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- W3022367613 abstract "Coppola’s Monster Film: The Making of Apocalypse Now Steven Travers. McFarland, 2016.Aside from Werner Herzog's Fitzcarraldo (1982), few films have as fascinating a production history as Francis Ford Coppola's Apocalypse Now (1979), documented in Eleanor Coppola's candid journal Notes on the making of the film (which forms the backbone of Hearts of Darkness: A Filmmaker's Apocalypse [1991], surely one of the most acclaimed making-of documentaries ever made), as well as Peter Cowie's recommended The Apocalypse Now Book, published at the time of Apocalypse Now Redux s (2001) release. Coppola's Monster Film certainly repeats some details on the film's troubled production history, particularly with regard to the production's extravagance and Coppola's megalomania, but Steven Travers belies his subtitle, proving himself more interested in the cultural contexts that shaped the film's origins, as well as the ways it would forever change Hollywood.Travers has become quite the prolific author in recent years. Most of his books have covered sports history, but Travers has recently turned to film history, with his The Duke, the Longhorns, and Chairman Mao: John Wayne's Political Odyssey (2014), which examines the 1966 USC-Texas football game as a backdrop for Wayne's politics. Travers makes the connection to his previous work in his introduction to Coppola's Monster Film, although additional parallels become more evident throughout the latter book. Indeed, Travers intermittently exhibits his steady interest in the history of the USC and UCLA football programs, along with one of his main topics of discussion here, those respective schools' film programs.Travers writes of the ubiquity of Joseph Conrad's Heart of Darkness in the liberal school curricula of the 1960s. Besides the obvious material on Coppola, other chapters address the significance of key figures associated with Apocalypse Now: George Lucas, John Milius, Robert Duvall, Martin Sheen, Dennis Hopper, and Marlon Brando, with his prima donna attitudes (the ultimate difficult artist [147]) and obesity. Travers even dedicates two whole chapters to Jim Morrison, who also attended UCLA's film school and whose music received a boost in popularity due to Apocalypse Now's popularity.Travers rightly points out the political import of a film like Apocalypse Now. John Milius, a hardcore right-winger (85), started adapting Heart of Darkness back in the 1960s. Following the success of American Graffiti (1973), Lucas was to have directed the film and would have if he had not already begun work on Star Wars. …" @default.
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- W3022367613 date "2017-12-01" @default.
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- W3022367613 title "Coppola's Monster Film: The Making of Apocalypse Now StevenTravers. McFarland, 2016." @default.
- W3022367613 doi "https://doi.org/10.1111/jacc.12815" @default.
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