The article is an unyielding argument supporting the thesis that not only a writer, but also a translator is expected to use their creativity so that nothing is lost in translation. Amongst various ...factors that influence the process of translating a novel the article focuses on two of them: a translator should stick to the original text with taking the semantic fields differences into account while s/he should keep the atmosphere of the source language, making as little changes in the target language as possible. Marking a translator’s existence in a text is strongly connected with a perlocutionary act. A great example of the translation that covers both principles is The Godfather, written by Mario Puzo and translated from English into Polish by Bronisław Zieliński. He translated only English words into Polish, leaving the target Italian words with no metamorphosis. The article presents the effect obtained by such an action.
Going Bad and Staying Bad Halldórsson, Viðar; Katovich, Michael A.
Symbolic interaction,
08/2019, Letnik:
42, Številka:
3
Journal Article
Recenzirano
Symbolic interactionists recognize how selves transform for better or worse. When transforming for worse, or going bad, selves often stay bad, owing to societal response. In this article, we examine ...fictional characters from popular media (specifically, Michael Corleone from The Godfather trilogy and Walter White from Breaking Bad) and a nonfictional athlete (Lance Armstrong) to discuss staying bad as self-conscious choices made by those who go bad. Using Athens’ depiction of self transformation and adding the notion of particular trajectories (teleological, immersed, and ideational), we compare and contrast the characters’ transformations from noble, or potentially heroic, to unapologetically blemished. Our analogic connection depict patterns of development that stress the fundamental importance of agency in regard to processes of staying bad, even when such agency appears self-destructive.
This study examines the changed mythology of crime in the Hollywood gangster genre resulting from new representations of mafia in Francis Ford Coppola’s Godfather trilogy. The trilogy will be viewed ...as a point of departure for new experimentations in the gangster genre in response to the Russian experience of mafia, namely in Aleksei Balabanov’s Brother film sequence. This analysis will discuss the key themes that appear in Coppola’s trilogy including family, masculinity, morality, and identity and consider the extent to which they either translate to or mutate in Balabanov’s sequence. This research will also explore how Balabanov infuses his films with unique Russian stylistic elements from the bylina (fairy-tale) and aesthetics from chernukha (dark cinema) in order to create a reimagined version of the gangster film. This consideration of the filmic depictions of mafia does not attempt to define the mafia in its truly existing form but seeks to understand how two different experiences of mafia and their interpretations can compare on screen, and how this reveals the tension between resisting and accepting the influence of Hollywood and America on Russian cinema and society.
Abstract
We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The Godfather. They both begin outside the main power structure, the kingdom of Saul and the ...crime family, and then rise, often through the use of violence, to the top: King and Don. David's decisive slaying of Goliath is matched by Michael's assassination of Sollozzo and McCluskey. After the killings both are now recognized as serious "players" in their respective structures. As they move up the power chain David and Michael, as characters in biblical narrative and modern film, are haunted by the possibility that their stories could have been different: the innocent young shepherd and the decorated Marine. Both could be separate from the violence and corruption of Israelite monarchy and of the Corleone family.
Joseph L. Albini (1930-2013) is a central figure in the historiography and criminology of organized crime and one of the leading revisionists critical of the traditional, centralized paradigm of ...organized crime rooted in the structural-functional approaches dominating sociology from the 1940s to 1980s. Albini argued that the Mafia was a socially-constructed entity that took on a life above and beyond its actual manifestations, thereby serving a vital role and function in political and social discourse in the United States. Albini used interdisciplinary theoretical perspectives and a mixture of social scientific and historical research methods to analyze data derived from a breadth of documentary sources and underworld and upperworld informants. This allowed Albini to deconstruct the historical and contemporary mythologies about a centralized national Mafia and to develop an alternative framework to evaluate organized crime in its complex and ever-evolving manifestations. Albini also advanced innovative critical criminological approaches that influenced the work of his contemporaries and scholars of later generations. Albini’s later work 1) explored the impact of globalization on organized crime including transnational alliances between career criminals, terrorist networks and the security apparatuses of various nation states and 2) developed a conceptual framework, the organized crime matrix, to explain organized crime as a structure of everyday life across time and space.
This chapter reveals how primary Bernie, the character Albert Brooks plays, is to Drive (2011) notwithstanding his limited share of narrative time, and how Bernie makes pronounced the challenges of ...successfully reconciling with the story’s criminal system. Seen in this light, Bernie’s narrative offers fresh commentary on Driver’s (Ryan Gosling) and that, by attending more closely to the mobster, we can learn more about both the central protagonist and his world. After establishing the dialogic relationship between the Driver and Bernie, Drive is juxtaposed with The Godfather films (1972, 1974, 1990) to show how Nicolas Winding Refn’s borrowings and exploration of similar concerns help us understand both Driver’s and Bernie’s positions to offer insights into the film’s understanding of monetary exchanges and its criminal world.
In this interview Jon Lewis reflects on his period as editor of Cinema journal and discusses changes in the historical-critical emphases at play in the field of film and media studies as it begins to ...engage more directly with the claims of television studies and the emerging field of new media studies. He further discusses the shifts he has observed in film and media studies as an area of academic publication, over the course of his academic career, noting the impact of the current context of more limited or competitive publication possibilities on younger academics hoping for a career in the profession. Finally, he discusses his own recent research and publications, and speculates on two further, ongoing areas of research: his work on HUAC, and even more specifically his work on the memoirs of HUAC survivors; and his involvement with research into the place of soccer in US sporting and cultural life.
The godfather doctrine Hulsman, John C; Mitchell, A. Wess
2009., 20090209, 2009, 2009-02-09
eBook
The Godfather Doctrine draws clear and essential lessons from perhaps the greatest Hollywood movie ever made to illustrate America's changing geopolitical place in the world and how our country can ...best meet the momentous strategic challenges it faces.
This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the ...crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all.
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