critical Essays on Literature and Film ofthe Vietnam War / edited by Owen W. Gilman, Jr., Lorrie Smith. New York: Garland, 1990. Garland Reference Library of the Humanities; vol. 986.
Main PS228.V5.A44 1990
Moffitt PS228.V5.A44 1990 225-237.

Worthy, Kim.
"Emissaries of Difference: Conrad, Coppola, and Hearts of Darkness." Women's Studies: An Interdisciplinary Journal, vol. 25 no. 2. 1996 Jan. pp: 153-67.

Woodman, Brian J.
"A Hollywood War of Wills: Cinematic Representation of Vietnamese Super-Soldiers and America's Defeat in the War." Journal of Film & Video, Summer/Fall2003, Vol. 55 Issue 2/3, p44-58, 15p
UC users only

Worthy, Kim.
"Hearts of Darkness: Making Art, Making History, Making Money, Making Vietnam." Cineaste, vol. 19 no. 2-3. 1992. pp: 24-27.
Analyses "Hearts of darkness: a filmmaker's apocalypse", the documentary onthe making of "Apocalypse now".

Yurick, S.
"Apocalypse Now/Capital Flow."Cineaste X/1, Winter 79-80; p.21-23. illus.
Criticizes the film as a waste of money and an example of shallowself-indulgence.


Movie Review Query Engine

Anderson, Pat, and Wells, J.
Apocalypse Now." (Reviews). Films in Review XXX/8, Oct 79; p.495-496.

"Apocalypse Now." (Review+Photo section). Films & Filming XXVI/2, Nov 79; p.9-11,35-36.

Bogue, Ronald L.
"The Heartless Darkness of 'Apocalypse Now'." Georgia Review 35:3 (1981:Fall) 611

Combs, Richard
"Apocalypse Now." (Review).Monthly Film Bulletin (UK) XLVI/551, Dec 79; p.247-248.

Dempsey, M. and Pym, John
"Apocalypse Now." (Review). Sight & Sound XLIX/1, Winter 79/80; p.5-10.
UC users only
Two reviews of the film, the second by J.P. concentrates on the adaptationof Conrad's novel.

Denby, David.
"8 1/2 Now: Coppola's Apocalypse."New York (May 28, 1979), pp: 101-4

Denby, David.
"Hollow Move."New York (August 27, 1979), pp: 87-89

Farber, Stephen.
"Heartless and Mindless."New West v 68:4 (Sept. 10, 1979), pp: 105+

Film Comment, v15 (Sept. 1979), p. 27

Kauffmann, Stanley
"Coppola's War."New Republic (Sept. 15, 1979), pp: 24-5

Kroll, Jack.
"Coppola's War Epic."Newsweek(Aug, 20,1979), pp: 56-7

McCormick, R.
"Apocalypse Now." (Review).Cineaste IX/4, Fall 79; p.51-53.

Magill's Survey of Cinema--English Language Films. First series. v1, pp: 94-7
Main Lib. UCB Info Ctr PN1995 .M3 1-4

The Nation, v229 (Aug. 25, 1979), pp: 153-4

New York Times,(Aug. 15, 1979), Sect III, p. 15

New York Times,(Dec. 9, 1979), Sect II, p. 21

New Yorker, v55 (Sept. 3, 1979), pp: 70-2

Newsweek, v93 (May 21, 1979), p. 97

Newsweek, v93 (May 28, 1979), pp: 100-101

Newsweek, v94 (Aug. 20, 1979), pp: 56-7

Newsweek, v89 (July 13, 1977), pp: 57-8

Rolling Stone, (Nov. 1, 1979), pp: 46-50, 51-57

Schlesinger, Arthur.
"Apocalypse Now! " (Review) Saturday Review, v7 (Jan. 5, 1980), p. 44+

Shute, Jenefer P.
"Apocalypse Now." (movie reviews) Tikkun v4, n2 (March-April, 1989):83 (3 pages).

Time, v114 (Aug. 27, 1979), p. 55

Wood, Michael
"Bangs and Whispers." New York Review of Books (Oct. 1979), pp: 17-8

Apocalypse Now Redux

Movie Review Query Engine

Anger, Cedric
"Apocalypse now redux." (motion picture review) Cahiers du Cinema no558 June 2001. p. 44-7
"Part of a special section on war films. The writer discusses Apocalypse Now Redux, a new version of Francis Ford Coppola's 1979 classic. This is not just a longer version of the original but also a reediting of new sequences, old shots with new locations, and new shots of staggering beauty. Apocalyse Now Redux is a total film, a jumble that is, among other things, psychological, poetic, baroque, expressionist, and experimental. It is also a demonstration and a mockery of the will for power, a meditation on the ideological lie and a poem about destructive madness, and, behind it all, a study of the gradual loss of conscience. Every detail makes it the greatest American film ever made about the Vietnam War." [Art Index]

Ansen, David
"'Apocalypse' Then and Now: Francis Ford Coppola plunges us back into the heart of darkness with an even more surreal and staggering edition of his famed Vietnam epic." Newsweek August 20, 2001 p46 (863 words)

"Apocalypse Again." (Francis Ford Coppola adding footage to film 'ApocalypseNow')(Brief Article) Film Comment v36, n6 (Nov, 2000):6.

"Apocalypses: filmer la guerre."
Cahiers du Cinema no558 June 2001. p. 44-53
"A special section on war in films. Articles discuss Apocalypse Now Redux, the new longer version of Francis Ford Coppola's 1979 classic, Pearl Harbor, a film by Michael Bay, No Man's Land, a film by Danis Tanovic, and Warriors, a film by Peter Kosminski. The section also includes an interview with war photographer Patrick Chauvel and war reporter Jean Hatzfeld." [Art Index]

Blake, Richard A.
"Art as Process." (Francis Ford Coppola's, Apocalypse Now Redux) America Oct 1, 2001 v185 i9 p24

Cheng, Scarlet.
"'Apocalypse,' Now and Then; Sam Bottoms finds additions to the celebratedfilm help clarify the plot and his character, surfer LanceJohnson." (Calendar)(Interview) Los Angeles Times (July 31, 2001):F-1.

Corliss, Richard.
"Apocalypse Back Then, And Now: Coppola's Vietnam-era epic returns with 53minutes of new footage." (The Arts/Cinema)(Review) (movie review)Time v158, n5 (August 6, 2001):60.

d'Ancona, Matthew
"Apocalypse again: Francis Ford Coppola's masterpiece has just been reissued. It is not an anti-war movie, says Matthew d'Ancona; it is an anti-lies movie." Spectator Nov 24, 2001 v287 i9042 p26(2) (1758 words)

Demory, Pamela.
"Apocalypse Now Redux: Heart of Darkness Moves into New Territory." Literature Film Quarterly, 2007, Vol. 35 Issue 1, p342-349, 8p
UC users only

Doherty, Thomas
"Apocalypse now redux." (motion picture review) Cineaste v 27 no1 Winter 2001. p. 30-1
UCB users only
"The writer reexamines Francis Ford Coppola's 1979 film Apocalypse Now, on the occasion of the release of Apocalypse Now Redux, an extended version of the original. A monumental achievement, Apocalypse Now stands as the exclamation-point death knell for the last great period of American cinema, the postclassical Silver Age of the 1970s. Although the structure of the film cannot pass formal inspection--dramatically wobbly and weighed down with philosophical ballast, the whole edifice seems about to cave in on itself at any moment--the visual spectacle is nevertheless awesome, the individual set pieces are indelible, and the voice-over is unforgettable. The big screen re-presentation of Redux is a splendid gesture of theatrical archaeology, a rare chance to see some nonindustrial light and magic from the days when special effects existed in metaphysical, not cyber, space." [Art Index]

Enright, Robert
"Purgatory lost, hell regained." Border Crossings v 20 no4 Nov 2001. p. 14-16
UC users only
"Apocalypse Now Redux, the re-edited extended version of Francis Ford Coppola's 1979 masterpiece, is a better film than its progenitor. It is more than 50 minutes longer than the original, and the additional length extends an already epic film into mythic terrain. Coppola has not just added time, but a series of perspectives that allow the viewer--through the prisms of failed desire, awdry pop culture, and colonizing history--to watch the film in new ways. The restored footage also represents a wonderful opportunity to see what Coppola's vision was before it was compromised." [Art Index]

Filippo, Maria San
"Reflections on Coppola, Director's Cuts, and Apocalypse Now Redux." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 16:(no pagination). 2001 Sept-Oct

Goldstein, Patrick.
"'Apocalypse,' Now and Then; For the film's co-screenwriter John Milius,the redux is a time for bittersweet reflection." (Calendar)(Column)(Interview) Los Angeles Times (July 31, 2001):F-1.

Hampton, Howard.
"Jungle Boogie." (Review) (movie review) Film Comment v37, n3 (May, 2001):36.
UCB users only
"Francis Ford Coppola's Apocalypse Now Redux is a reedited, beautifully restored, 199-minute "Director's Cut" of his most insanely bold and problematic movie. This Doors, "Valkyries," and helicopters Vietnam fantasia is just as wild, mad, and unresolved today as when it was originally shown at Cannes in 1979 as a "work-in-progress." If anything, the new version that will debut all over again at this year's Cannes is all that but even more so. It is a methodically lush jungle-fever dream and a solemn, processional acid trip through a tropical hell from which its residents, and possibly its audience, can never truly awaken. Apocalypse Now Redux has not untangled the original's meanings, lies, and cross-purposes but instead has lovingly elaborated the oddity inherent in the journey to start with." [Art Abstracts]

Horne, Philip
"Casualties of war." Sight and Sound ns11 no11 Nov 2001. p. 12-16
UC users only
"Apocalypse Now has been taken back by its director and reshaped as Apocalypse Now Redux. While it is not exactly a "Director's Cut," as the first version was already that, it is significantly longer. It has been described as "the funny, sexy, political version of Apocalypse Now." While one might have reservations about some of the additions, the new version is an extraordinary, enlivening experience, particularly on the big screen. Even for the jaded viewer, the knowledge that it has been so seriously re-edited gives one new, freshly shockable eyes." [Art Index]

Kauffmann, Stanley
"On Films - Second Thoughts."The New Republic, August 20, 2001 p22
UCB users only

Kehr, Dave.
"22 years later, a role emerges." (role of Aurore Clement in reissue of'Apocalypse Now').(At the Movies)(Column) New York Times (Fri, July 27, 2001):B21(N), E22(L), col 4, 7 col in.

Koehler, Robert
"Apocalypse New." (restored version of Francis Ford Coppola film"Apocalypse Now") Variety v382, n12 (May 7, 2001):C6.

Lally, Kevin
"Apocalypse Now Redux" (movie review) Film Journal International August 2001 v104 i8 p67 (765 words)
UCB users only

Lane, Anthony
"Apocalypse Now Redux" (movie review) The New Yorker August 6, 2001 v77 i22 p78(4)

Lyons, Charles.
"There's more 'Apocalypse' Now." (Francis Ford Coppola re-edits his 1979 film)(Brief Article)Variety v380, n6 (Sept 25, 2000):6.

McCarthy, Todd
"Apocalypse Now Redux" (movie review)Variety v382, n13 (May 14, 2001):21.

Macnab, Geoffrey
"Apocalypse Now Redux" (movie review) Sight and Sound ns11 no12 Dec 2001. p. 41-2
UCB users only
"This is the latest version of Coppola's 1979 Vietnam epic, a work that it appears the director will never finish to his satisfaction. The restored footage adds extra richness and complexity to the characterization, as well as acting as a counterbalance to the adrenalin-fueled machismo of much of the rest of the picture." [Art Index]

Ondaatje, Michael
"Apocalypse then and now."Film Comment v 37 no3 May/June 2001. p. 43-7
UC users only
"An excerpt from The Conversations: Walter Murch and the Art of Editing Film, which will be published in 2002. Walter Murch is a real oddity in Hollywood: a true intellectual and Renaissance man who seems wise and private at the eye of a number of temporary filmmaking storms. In spring 2000, at the suggestion of Francis Ford Coppola, Murch started to reedit Apocalypse Now, a movie he had worked on in 1977-79 both as sound designer and coeditor. Now, 20 years on, all the takes and discards and lost scenes were removed from vaults to be mulled over again. In an interview, Murch discusses various aspects of the original film and the decision to reedit it." [Art Index]

Sadashige, Jacqui
"Apocalypse Now Redux" (movie review) American Historical Review Dec 2001 v106 i5 p1919(2)
UC users only

Thomson, David.
"'Apocalypse' then, and now." (Francis Ford Coppola's 'Apocalypse Now'returns in triumph, with 53 minutes of original footage restored)(SummerFilms) New York Times, sec0 (Sun, May 13, 2001):MT1(N), MT1(L), col 1, 50 col in.

Turan, Kenneth.
"Cannes Report; Like Fine Wine; Francis Ford Coppola says 'Apocalypse Now'has improved with age, and he's back in France with a new version of hisVietnam War classic that has been reedited and is 53 minutes longer...".Los Angeles Times (May 11, 2001):F-1.

Billy Bathgate

Isaacs, Neil D.
"Bathgate in the time of Coppola: a reverie." ('Billy Bathgate') Literature-Film Quarterly v24, n1 (Jan, 1996):109 (2 pages).
UC users only
Comments on the parallels to be found between E.L. Doctorow's novel 'Billy Bathgate' and "The Cotton Club" which preceded

Bram Stoker's Dracula


"Belle et le Vampire": Focus and Fidelity in Bram Stoker's Dracula. Literature Film Quarterly, 2011, Vol. 39 Issue 1, p54-70, 17p
UC users only

Bignell, Jonathan.
"Spectacle and the Postmodern in Contemporary American Cinema." La Licorne, vol. 36. 1996. pp: 163-80.

Corbin, Carol.
"Postmodern Iconography and Perspective in Coppola's Bram Stoker's Dracula."Journal of Popular Film and Television vol. 27 no. 2. 1999 Summer. pp: 40-48.
UC users only
"Part of a special issue on vampires in film and television. The writers analyze the differences between Bram Stoker's 1897 novel Dracula and Francis Ford Coppola's 1992 film Bram Stoker's Dracula, focusing on the iconography in both. Stoker valorizes scientism and skepticism about superstition, the supernatural, and religiosity; Coppola presents a postmodern blending of polarities. Coppola constructs women with agency and choice in direct contrast to Stoker's women, who remain passive victims. Coppola's Dracula takes on the personas of whomever he pleases, just as postmodern, computer-mediated communication enables users to change identities or become nonexistent through silence. Coppola changes Stoker's psychosexual confusion between pleasure in life and pleasure in death, bringing redemptive qualities to this confusion by equating pleasure in death with eroticism. These differences demonstrate that major ideological and social changes have taken place in the century between these two narratives." [Art Index]

Dika, Vera.
"From Dracula-with Love." In: The Dread of Difference: gender and the horror film / edited by Barry Keith Grant. pp: 388-400. 1st ed. Austin: University of Texas Press, 1996. Texas film studies series.
Main Stack PN1995.9.H6.D74 1996

Dyer, Richard.
"Dracula and Desire." (Francis Ford Coppola's 'Dracula') Sight and Sound v3, n1 (Jan, 1993):8 (4 pages).
Discusses the theme of sexuality in "Bram Stoker's Dracula"; an appraisalof various screen vampires throughout cinema history; scriptwriter James V.Hart comments on Coppola's fairy tale-like treatment of the theme; plusnotes on the film's marketing strategies and how these relate to thecurrent economic situation.

Eberle-Sinatra, Michael
"Exploring Gothic Sexuality." Gothic Studies; Nov2005, Vol. 7 Issue 2, p123-126, 4p
UC users only

Ehrenstein, David.
"One From the Art." ('Bram Stroker's Dracula') (Cover Story) Film Comment v29, n1 (Jan-Feb, 1993):27 (4 pages).
Defends "Bram Stoker's Dracula" in the context of earlier adaptations andits director's career.

Elsaesser, Thomas
"Francis Ford Coppola and Bram Stoker's Dracula." In: Contemporary Hollywood cinema / edited by Steve Neale and Murray Smith. London ; New York : Routledge, 1998.
UCB Main PN1993.5.U65 C66 1998

Fry, Carrol L.; Craig, John Robert.
"'Unfit for Earth, Undoomed for Heaven': The Genesis of Coppola's Byronic Dracula." Literature-Film Quarterly. 30(4):271-78. 2002
UC users only
"Francis Ford Coppola uses both standard gothic conventions in his film "Bram Stoker's Dracula" and also introduces the idea of Dracula as a Byronic hero. The Byronic hero, popularized by Lord Byron, is generally a powerful, brooding man with a dark past and an overpowering passion. Although this description of Dracula rings true with modern audiences it continues the trend of making the character of Dracula more sympathetic and far from the monster characterized by Bram Stoker in his novel." [Expanded Academic Index]

Glover, David.
"Travels in Romania: Myths of Origin, Myths of Blood." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 16 no. 1. 1993 Fall. pp: 126-44.

Halberstam, Judith.
"Technologies of Monstrosity: Bram Stoker's "Dracula"." Victorian Studies, Vol. 36, No. 3, Victorian Sexualities (Spring, 1993), pp. 333-352
UC users only

Halberstam, J. and McElhaney, J.
"On Vampires, Lesbians, and Coppola's Dracula./ Bram Stoker's Dracula by Francis Ford Coppola." Bright Lights /11, Fall 93; p.7-9,45-46.
Rejects "Bram Stoker's Dracula" for Coppola's reduction of the novel'spolysexual vampire into a strictly heterosexual figure.

Harbin, Leigh Joyce.
"A Dangerous Woman and a Man's Brain: Mina Harker, Clarice Starling and the Empowerment of the Gothic Heroine in Novel and Film." West Virginia University Philological Papers. 49:30-37. 2002-2003

Jurkiewicz, Kenneth.
"Francis Coppola's secret gardens: Bram Stoker's 'Dracula' and the auteur as decadent visionary." In: Visions of the fantastic: selected essays from the Fifteenth International Conference on the Fantastic in the Arts / edited by Allienne R. Becker. pp. 167-71 Westport, Conn.: Greenwood Press, 1996. Contributions to the study of science fiction and fantasy; no. 68
Main Stack PN56.F34.I58 1996

Kline, Michael.
"The Vampire as Pathogen: Bram Stoker's Dracula and Francis Ford Coppola's Bram Stoker's Dracula." West Virginia University Philological Papers vol. 42-43. 1997-1998. pp: 36-44.

Law, Jules.
"Being There: Gothic Violence and Virtuality in Frankenstein, Dracula, and Strange Days." ELH. Winter 2006. Vol. 73, Iss. 4; p. 975 (22 pages)
UC users only

Magid, Ron
"Effects add Bite to Bram Stoker'sDracula." American Cinematographer LXXIII/12, Dec 92; p.5-60,62,64.
Report on the creation

Marshall, Erik.
"Defanging Dracula : the disappearing other in Coppola's Bram Stoker's Dracula." The Gothic other : racial and social constructions in the literary imagination / edited by Ruth Bienstock Anolik and Douglas L. Howard. Jefferson, N.C. : McFarland & Co., c2004.
Main Stack PR408.G68.G68 2004

Mathews, Tom.
"Fangs for Nothing; Coppola's Dracula and Rice's Lestat: Cultural Icons for an Age of Enervation." Newsweek v120, n22 (Nov 30, 1992):74 (2 pages).

Montalbano, Margaret
"From Bram Stoker's Dracula to Bram Stoker's "Dracula"." A companion to literature and film / edited by Robert Stam, Alessandra Raengo. Malden, MA ; Oxford : Blackwell Pub., 2004.
Main Stack PN1995.3.C65 2004

Obrien, Geoffrey.
"Horror For Pleasure." (Coppola,Francis,Ford 'bram Stokers Dracula' And Other Horror Films) New York Review Of Books, 1993 Apr 22, v40 n8:63-68.

Sharrett, Christopher.
"The horror film in neoconservative culture." Journal of Popular Film & Television, Fall93, Vol. 21 Issue 3, p100, 11p
UC users only
Discusses the relationship of the horror film to issues of social justice and the revolutionary transformation of society. Robin Wood's view of the essential political progressiveness of the genre; Discussion of the films `Near Dark,' `The Silence of the Lambs,' `Hellraiser' (I, II and III) and `Bram Stoker's Dracula.'

Sheehan, Henry.
"Trust the Teller: Henry Sheehan Talks with James V. Hart about Dracula." In: Film/literature/heritage / edited by Ginette Vincendeau. pp: 271-74. London : BritishFilm Institute, 2001.
UCB Main PN1995.3 .F54 2001

Sinclair, T.
"Invasion of the Blood." In: Film/literature/heritage / edited by Ginette Vincendeau. pp: 101-04. London : BritishFilm Institute, 2001.
UCB Main PN1995.3 .F54 2001

Stewart, Garrett
"Film's Victorian Retrofit." Victorian Studies, Vol. 38, No. 2 (Winter, 1995), pp. 153-198
UC users only

Thomas, Ronald R.
"Specters of the Novel: Dracula and the Cinematic Afterlife of theVictorian Novel." Nineteenth Century Contexts, 2000, 22:1, 77-102.

Thomas, Ronald R.
"Specters of the Novel: Dracula and the Cinematic Afterlife of the Victorian Novel." In: Victorian afterlife : postmodern culture rewrites the nineteenth century /John Kucich and Dianne F. Sadoff, editors. pp: 288-310. Minneapolis : University ofMinnesota Press, c2000.
UCB Main PR461 .V5 2000

Turner, George
"Bram Stoker's Dracula: A HappeningVampire./ Dracula Meets the Son of Coppola." (Interview). American Cinematographer LXXIII/11, Nov 92; p.36-40,42-46,48,50,52.
Cinematographer Michael Ballhaus on the lighting effects and cameratechniques used to create the stylized look of "Bram Stoker's Dracula";plus comments from director Roman Coppola and cinematographer SteveYaconelli on their second unit work.

Wells, Paul.
"Bram Stoker's Dracula." In: The horror genre : from Beezlebub to Blair Witch London : Wallflower, 2000.
MAIN: PN1995.9.H6 W455 2000

Welsh, James M.
"Sucking Dracula : mythic biography into fiction into film, or Why Francis Ford Coppola's Dracula is not really Bram Stoker's Dracula or Wallachia's Dracula." In: The literature/film reader : issues of adaptation / edited by James M. Welsh, Peter Lev. Lanham, Md. : Scarecrow Press, 2007.
Main Stack PN1997.85.L516 2007

Whalen, Tom.
"Romancing Film: Images of Dracula." Literature/ Film Quarterly, vol. 23 no. 2. 1995. pp: 99-101.
UC users only
A second viewing of "Bram Stocker's Dracula" revealed images which affirmCoppola's belief in the medium of film and a homage to the silent era inparticular.

Winthrop-Young, Geoffrey.
"Undead Networks: Information Processing and Media Boundary Conflicts in Dracula." In: Literature and Science. edited by Donald Bruce and Anthony Purdy. pp: 107-29. Amsterdam; Atlanta, GA: Rodopi, 1994. Rodopi perspectives on modern literature; 14
Main Stack PN55.L58 1994 (NRLF #: $B 605 242) 107-29.

Worland, Rick.
"Demon lover : Bram Stoker's Dracula (1992)." In: The horror film : an introduction / Rick Worland. 1st ed. Malden, MA : Blackwell Pub., 2007.
Main Stack PN1995.9.H6.W64 2007
Moffitt PN1995.9.H6.W64 2007

Wyman, Leah M.
"Primal Urges and Civilized Sensibilities: The Rhetoric of Gendered Archetypes, Seduction, and Resistance in Bram Stoker's Dracula."Journal of Popular Film and Television vol. 27 no. 2. 1999 Summer. pp: 32-39.

Wyman, Leah M.; Dionisopoulos, George N.
"Transcending the Virgin/Whore Dichotomy: Telling Mina's Story in BramStoker's Dracula." Women's Studies in Communication 2000 Spring,23:2, 209-37.
UC users only


Movie Review Query Engine

Alleva, Richard.
"Bram Stoker's Dracula." (movie reviews) Commonweal v119, n22 (Dec 18, 1992):17.
UCB users only

Ansen, David.
"Bram Stoker's Dracula." (movie reviews) Newsweek v120, n21 (Nov 23, 1992):78 (2 pages).

Blake, Richard A.
"Bram Stoker's Dracula." (movie reviews) America v168, n2 (Jan 16, 1993):16 (2 pages).
UCB users only

Cook, Pam.
"Dracula." (movie reviews) Sight and Sound v3, n2 (Feb, 1993):42 (2 pages).

Corliss, Richard.
"Dracula." (movie reviews) Time v140, n21 (Nov 23, 1992):71.
UCB users only

Denby, David.
"Dracula." (movie reviews) New York v25, n45 (Nov 16, 1992):72.

Grant, Edmond.
"Bram Stoker's Dracula." (movie reviews) Films in Review v44, n3-4 (March-April, 1993):131 (2 pages).

Johnson, Brian D.
"Bram Stoker's Dracula." (movie reviews) Maclean's v105, n46 (Nov 16, 1992):66 (2 pages).

Kauffmann, Stanley.
"Bram Stoker's Dracula." (movie reviews) New Republic v207, n25 (Dec 14, 1992):28 (2 pages).
UCB users only

Klawans, Stuart.
"Bram Stoker's Dracula." (movie reviews) Nation v255, n19 (Dec 7, 1992):713 (4 pages). UCB users only

McCarthy, Todd.
"Bram Stoker's Dracula." (movie reviews) Variety v349, n3 (Nov 9, 1992):62.

O'Brien, Geoffrey.
"Bram Stoker's Dracula." (movie reviews) New York Review of Books v40, n8 (April 22, 1993):63 (6 pages).

Rafferty, Terrence.
"Bram Stoker's Dracula." (movie reviews) New Yorker v68, n41 (Nov 30, 1992):162 (2 pages).

Rich, Frank.
"The New Blood Culture." (Francis Ford Coppola's 'Dracula') New York Times v142, sec9 (Sun, Dec 6, 1992):V1(L), col 4, 27 col in.

Romney, Jonathan.
"Bram Stoker's Dracula." (movie reviews) New Statesman & Society v6, n237 (Jan 29, 1993):42 (2 pages).

Showalter, Elaine.
"Bram Stoker's Dracula: The Film and the Legend." (movie reviews) TLS. Times Literary Supplement, n4684 (Jan 8, 1993):14A.

Simon, John.
"Bram Stoker's Dracula." (movie reviews) National Review v44, n24 (Dec 14, 1992):52 (2 pages).

The Conversation

Anderson, Carolyn.
"The Conversation as Exemplar and Critique of Sound Technology." Post Script: Essays in Film and the Humanities, vol. 6 no. 3. 1987 Spring-Summer. pp: 13-30.
Contradictory attitudes of attraction and repulsion toward technology andtechnicians run throughout "The Conversation".

Beck, Jay
"Citing the Sound: 'The Conversation,' 'Blow Out,' and the mythological ontology of the soundtrack in '70s film." Journal of Popular Film and Television Wntr 2002 v29 i4 p156(8)
UC users only
Cockburn, A.
John and Oliver's BogusAdventure./ Cries and Whispers."Sight & Sound I/10, Feb 92; p.22-25.
Examines the historical facts behind Oliver Stone's "JFK", looking atKennedy and Vietnam in the 1960's; plus a discussion of the genre ofpolitical conspiracy in the USA, considering films such as "All thepresident's men", "The Parallax View" and "The Conversation".

Film, n17 (Aug. 24, 1974), p. 18

"The Conversation." Cineaste, v6 (1974), p32
UC users only

"The Conversation." Films in Review, v25 (May 1974), p307

Denby, David
"Stolen Conversation: Coppola's The Conversation." Sight and Sound 43:3 (1974:Summer) p.131
UC users only

Denzin, Norman K.
"The Conversation." Symbolic Interaction, Summer92, Vol. 15 Issue 2, p135-149, 15p

Gray, W. Russel
"Tuning in to The Conversation: Twenty-Five Years Later." Journal of Popular Culture, 1999 Fall, 33:2, 123-30.
UC users only
"Analyzes Francis Ford Coppola's 1974 film The Conversation, a modern morality tale, in the context of the Nixon and Clinton presidential scandals. Coppola conceived the idea for the film in 1967, but it took seven years to complete. Coppola's film about electronic espionage and conspiracy underscores the point that it is how technological advancements are used that determines whether they become tools or weapons." [America: History & Life]

Konieczny, Vlad.
"On Film: F. Coppola." West Coast Review, vol. 19 no. 4. 1985 Apr. pp: 42-46.

Kovacs, Steven
"The Conversation." Film Quarterly, v28 (Fall 1974), pp: 54-60
UC users only

Madsen, Axel
"Coppola's Conversation." Sight and Sound v 42 no4 Autumn 1973. p. 200-1

Moses, Gavriel.
"As We (They) See (Hear) Them (Us): Cain/Antonioni/Antonioni/Coppola." VIA: Voices in Italian Americana, vol. 2 no. 1. 1991 Spring. pp: 1-8.

New York Times, v25 (April 21, 1974), Sect II, p1

New York Times, v25 (May 12, 1974), Sect II, p13

New York Times, v25 (May 25, 1974), p16

New Yorker, v50 (April 15, 1974), p116

Palmer, James W.
"America's Conspiracy Syndrome: From Capra to Pakula." Studies in the Humanities, vol. 8 no. 2. 1981 Mar. pp: 21-27.

Pechter, William S.
"Coppola's Progress." Commentary, 58:1 (1974:July) p.61
UC users only

Ricks, Christopher.
"The trouble with Harry." Times Literary Supplement (London), 26 July, 790-1 1974
Ford Coppola's film 'The Conversation', and the Jacobean drama.

Sight and Sound, v43 (Summer 1974), pp: 131-33

TLS-Times Literary Supplement, v43 (July 26, 1974), pp: 790-1

Tracey, Grant.
"The Conversation (1974)." The North American Review. Cedar Falls: Sep/Oct 2006. Vol. 291, Iss. 5; p. 44

Turner, Dennis.
"The Subject of The Conversation." Cinema Journal, vol. 24 no. 4. 1985 Summer. pp: 4-22.
UC users only
Emphasizes the ways in which the film breaks with conventions of genre.

Village Voice, (Jan. 6, 1974), pp: 89-90

Village Voice, (Jan. 13, 1974), pp: 89-90

Village Voice, (June 20, 1974), pp: 79-80

The Cotton Club

Movie Review Query Engine

Corliss, Richard
"The Cotton Club." (Review).Time Dec 17, 1984 v124 p97(2)

Jenkins, Steve
"The Cotton Club." (Review).Whole Earth Review May 1985 p80(1)

Isaacs, Neil D.
"Bathgate in the time of Coppola: a reverie." ('Billy Bathgate') Literature-Film Quarterly v24, n1 (Jan, 1996):109 (2 pages).
UC users only
Comments on the parallels to be found between E.L. Doctorow's novel 'BillyBathgate' and "The Cotton Club" which preceded

Jameson, Richard T.
"It Is, Too, Good." (Review).Film Comment XXI/2, Mar-Apr 85; p.51-53.

Jenkins, Steve
"The Cotton Club." (Review).Monthly Film Bulletin (UK) LII/616, May 85; p.149-151.

Johnson, Albert.
"The Cotton Club." Film Quarterly, v38 (Summer 1985), p. 16
UC users only

Kauffmann, Stanley
"The Cotton Club." (Review). The New Republic Jan 7, 1985 v192 p26(2)

Kobal, John
"The Cotton Club." (Review). Films & Filming/368, May 85; p.34-35.

Krey, R. and Haney, M.
"Cam-remote and the Futureof Camera Mobility." American Cinematographer LXV/8, Aug-Sept 84; p.101-106. illus.
Description of the new remote control camera system Nettmann Cam-remote byMatthews which was used on "The Cotton Club".

Magill, M.
"The Cotton Club." (Review). Films in Review (USA) XXXVI/2, Feb 85; p.110-111.

Milne, Tom
"Black & White." (Review). Sight & Sound LIV/2, Spring 85; p.143-144.

New York Times, (Mar. 22, 1984), Sect. III, p17

New York Times, (Dec. 14, 1984), Sect. III, p4

New Yorker, v 60 (Jan. 7, 1985), pp: 67-70

Saturday Review, v 11 (April 1985), p. 72

Thomson, David
"The Man Has Legs." (Interview). Film Comment XXI/2, Mar-Apr 85; p.54-59.
Novelist/screenwriter W.K. discusses his work and in particular "The CottonClub".

Vineberg, Steve
"The Cotton Club." (Review).Cineaste XIV/2, 85; p.10-11.

Welsch, Tricia
"Killing them with tap shoes: violent performance in The Cotton Club." (1984) Journal of Popular Film and Television Wntr 1998 v25 n4 p162(10)

Gardens of Stone

Baxter, B.
"Gardens of Stone." (Review). Films & Filming /400, Jan 88; p.30.

Doherty, Thomas
"Gardens of Stone." (Review).Cineaste XVI/1-2, 87-88; p.67-68.

Geist, Kenneth L.
"Gardens of Stone." (Review).Films in Review (USA XXXVIII/8-9, Aug-Sept 87; p.423-424.

Kinney, Judy Lee.
"Gardens of Stone, Platoon, and Hamburger Hill: Ritual and Remembrance." In: Inventing Vietnam: The War in Film and Television / edited by Michael Anderegg. pp: 153-65. Philadelphia: Temple University Press, 1991. Culture and the moving image
Main Stack DS557.73.A5 1991
Moffitt DS557.73.A5 1991

(also reprinted in: Inventing Vietnam: The War in Film and Television. pp: 56-80.
Main Stack DS557.73.A5 1991
Moffitt DS557.73.A5 1991

Lindsey, RObert.
"Coppola returns to the Vietnam era, minus Apocalypse; 'Gardens of Stone'studies father-son relationships within the wartime Army." (Francis FordCoppola) New York Times v136, sec2 (Sun, May 3, 1987):H19(N), H19(L), col 1, 45 colin.

Milne, Tom
"Military Honours." (Review).Sight & Sound LVII/1, Winter 87-88; p.69.

Strick, Philip
"Gardens of Stone." (Review). Monthly Film Bulletin (UK) LV/649, Feb 88; p.43-44.


Godfather I & II: Reviews

Chappetta, Roberta
"The Godfather." Film Quarterly, Vol. 25, No. 4 (Summer, 1972), pp. 60-61
UC users only

Pechter, William S.
" Movies: Keeping Up With the Corleones." Commentary Issue: 54:1 (1972:July) p.88
UC users only

Commentary, (Godfather II) v 59 (Mar. 1975), pp. 79-80

Commonweal, (Godfather I) v 96 (April 28,1972), pp. 191-2

Commonweal, (Godfather II) v 102 (Mar. 1975), pp. 146-7

Film, (Godfather II) v 28 (July1975), p. 22

Film Comment, (Godfather II) v 11 (Mar.-April, 1975), p. 2

Films and Filming, (Godfather II) v 21 (July 1975), pp. 42-3

Films in Review, (Godfather I) v 23:4 (April 1972), p. 243

Films in Review, (Godfather II) v 26 (Feb.1975), p. 119-20

Gow, Gordon
"The Godfather." (Film review).Films & Filming XIX/1, Oct 72; p.56.

Grant, E.
"Godfather III." (Review). Films in Review (USA) XLII/3-4, Mar-Apr 91; p.102-107.

Hudson Review, (Godfather I) v 26 (Winter 1973, pp: 170-6)

Independent Film Journal, (Godfather II) v 75 (Dec. 25, 1974), p. 29

Jump Cut, (Godfather II) no. 7 (May-July 1975), p. 1

Magill's Survey of Cinema--English Language Films, First Series. v 2, pp: 638; 644-47.

National Review, (Godfather I) v 24 (July 23, 1972, pp: 704-5

New Republic, (Godfather I) [Stanley Kauffmann) (April 1, 1972), p 26

New York Times, (Godfather I) (March 12, 1972), Sect. II, p. 1

New York Times, (Godfather I) (March 16, 1972), p. 56

New York Times, (Godfather II) [Vincent Canby] (Dec. 13, 1974), p. 58

New York Times, (Godfather II) [Vincent Canby] (Dec. 22, 1974), Sect. II, p. 19

New Yorker, (Godfather I) v 48 (Mar. 18, 1972), pp: 132-4

New Yorker, (Godfather II) v 50 (Dec. 23, 1974), pp: 63-6

Saturday Review, (Godfather I) [Arthur Knight] v 55 (Mar. 25, 1972), p. 16

Schickel, Richard.
"The Final Act of a Family Epic." (Godfather II) Time, (Sept. 16, 1974 ), pp: 70-4

Sight and Sound, (Godfather II) v44 (Summer 1975), pp: 187-88

Village Voice, [Andrew Sarris) (Godfather I) (April 1, 1971)

Village Voice, [Andrew Sarris) (Godfather I) (Mar. 16, 1972), pp. 63+

Village Voice, [Andrew Sarris) (Godfather I) (Mar. 23, 1972), pp. 71+

Village Voice, [Molly Haskell) (Godfather II) (Dec. 23, 1972), pp. 88-89

Village Voice, (Godfather II) (Jan. 30, 1975), pp. 71-2

Washington Post, [Gary Arnold] (Godfather I) (Mar. 23, 1972)

Godfather I & II: Articles and Books:

Ambrogio, Anthony.
""The Godfather, I and II": Patterns of Corruption." Film Criticism, Fall78, Vol. 3 Issue 1, p35-44, 10p
UC users only

Bergesen, Albert
" Godfather II: Some Thoughts on our Changing Conception of Immigrants and Organized Crime." Contemporary Crises Issue: 3:3 (1979:July) p.291
UC users only

Berliner, Todd.
"The Pleasures Of Disappointment: Sequels and The Godfather, Part II." Journal of Film & Video, Summer/Fall2001, Vol. 53 Issue 2/3, p107, 17p,
UC users only

Bookbinder, Robert.
The Flms of the Seventies. 1st ed. pp: 57-9; 97-98. Secaucus, N.J.: Citadel Press, c1982.
UCB Main PN1993.5.U6 B651 1982

Braudy, Susan."Francis Ford Coppola."
Atlantic Monthly 238:2 (1976:Aug.) 66

Chiampi, James Thomas. "Resurrecting "The Godfather"."
Melus 5:4 (1978:Winter) 18

Marcia J. Citron.
"Operatic Style and Structure in Coppola's Godfather Trilogy." The Musical Quarterly. Fall 2004. Vol. 87, Iss. 3; p. 423
UC users only

Combs, Richard.
"Coppola's Family Plot: The Godfather Variations." Film Comment. 38 (2): 38-44. 2002 Mar-Apr.
UC users only

Coppola, Eleanor.
"The Godfather Diary." (excerpts from personal journal on the making of The Godfather Part III) Vogue v180, n12 (Dec, 1990):304 (7 pages).

Corman, Roger.
"The Godfather." Sight & Sound. 12(9):35. 2002 Sept

Dargis, Manohla.
"Dark side of the dream." (Gangsters in American movies) Sight and Sound, v6, n8 (August, 1996):16 (4 pages).

DeAngelis, Michael
"Confession: Ethnic and Racial Identity." In: American cinema of the 1970s : themes and variations / edited by Lester D. Friedman. New Brunswick, N.J. : Rutgers University Press, c2007.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.U6 A8577 2007

Donatelli, Cindy. Alward, Sharon.
"'I Dread You'? Married to the Mob in The Godfather, GoodFellas and The Sopranos." In: This thing of ours : investigating The Sopranos / edited by David Lavery. New York : Columbia University Press ; London : Wallflower, 2002.
MAIN: PN1992.77.S66 T49 2002
MOFF: PN1992.77.S66 T49 2002

Farber, Stephen.
"Coppola and the Godfather."Sight and Sound, (Godfather I) (Autumn 1972), pp: 217-23
UC users only
A study of "The Godfather", followed by an interview with Coppola on hisfilms and career.

Farber, Stephen.
"LA Journal." (on editing Godfather II) Film Comment, 11:2 (March/April 1975), pp: 2+

Ferraro, Thomas J.
"Blood in the Marketplace: The Business of Family in the Godfather Narratives." In The Invention of Ethnicity. Edited byWerner Sollors. New York: Oxford UP, 1989. pp. 176-208
Main Stack PS153.M56.I581 1988; another edition PS153.M56.I58 1991
Moffitt PS153.M56.I58 1988

Gitlin, Todd.
"On the Popularity of The Godfather."Performance, (Godfather I) no. 4 (Sept.-Oct 1972), pp:37-40+

Greene, Naomi
"Coppola, Cimino: The Operatics of History." Film Quarterly XXXVIII/2, Winter 84-85; p.28-37.
UC users only
Looks at 1970's US melodramas: "The godfather", "The Godfather part II","Heaven's Gate", "Apocalypse Now" and "The Deer Hunter".

Gregory, Charles T.
"Good Guys and Bad Guys." Film Heritage 1973 8(3): 1-9.
Political and social idealists have invaded both the creative and critical realms of the film world just when American films are verging on a more sophisticated refusal to categorize and stereotype. Questions aspects of audience identification in 2001: A Space Odyssey and Dr. Strangelove, and states that Sam Peckinpah's love/hate relationships and celebration of violence, speed, and power have been misunderstood. In The Godfather Francis Ford Coppola invites the audience to identify with the "nice" son Michael and to admire the kind-but-stern justice of the godfather. The French Connection hovers uneasily in the middle ground between the easily defended films of Coppola, Peckinpah and Kubrick and the flawed, indefensibly exploitative films like Dirty Harry and Shaft's Big Score. [from ABC-CLIO America: History & Life]

Haskell, Molly.
"World of 'The Godfather': No Place for Women." (feminist critique of Francis Ford Coppola film) New York Times v146, sec2 (Sun, March 23, 1997):H17(N), H17(L), col 1, 33 col in.

Horton, Andrew.
"Cinematic Makeovers and Cultural Border Crossings: Kusturica's Time of the Gypsies and Coppola's Godfather and Godfather II." In: Play It Again, Sam: Retakes on Remakes / edited by Andrew Hortonand Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 172-90. Berkeley: University of California Press, c1998.
Main Stack PN1995.9.R45.P58 1998

Kael, Pauline.
"Alchemy." New Yorker, (Mar. 18, 1972), pp: 132+

Konieczny, Vlad.
"On Film: F. Coppola." West Coast Review, v19:4. 1985 Apr. pp: 42-46.

Krapp, John.
"Ideology, Rhetoric, and Blood-Ties: From The Oresteia to The Godfather."Mosaic: A Journal for the Interdisciplinary Study of Literature vol. 32 no. 1. 1999 Mar. pp: 1-16.
UC users only

Latimer, Jonathan P. "The
Godfather": Metaphor and Microcosm." Journal of Popular Film 2:2 (1973:Spring) 204-8
UC users only

Lourdeaux, Lee.
Italian and Irish Filmmakers in America: Ford, Capra, Coppola, and Scorsese. Philadelphia: Temple University Press, 1990.
UCB Main PN1995.9.C35 L68 1990
\UCB Moffitt PN1995.9.C35 L68 1990)

Maas, Peter.
"Why We Love the Mafia in the Movies." New York Times v139, sec2 (Sun, Sept 9, 1990):H23(N), H23(L), col 1, 29 col in.

Mafia movies : a reader / edited by Dana Renga. Toronto ; Buffalo [N.Y.] : University of Toronto Press, c2011.
Main (Gardner) Stacks PN1995.9.M23 M34 2011
Contents: Setting the scene. The Corleones at home and abroad / Dana Renga -- Gender and Violence : four themes in the everyday world of mafia wives / Peter Schneider and Jane Schneider -- American mafia movies : the Corleones at home and abroad. Wallace McCutchen's The black hand : a different version of a biograph kidnapping / Vincenzo Maggitti -- 'Most thrilling subjects' : D.W. Griffith and the biograph revenge films / JoAnne Ruvoli -- Ethnicity and the classical gangster film : Mervyn LeRoy's Little Caesar and Howard Hawks' Scarface / Norma Bouchard -- Playing good Italian/ bad Italian in ABC's The untouchables / Jonathan J. Cavallero -- Prelude to The Godfather : Martin Ritt's The brotherhood / Robert Casillo -- Micheal Corleone's tie : Francis Ford Coppola's The Godfather / Anthony Julian Tamburri -- Nihilism and Mafiositá in Martin Scorsese's Mean streets / Pellegrino D'Acierno -- Thematic patterns in Francis Ford Coppola's The Godfather : part II / John Paul Russo -- The sexual politics of loyalty in John Huston's Prizzi's honor / Rebecca Bauman -- Between postmodern parody and generic hybridization : the gangsters of Brian De Palma's The untouchables / Norma Bouchard -- The bandit, the gangster, and the American Army shorts : Michael Cimino's The Sicilian / Chiara Mazzucchelli -- Martin Scorsese's GoodFellas : hybrid storytelling between realism and formalism / Fulvio Orsitto -- Redemption in Francis Ford Coppola's The Godfather : part III / John Paul Russo -- 'Nothing romantic about it' : gender and the legacy of crime in Abel Ferrara's The funeral / Lara Santoro -- Inside the mafia : Mike Newell's Donnie Brasco / Robert Casillo -- Martin Scorsese's The departed, or the quest for a departed ethnic identity / Margherita Heyer-Caput -- When words can kill : David Chase's The sopranos / Franco Ricci -- 'Don't stop believin', don't stop- ' : (de)structuring expectations in the final season of The sopranos / Giancarlo Lombardi -- Italian Mafia movies : myth and resistance. Which law is the father's? : gender and generic oscillation in Pietro Germi's In the name of the law / Danielle Hipkins -- The visible, unexposed : Francesco Rosi's Salvatore Giuliano / Laura Wittman -- Modernity, mafia style : Alberto Lattuada's Il mafioso / Nelson Moe -- Francesco Rosi's Hands over the city : a contemporary perspective on the Camorra / Anna Paparcone -- Prototypes of the mafia : Luchino Visconti's The leopard / Elizabeth Leake -- The failure of the intellectual : Elio Petri's filming of Leonardo Sciascia's To each his own / Daniela Bini -- Damiano Damiani's The day of the owl : a Western flirtation / Piero Garofalo -- Smaller and larger families : Lina Wertmüller's The seduction of Mimi / Thomas Harrison -- Deconstructing the enigma : logical investigations in Francesco Rosi's Lucky Luciano / Gaetana Marrone -- Power as such : the idea of the mafia in Franceso Rosi's Illustrious corpses / Alan O'Leary -- Marco Risi's Forever Mary : desperate lives converge in Sicilia 'non bedda' / George De Stefano -- Threads of political violence in Italy's spiderweb : Giorgio Ambrosoli's murder in Michele Placido's A bourgeois hero / Carlo Testa -- Sacrifice, sacrament, and the body in Ricky Tognazzi's La scorta / Myriam Swennen Ruthenburg -- Pasquale Scimeca's Placido Rizzotto : a different view of Corleone / Amy Boylan -- Marco Tullio Giordana's The hundred steps : the biopic as political cinema / George De Stefano -- Roberta Torre's Angela : the mafia and the 'woman's film' / Catherine O'Rawe -- Organized crime and unfulfilled promises in Gabriele Salvatores' I'm not scared / Michael O'Riley -- Growing up Camorrista : Antonio and Andrea Frazzi's Certi bambini / Allison Cooper -- Lipstick and chocolate : Paolo Sorrentino's The consequences of love / Mary Wood -- The in(di)visibility of the mafia, politics, and ethics in Bianchi and Nerazzini's The mafia is white / Robin Pickering-Iazzi -- Marco Turco's Excellent cadavers : an Italian tragedy / Maddalena Spazzini -- Dispatches from Hell : Matteo Garrone's Gomorrah / Pierpaolo Antonello.

"The Making of the Godfather."
Time, (March 13, 1972), pp: 59-61

Manohla, Dargis.
"Dark Side of the Dream." Sight and Sound vol. 6 no. 8. 1996 Aug. pp: 16-18.

May, John R.
The Godfather Films: Birth of a Don, Death of a Family." In: Image and Likeness: Religious Visions in American Film Classics / edited by John R. May. pp: 65-75. New York: Paulist Press, c1992. Isaac Hecker studies in religion and American culture.
Main Stack PN1995.5.I46 1992

McDonald, William.
"Thicker Than Water, and Spilled By the Mob." (films about organized crime, like 'Little Odessa,' and 'The Godfather' series depict breakdown of the family) New York Times v144, sec2 (Sun, May 21, 1995):H11(N), H11(L), col 1, 40 col in.

Minganti, Franco.
"The Hero with a Thousand and Three Faces: Michele, Mike, Michael Corleone." Rivista di Studi Anglo-Amer., vol. 3 no. 4-5. 1984-1985. pp: 257-268.

Murray, William.
"Interview with Francis Ford Coppola." Playboy (July 1975), pp: 53-4+

Papke, David Ray.
"Myth and Meaning: Francis Ford Coppola and Popular Response to the Godfather Trilogy." In: Legal Reelism: Movies as Legal Texts / edited by John Denvir. pp: 1-22.Urbana: University of Illinois Press, c1996.
Main Stack PN1995.9.J8.L45 1996
Moffitt PN1995.9.J8.L45 1996

Poon, Phoebe.
"The Corleone chronicles: revisiting The Godfather films as trilogy.(Francis Ford Coppola's movies)." Journal of Popular Film and Television 33.4 (Wntr 2006): 187(9).
UC users only

Poon, Phoebe.
"The Tragedy of Michael Corleone in The Godfather: Part III." Literature/Film Quarterly, vol. 34, no. 1, pp. 64-70, 2006
UC users only

Rahe, Paul A.
"Don Corleone, Multiculturalist." (lead character in the movie 'The Godfather')(Trust and Business: Barriers and Bridges) Business & Professional Ethics Journal v16, n1-3 (Spring, 1997):133 (21 pages).

Rothstein, Edward.
"Chilling Balance of Love and Evil." (rerelease of Francis Ford Coppola's "Godfather") New York Times v146, sec2 (Sun, March 23, 1997):H17(N), H17(L), col 6, 29 col in.

Roulston, Helen H.
"Opera in Gangster Movies: from Capone to Coppola." Journal of Popular Culture v32, n1 (Summer, 1998):99.
"The stereotypical attitude of Americans towards Italian gangsters, Italian opera and foreigners are depicted in a number of movies. A prime exception to the anti-opera attitude was the popularity of Italian tenor Enrico Caruso who was adored by gangsters such as Big Jim Colosimo and Al Capone. Among the most popular movies dealing with gangsters and the opera are Francis Ford Coppola's 'Godfather' series which used operatic elements such as arias, duets and trios." [Expanded Academic Index]

Shadoian, Jack.
Dreams and Dead Ends: the American Gangster/Crime Film. pp: 326-35.Cambridge, Mass.: MIT Press, c1977.
UCB Main PN1995.9.G3 S51
UCB Moffitt PN1995.9.G3 S51)

Silverman, Deborah Anders.
"Coppola, Cavalleria and Connick: Musical Contributions to Epic in The Godfather, Part II." The Mid-Atlantic Almanac: The Journal of the Mid-Atlantic Popular/American Culture Association, vol. 1. 1992. pp: 26-40.

Shichtman, Martin
"Hollywood's New Weston: The Grail Myth in Francis Ford, Coppola's Apocalypse Now! and John Boorman's Excalibur." By: B. Post Script, Fall84, Vol. 4 Issue 1, p35-48, 14p, 4 bw; (AN 31414786)
UC users only

Simon, William.
"An Analysis of the Structure of The Godfather, Part I." Studies in the Literary Imagination, vol. 16 no. 1. 1983 Spring. pp: 75-89.
UC users only

Sinicropi, Giovanni.
"The Saga Of The Corleones: Puzo, Coppola And The Godfather." Italian Americana 1975 2(1): 79-90.

Sragow, Michael.
"Godfatherhood: Twenty-five Years Later, Francis Ford Coppola Thinks it's a Mixed Blessing." New Yorker v73, n5 (March 24, 1997):44 (9 pages).

Tamburri, Anthony Julian
"Beyond "pizza" and "nonna"! Or, what's bad about Italian/American criticism? Further directions for Italian/American cultural studies" (1). MELUS Fall 2003 v28 i3 p149(27) (10152 words)
UC users only

Thomas, Bob
Marlon, Portrait of the Rebel as an Artist. [1st American ed.]. pp: 239-64 New York, Random House [1973].
UCB Main PN2287.B683 T471
UCB Moffitt PN2287.B683 T47 1973

Thomson, David.
"Death and its Details." (death and murder in films) Film Comment v29, n5 (Sept-Oct, 1993):12 (6 pages).

Thomson, David
"The Discreet Charm of the Godfather." Sight & Sound XLVII/2, Spring 78; p.76-80.
UC users only
Account of the compilation of the tv film and analysis of it.
Thomson, David.
"Michael Corleone, Role Model: Celebrating a Quarter Century of Killer Executive Style." (influence of 'The Godfather' film) Esquire v127, n3 (March, 1997):60 (2 pages).

Tillman, Lynne.
"Kiss of Death." (appreciation of 'The Godfather' motion pictures) Sight and Sound v2, n2 (June, 1992):33.

Toback, James.
"The Godfather Part II." Sight & Sound. 12(9):35. 2002 Sept

Tonkin, Boyd.
"A Cinematic Offer You Can't Refuse: Or How 'The Godfather' Prefigured Apocalypse." (rerelease of Francis Ford Coppola's 'The Godfather' and 'The Godfather II') New Statesman (1996) v125, n4295 (August 2, 1996):38.

Torgovnick, Marianna De Marco.
"The Godfather as the World's Most Typical Novel." South Atlantic Quarterly v87, n2 (Spr, 1988):329 (25 pages).

Yates, John. "Godfather Saga: The Death of the Family."
Journal of Popular Film 4:2 (1975) 157-63
UC users only

Vogelsang, Judith. "Motifs of Image and Sound in 'The Godfather.'
Journal of Popular Film 2:2 (1973:Spring) p. 115
UC users only

Godfather III: Reviews:

Alleva, Richard.
"Godfather III." Commonweal, v118, n4 (Feb 22, 1991):133 (2 pages).

Blake, Richard A.
"The Godfather Part III." America, v164, n8 (March 2, 1991):242 (1 pages).

Clarens, Carlos
"The Godfather Saga." Film Comment XIV/1, Jan-Feb 78; p.21-23.
Criticism and description of the combined tv version of "The Godfather" andhow it was re-edited.

Combs, Richard and Durgnat, Raymond
The Godfatherpart III. The Gangster File: From The Musketeers to Goodfellas." (Review+Article)Monthly Film Bulletin (UK) LVIII/687, Apr 91; p.91-96. illus., cred.
On varying portrayals of gangsters in films through the years, and theattitudes depicted towards society.

Corliss, Richard.
"The Godfather Part III." Time, v136, n27 (Dec 24, 1990):76 (2 pages).

Denby, David.
"The Godfather." New York v30, n12 (March 31, 1997):81 (1 pages).
"The Godfather, Part III." New York, v24, n1 (Jan 7, 1991):57 (2 pages).

Jaehne, Karen
"The Godfather Part III. (Review).Cineaste XVIII/2, 91; p.41-43.

Kael, Pauline.
"The Godfather Part III." New Yorker, v66, n48 (Jan 14, 1991):76 (3 pages).

Kauffmann, Stanley.
"The Godfather: Part III." New Republic, v204, n3 (Jan 21, 1991):26 (2 pages).

Kroll, Jack; Yoffe, Emily.
"The Godfather Part III." Newsweek, v116, n26 (Dec 24, 1990):58 (3 pages).

Klawans, Stuart.
"The Godfather Part III." Nation, v252, n1 (Jan 7, 1991):22 (2 pages).

Orr, Debora.
"The Godfather III." New Statesman & Society, v4, n141 (March 8, 1991):31 (2 pages).

Rainer, Peter.
"The Godfather Part III." American Film, v16, n10 (Nov-Dec, 1991):56 (1 pages).

Rapping, Elayne.
"Godfather, Part III." Progressive, v55, n3 (March, 1991):37 (2 pages).

Simon, John.
"The Godfather Part III." National Review, v43, n1 (Jan 28, 1991):65 (1 pages).

Travers, Peter.
<"The Godfather Part III." Rolling Stone, n596 (Jan 24, 1991):39 (2 pages).
"The Godfather Part III." Rolling Stone, n615 (Oct 17, 1991):102 (1 pages).

Turow, Scott.
"The Godfather Part III." Times Literary Supplement, n4589 (March 15, 1991):15 (1 pages).


Movie Review Query Engine

"Jack." Variety, v363, n12 (July 29, 1996):58 (2 pages).

Kemp, Philip.
"Jack." Sight and Sound, v6, n10 (Oct, 1996):42 (2 pages).

Schickel, Richard.
"Jack." Time, v148, n8 (August 12, 1996):64 (1 pages).

Simon, John.
"Jack." National Review, v48, n17 (Sept 16, 1996):68 (2 pages).

Travers, Peter.
"Jack." Rolling Stone, n742 (Sept 5, 1996):68 (1 pages).

New York Stories

Movie Review Query Engine

Ansen, David.
"New York Stories." Newsweek, v113, n10 (March 6, 1989):58 (1 pages).

Blake, Richard A.
"New York Stories." America, v160, n14 (April 15, 1989):353 (1 pages).

Combs, Richard.
"New York Stories." Sight and Sound v58, n4 (Autumn, 1989):279 (1 pages).

Denby, David.
"New York Stories." New York, v22, n11 (March 13, 1989):63 (2 pages).

Grant, E.
"New York Stories." (Review). Films in Review (USA)" XL/6-7, June-July 89; p.362-363.

Heuring, David and Lee, Nora
"This is the City: NewYork Stories."American Cinematographer LXX/3, Mar 89; p.54-62.
Lighting techniques used in "New York Stories" discussed by itscinematographers Sven Nykvist, Vittorio Storaro and Nestor Almendros.

Hislop, Andrew.
"New York Stories." Times Literary Supplement, n4520 (Nov 17, 1989):1270 (1 pages).

Johnson, Brian D.
"New York Stories." Maclean's, v102, n11 (March 13, 1989):62 (1 pages).

Kael, Pauline.
"New York Stories." New Yorker, v65, n5 (March 20, 1989):93 (4 pages).

Kauffmann, Stanley.
"New York Stories." New Republic, v200, n13 (March 27, 1989):24 (3 pages).

Klawans, Stuart.
"New York Stories." Nation, v248, n12 (March 27, 1989):426 (2 pages).

Librach, Ronald S.
"A Nice Little Irony: Life Lessons." Literature/Film Quarterly XXIV/2, Apr 96; p.128-144.
UC users only
Views 'Life lessons', the Martin Scorsese contribution to "New Yorkstories", as an unofficial adaptation of Dostoevskij's 'The Gambler' and'Polina Suslova's diary'.

Moore, Suzanne.
"New York Stories." New Statesman & Society v2, n76 (Nov 17, 1989):44 (2 pages).

O'Brien, Tom.
"New York Stories." Commonweal, v116, n7 (April 7, 1989):212 (2 pages).

Schickel, Richard.
"New York Stories." Time, v133, n10 (March 6, 1989):68 (1 pages).

Simon, John.
"New York Stories." National Review, v41, n11 (June 16, 1989):45 (3 pages).
UCB users only

Sweet, Louise
"New York Stories." (Review).Monthly Film Bulletin (UK) LVI/670, Nov 89; p.339-341.

One From the Heart

Anderson, P.
One from the Heart." (motion picture review) Films in Review v 33 May 1982. p. 307-8

Bygrave, Mike and Goodman, J.
"Meet Me in Las Vegas."American Film VII/1, Oct 81; p.38-43. illus., cred.
Discusses the making of Coppola's musical "One from the heart", and theproduction and financial problems of his Zoetrope Studios.

Clarens, Carlos
"One From the Studio." (Review).Sight & Sound LI/3, Summer 82; p.192-193.

Combs, Richard
"One From the Heart." (Review).Monthly Film Bulletin (UK) L/593, June 83; p.164-165.

Daney, Serge
"One From the Heart" Framework 32/33 (1986) p.171
UCB users only

Fielding, R.
"Special Visual Effectsfor 'One from the Heart'." American Cinematographer LXIII/1, Jan 82; p.30-91. illus.
An explanation of why effects were used, how they were set up andphotographed.

Fielding, R.
" Recent Electronic Innovations inProfessional Motion Picture Production." Journal of Film and Video XXXVI/2, Spring 84; p.43-55,72.
The use of electronic assistance and computer processing in the productionof "One from the heart" at Zoetrope Studios.

Fuller, Graham.
"A Second Look." Cineaste, vol. 17 no. 4. 1990. pp: 58-59.
Reassessment of the film, arguing that it was ahead of its time.

Gaggi, Silvio
"The Moving Subject." In: From Text to Hypertext: Decentering the Subject in Fiction, Film, the Visual Arts, and Electronic Media / Silvio Gaggi. pp: 67-97. Philadelphia: University of Pennsylvania Press, c1997. Penn studies in contemporary American fiction.
Main Stack NX160.G35 1997

Hoberman, J.
"One from the Heart." (motion picture review) Artforum v 20 Apr 1982. p. 80

Jameson, R. T.
"One from the Heart." (motion picture review) Film Comment v [17] May/June 1981. p. 2+

Lewis, J.
"The Independent Filmmaker asTragic Hero."Persistence of Vision /6, Summer 88; p.26-40.
Examines the career of F.F.C. as an independent filmmaker. Considers hisproblems with Zoetrope Studios and with the distribution of "One from theheart".

Myles, L.
"The Zoetrope Saga." Sight & Sound LI/2, Spring 82; p.91-93.
On the troubles which have affected the Zoetrope Studio culminating inCoppola's problems with his latest film "One from the heart".

Rickey, C.
"Let Yourself Go!" Film Comment XVIII/2, Mar-Apr 82; p.43-47.
Explores the sexual and aesthetic configurations in three recent musicalfilms, "One from the heart", "Victor Victoria" and "Pennies from Heaven".

Riley, B.
"Film Into Video." Film Comment XVIII/3, May-June 82; p.45-48.
Discusses the use of video and computer technology in film-meking atZoetrope Studio with special emphasis on the production of "One from theheart".

The Outsiders

Adair, G.
"Outsiders." (motion picture review) Sight and Sound v 52 no4 Autumn 1983. p. 287

Doherty, T.
"Outsiders." (motion picture review) Film Quarterly v 37 no1 Fall 1983. p. 29

Shipman, D.
"Outsiders." (motion picture review) Films and Filming no347 Aug 1983. p. 40

White, A.
"Outsiders." (motion picture review) Films in Review v 34 May 1983. p. 304-5

Peggy Sue Got Married

Bartosch, B.
"And Invited Charlie to Dinner." Jump Cut /32, Apr 86; p.3-4.
Ideological analysis from a feminist perspective.

Combs, Richard
"Peggy Sue Got Married." (Review).Monthly Film Bulletin (UK) LIV/637, Feb 87; p.55-56.

Corliss, Richard
"Our Town."Film Comment XXII/6, Nov-Dec 86; p.9-13,16-17.
Discusses the images of small town life in the US which are developed in"Blue Velvet", "True Stories" and "Peggy Sue Got Married".

Pearson, Roberta E.
"Peggy Sue Got Married." (Review).Cineaste XV/3, 87; p.46-47.

The Rain People

Cardullo, Bert.
"Re-viewing The Rain People." New Orleans Review, vol. 11 no. 3-4. 1984 Fall-Winter. pp: 112-117.

Gow, Gordon
"The Rain People." (Review). Films & Filming XXV/5, Feb 79; p.30-31. cred.

The Rainmaker

Ansen, David.
"John Grisham's The Rainmaker." (movie reviews) Newsweek v130, n21 (Nov 24, 1997):73.

Combs, Richard
"The Rain People." (Review). Monthly Film Bulletin (UK) XLVI/540, Jan 79; p.10-11.

Denby, David.
"The Rainmaker." (movie reviews) New York v30, n47 (Dec 8, 1997):63.

Kemp, Philip.
"The Rainmaker." (movie reviews) Sight and Sound v8, n4 (April, 1998):50 (2 pages).

Klawans, Stuart.
"The Rainmaker." (movie reviews) Nation v265, n21 (Dec 22, 1997):35 (2 pages).

Rumble Fish

Auty, Chris
"Tightrope Act." (Review).Sight & Sound LIII/2, Spring 84; p.152-153.

Harvey, S.
"Rumble Fish." (Review) Film Comment v 19 Nov/Dec 1983. p. 60+

Hibbin, S.
"Rumble Fish." (Review). Films and Filming no 353 Feb 1984. p. 39-40

Johnston, Sheila
"Rumble Fish." (Review).Monthly Film Bulletin (UK)LI/600, Jan 84; p.7-8.

Reveaux, Anthony
"Stephen H. Burum, ASC and Rumble Fish." (interview) American Cinematographer v 65 May 1984. p. 52-6

Lewis, Jon
"The road to romance and ruin : the crisis of authority in Francis Ford Coppola's Rumble Fish." In: The seeing century : film, vision and identity / edited by Wendy Everett. Amsterdam ; Atlanta : Rodopi, 2000.
Main (Gardner) Stacks PN1995.25 .S44 2000

Roffman, P.
"Rumble Fish." (Review). Cineaste XIII/2, 84; p.49-50.

Thomson, David and Gray, Louise
"Idols of the King."(Interview).Film Comment XIX/5, Sept-Oct 83; p.61-70,72,74-75. illus.
Coppola discusses recent developments in his career and in particular"Rumble Fish".


Movie Review Query Engine

"Tucker: the Man and His Dream." Newsweek, v112, n8 (Aug 22, 1988):69 (1 pages).

Blake, Richard A.
"Tucker: The Man and His Dream." America, v159, n10 (Oct 15, 1988):258 (2 pages).

Combs, Richard
"Tucker: The Man and His Dream." (Review). Monthly Film Bulletin (UK) LV/659, Dec 88; p.351-352.

Darrach, Brad.
"Unlike Coppola's movie hero, auto innovator Preston Tucker was as daring, lavish and flawed as his car." (Francis Ford Coppola) People Weekly, v30, n12 (Sept 19, 1988):85 (5 pages).

Denby, David.
"Tucker: The Man and His Dream." New York, v21, n33 (Aug 22, 1988):130 (2 pages).

French, Sean.
"Tucker: The Man and His Dream." Sight and Sound, v58, n1 (Winter, 1988):62 (2 pages).

Johnson, Brian D.
"Tucker: the Man and his Dream." Maclean's, v101, n35 (Aug 22, 1988):45 (1 pages).

Kauffmann, Stanley.
"Tucker: The Man And His Dream." New Republic, v199, n10 (Sept 5, 1988):26 (2 pages).

Kearney, J. and Greenberg, J.
"The Road Warrior."(Article+Review).American Film XIII/8, June 88; p.20-27,52-53.
Traces the production history of "Tucker" highlighting the contributions ofproducers Fred Roos and George Lucas. Fred

Klawans, Stuart.
"Tucker: The Man and His Dream." Nation, v247, n7 (Sept 26, 1988):250 (1 pages).

Klein, Andy.
"Tucker: the Man and His Dream." American Film, v14, n6 (April, 1989):84 (1 pages).

Kovacs, Steven.
"Tucker." Film Quarterly, v42, n4 (Summer, 1989):26 (3 pages).
UC users only

Lewis, Brent and Baxter, B.
"Coppola's Coup. BridgesUnabridged." (Interviews+Review).Films & Filming /410, Nov-Dec 88; p.6-8,25-27,42-43.
Actor Jeff Bridges and director Francis Ford Coppola discuss their careerand their new film "Tucker".

McShane, Clay
"Tucker: The Man and His Dream."
 The Public Historian
, Vol. 11, No. 1 (Winter, 1989), pp. 65-67
UC users only

Moore, Suzanne.
"Tucker." New Statesman & Society, v1, n25 (Nov 25, 1988):48 (1 pages).

O'Brien, Tom.
"Myth America: 'Tucker' & 'Bull Durham'." Commonweal, v115, n14 (Aug 12, 1988):430 (2 pages).

Rafferty, Terrence.
"Tucker: The Man and His Dream." New Yorker, v64, n27 (Aug 22, 1988):62 (1 pages).

Sawyer, C.
"Tucker - The Man and his Dream." (Review).Films in Review XXXIX/11, Nov 88; p.552-553.

Travers, Peter.
"Tucker." People Weekly, v30, n8 (Aug 22, 1988):15 (1 pages).

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The Film School Generation
Co-production of the New York Center for Visual History, KCET/Los Angeles, and the BBC. South Burlington, VT: Annenberg/CPB Collection, 1994. Series: American cinema; 9.

The Film School Generation traces the rise to prominence of a generation of directors who emerged primarily from the film schools of the University of California, Los Angeles, the University of Southern California and New York University in the 1960s. These directors discuss the films that rejuvenated Hollywood. The film also examines the financial and cultural forces that made their ascendance possible. 55 min. Video/C 3717

Hearts of Darkness: A Filmmaker's Apocalypse
A Showtime presentation; Zaloom Mayfield Productions in association with Zoetrope Studios. Hollywood, CA: Paramount, 1992.
Documentary about the filming of the Vietnam War based motion picture, Apocalypse Now, made by the director's wife, Eleanor Coppola. It's the history of a film beset by physical and personal troubles, such as the destruction of the sets by a hurricane and the heart attack that almost cost the life of one of the stars, Martin Sheen. Includes recent interviews with cast and crew. 96 min. Video/C 4751

Copyright © 1996 by the Library, University of California, Berkeley. All rights reserved.
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