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.
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.
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.
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.
The Godfather Legacy Larke‐Walsh, George S
A Companion to the Gangster Film,
09/2018
Book Chapter
This chapter focuses on the aspects of The Godfather that offer a romantic vision of mafia family, traditions, business, and loyalties. The cultural value of The Godfather is evidenced in its ...influence on global media through direct references and remakes. The legacy of The Godfather in global cinema is twofold; not only does it influence global media texts through direct references and remakes, it is also a social memory that influences how Western audiences read global gangster films. Allusions to The Godfather in Hong Kong gangster films may be the recognition of similar themes, such as the romanticism of a stable hierarchical system that offers a fixed and powerful identity. Ethnic purity is part of the mythology of the mafia created most forcefully in The Godfather, and notions of ethnic purity are evident across the transnational allusions to The Godfather as well.
프란시스 포드 코폴라 감독의 영상미학 연구 리펑루이; Li Pengrui
영화교육연구,
03/2023, Letnik:
17, Številka:
1
Journal Article
1980년대 미국 할리우드의 4대 감독 중 한 명인 프란시스 포드 코폴라는 비판적인 주제, 트라우마와 고독의 특징에 가득 찬 인물 이미지 및 드라마틱한 서사 스타일을 통해 할리우드 장르 영화 발전의 새로운 패러다임을 개척했다. <대부>(The Godfather), <지옥의 묵시록>(Apocalypse Now) 등 고전영화는 그의 개성 넘치는 창작으로 많은 ...사회적 의식과 문화적 함의를 담아 관객들이 영화로부터 사회 및 인간성에 대한 깊은 사고를 형성하도록 했다. 코폴라 감독이 연출한 영화는 강한 비판의식과 문화적 함의를 담아 미국 할리우드 장르 영화의 신기원을 개척했을 뿐만 아니라 세계 영화의 발전에도 깊은 영향을 미치고 있다. 영화 작품을 통해 알 수 있듯이, 코폴라 감독은 본질적인 인간 본성에 대한 발굴 그리고 실제 사회에 대한 책임감과 인간의 생존 형편과 발전의 길에 대한 인문학적 이념에 대한 사고와 탐구를 견지해 왔다. 거의 모든 영화에서 그의 개인색체의 이성정신이 녹아 있다. 그의 영화는 영상 자체를 통해 감염되고 관객의 사고에 파고들어 할리우드 영화 창작 모델을 돌파하고 본인만의 영상미학을 형성한 셈이다.
As one of the top four directors in Hollywood in the 1980s, Francis Ford Coppola created a new model for the development of Hollywood genre films through his critical themes, traumatic and lonely characters and dramatic narrative style. "The Godfather", "Apocalypse Now" and other classic films, under his stylized creation, carry more social consciousness and cultural connotation, allowing audiences to form a deeper reflection on society and human nature from the films. The films directed by Coppola carry a strong critical consciousness and cultural connotation, not only creating a new era of American Hollywood genre films, but also profoundly influencing the development of world cinema. Through each of his films, we can see that Coppola has always insisted on the exploration of the essence of human nature, the sense of responsibility for the actual society and the humanistic thinking and exploration of the human existence and development. Almost every film has incorporated his highly personal and rational spirit. It can be said that his films infect and penetrate into the audience's mind through the images themselves, breaking through the Hollywood film creation model and forming his own artistic style.
Francis Ford Coppola's The Godfather films are often considered as two great epics and a disappointing epilogue. The unpopularity of Godfather III has prevented in-depth analysis of the films as a ...trilogy. To fully appreciate the chronicles of the Corleone Family, it is important not only to distinguish the films from the conventions of the "gangster" film genre but also to reassess how they constitute a unified whole.
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