Specularity and engulfment: Francis Ford Coppola and Bram Stoker’s Dracula

Contemporary Hollywood Cinema

Volumn , Issue , 2013, Pages 191-208

  Elsaesser, Thomas ^a  

^a UNIVERSITY OF AMSTERDAM   (Netherlands)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85071121029     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203349847-22     Document Type: Chapter

References (25)

1. Jon Lewis, Whom God Wishes to Destroy (London: The Athlone Press, 1995), p. 160.
2. James Monaco, American Film Now (New York: Oxford University Press, 1979).
3. Thomas Schatz, ‘The New Hollywood’, in J. Collins, H. Radner and A. Preacher Collins (eds), Film Theory Goes to the Movies (London: Routledge, 1993), pp. 8-36.
4. Michael Pye and Lynda Myles, The Movie Brats (London: Studio Vista, 1985).
5. Tino Balio (ed.), Hollywood in the Age of Television (Cambridge, Mass.: Unwyn Hyman, 1990).
6. Justin Wyatt, High Concept: Movies and Marketing in Hollywood (Austin: University of Texas Press, 1994).
7. Tim Corrigan, A Cinema Without Walls: Movies and Culture After Vietnam (New York/London: Routledge, 1991).
8. Robin Wood, Hollywood from Vietnam to Reagan (New York: Columbia University Press, 1986).
9. “fly-overs,�? a mass of undifferentiated desires that lives below planes moving between Los Angeles and New York City.’ Tim Corrigan, A Cinema Without Walls, pp. 22-3.
10. Ien Ang, Desperately Seeking the Audience (London: Routledge, 1995).
11. Thomas Elsaesser, ‘National cinema: the competition with Hollywood’, Skrien, no. 186 (1992), pp. 50-3.
12. Thomas Elsaesser, ‘German postwar cinema and Hollywood’, in D. Ellwood and R. Kroes (eds), Hollywood and Europe (Amsterdam: Vrije Universiteit, 1994), pp. 283-302.
13. Noël Carroll, ‘The future of an allusion’, October, no. 21 (1982), p. 54.
14. Robert Ray, A Certain Tendency of the Hollywood Cinema (Princeton: Princeton University Press, 1985), p. 244.
15. Fredric Jameson, The Political Unconscious (London: Methuen, 1981), p. 207.
16. Chris Hugo, ‘The economic background’, parts I and II, Movie, nos. 27/28 (1984), pp. 43-9, and nos. 31/32 (1986), pp. 84-8.
17. Beverle Houston, ‘Power and dis-integration in the films of Orson Welles’, Film Quarterly, vol. 35, no. 4 (Summer 1982), p. 2.
18. Michel Chion, Audiovision:Sound on Screen (New York: Columbia University Press, 1994).
19. Thomas Elsaesser and Michael Wedel, ‘The hollow heart of Hollywood: sound space in Apocalypse Now’, in Gene Moore (ed.), Conrad on Film (Oxford: Oxford University Press, 1997).
20. Richard Dyer, ‘Dracula and desire’, Sight and Sound, vol. 3, no. 1 (January 1993), pp. 8-12.
21. Pierre Sorlin, ‘Ist es möglich, eine Geschichte des Kinos zu schreiben?’, Montage a/v, vol. 5, no. 1 (1996), p. 27.
22. Steve Biodrowski, ‘Coppola’s Dracula’, Cinefantastique, vol. 23, no. 4 (1992), p. 24.
23. Omar Calabrese, ‘I Replicanti’, paper given at the Semiotics Conference 1986 in Urbino.
24. R. Bellour, ‘The obvious and the code’, in Phil Rosen (ed.), Narrative, Apparatus, Ideology (New York: Columbia University Press, 1986), pp. 93-101.
25. Jean Baudrillard, Baudrillard Live (London: Verso, 1989), p. 69.