The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)

The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)

Reviews referring to Francis Ford Coppola’s Columbia Pictures Bram Stoker’s Dracula classic of 1992 recurrently mention the images owing to the camera work of Michael Ballhaus as the striking feature of the movie and highly praise them for their thematically coherent effect.. The colours, if mention...

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Bibliographic Details
Main Author: Veronika Bernard
Format: Article
Language:English
Published: University of Pittsburgh 2011-10-01
Series:CINEJ Cinema Journal
Online Access:http://cinej.pitt.edu/ojs/index.php/cinej/article/view/39
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spelling doaj-5456e5b69e5b473ebc80659ce3bab5de2020-11-25T02:42:10ZengUniversity of PittsburghCINEJ Cinema Journal2159-24112158-87242011-10-011066310.5195/cinej.2011.3929The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)Veronika Bernard0University of InnsbruckReviews referring to Francis Ford Coppola’s Columbia Pictures Bram Stoker’s Dracula classic of 1992 recurrently mention the images owing to the camera work of Michael Ballhaus as the striking feature of the movie and highly praise them for their thematically coherent effect.. The colours, if mentioned at all, leave reviewers undecided to sceptical when it comes to evaluating their contribution to the overall composition of the film, though. By providing a semiotic analysis of colours and symbolic imagery the below article will show how colours and imagery in their inter-relatedness create coherence and cohesion with Coppola’s interpretation of Stoker’s Dracula as a religiously inspired morality play set in the context of Victorian cultural values and self-perception.http://cinej.pitt.edu/ojs/index.php/cinej/article/view/39
collection DOAJ
language English
format Article
sources DOAJ
author Veronika Bernard
spellingShingle Veronika Bernard
The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)
CINEJ Cinema Journal
author_facet Veronika Bernard
author_sort Veronika Bernard
title The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)
title_short The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)
title_full The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)
title_fullStr The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)
title_full_unstemmed The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)
title_sort language of colours. a semiotic analysis of colours and symbolic imagery in francis ford coppola’s "bram stoker’s dracula" (1992)
publisher University of Pittsburgh
series CINEJ Cinema Journal
issn 2159-2411
2158-8724
publishDate 2011-10-01
description Reviews referring to Francis Ford Coppola’s Columbia Pictures Bram Stoker’s Dracula classic of 1992 recurrently mention the images owing to the camera work of Michael Ballhaus as the striking feature of the movie and highly praise them for their thematically coherent effect.. The colours, if mentioned at all, leave reviewers undecided to sceptical when it comes to evaluating their contribution to the overall composition of the film, though. By providing a semiotic analysis of colours and symbolic imagery the below article will show how colours and imagery in their inter-relatedness create coherence and cohesion with Coppola’s interpretation of Stoker’s Dracula as a religiously inspired morality play set in the context of Victorian cultural values and self-perception.
url http://cinej.pitt.edu/ojs/index.php/cinej/article/view/39
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