The Thin Blue Line: How can we destroy actuality with editing?
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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| Format: | Article |
| Language: | English |
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University of Pittsburgh
2012-04-01
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| Series: | CINEJ Cinema Journal |
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| Online Access: | http://cinej.pitt.edu/ojs/index.php/cinej/article/view/44 |
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doaj-ea14732228df488bb41a80aed24c19f02020-11-25T01:13:30ZengUniversity of PittsburghCINEJ Cinema Journal2159-24112158-87242012-04-0112727810.5195/cinej.2012.4436The Thin Blue Line: How can we destroy actuality with editing?Özlem Tuğçe Kaymaz0Kadir Has UniversityReviews 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/44Film, Cinema, Gender |
| collection |
DOAJ |
| language |
English |
| format |
Article |
| sources |
DOAJ |
| author |
Özlem Tuğçe Kaymaz |
| spellingShingle |
Özlem Tuğçe Kaymaz The Thin Blue Line: How can we destroy actuality with editing? CINEJ Cinema Journal Film, Cinema, Gender |
| author_facet |
Özlem Tuğçe Kaymaz |
| author_sort |
Özlem Tuğçe Kaymaz |
| title |
The Thin Blue Line: How can we destroy actuality with editing? |
| title_short |
The Thin Blue Line: How can we destroy actuality with editing? |
| title_full |
The Thin Blue Line: How can we destroy actuality with editing? |
| title_fullStr |
The Thin Blue Line: How can we destroy actuality with editing? |
| title_full_unstemmed |
The Thin Blue Line: How can we destroy actuality with editing? |
| title_sort |
thin blue line: how can we destroy actuality with editing? |
| publisher |
University of Pittsburgh |
| series |
CINEJ Cinema Journal |
| issn |
2159-2411 2158-8724 |
| publishDate |
2012-04-01 |
| 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. |
| topic |
Film, Cinema, Gender |
| url |
http://cinej.pitt.edu/ojs/index.php/cinej/article/view/44 |
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AT ozlemtugcekaymaz thethinbluelinehowcanwedestroyactualitywithediting AT ozlemtugcekaymaz thinbluelinehowcanwedestroyactualitywithediting |
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