SPEAKING BODIES, VISIBLE VOICES: NARRATIVE TENSION IN COPPOLA’S APOCALYPSE NOW: REDUX (2001)
Keywords:
narrative tension, visual pleasure, narrative voicelessness, Apocalypse Now Redux, Francis Coppola, American Vietnam War Film
Abstract
Francis Ford Coppola’s Apocalypse Now: Redux (2001), a 2001 re-release of his 1979 Vietnam War epic, sparked significant discussions among both academic scholars and mainstream media. The extended version, which features almost an hour-long addition of new scenes, challenged the question of the film’s continued relevance within the evolving Hollywood industry. While the original version may have highlighted the horror and dehumanization of the Vietnam War, it was also criticized for depicting women as one-dimensional sexual objects and effectively silencing their voices. However, by utilizing Verstraten’s notion of filmic narrative, Mulvey’s visual pleasure, and Stark’s narrative voicelessness, this research aims to show how narrative tension is displayed in Apocalypse Now: Redux and how it highlights the representation of the female characters’ subjectivity. We argue that the Redux version offers a notable difference from the stereotypical portrayal of women in war film. By incorporating the newly added scenes, Apocalypse Now: Redux provides the female characters with more agency and individuality, allowing them to move beyond the limitation of being mere decorations.
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Carruthers, S. (2010). Bringing it all back home: Hollywood returns to war. Small Wars & Insurgencies, 14(1). doi:https://doi.org/10.1080/09592310412331300626
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Donald, R., & MacDonald, K. (2011). Reel Men at War: Masculinity and The American War Film: Scarecrow Press, Inc.
Furia, S. R., & Bielby, D. D. (2009). Bombshells on Film: Women, Military Films, and Hegemonic Gender Ideologies. Popular Communication: The International Journal of Media and Culture, 7(4). doi:10.1080/15405700903046369
Garcia-Escriva, V. (2017). Vanishing Myths: Influences and Rewrites in the Epilogue of Apocalypse Now. Quarterly Review of Film and Video, 35(2). doi:https://doi.org/10.1080/10509208.2017.1348175
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Gillespie, G. (1985). SAVAGE PLACES REVISITED: CONRAD'S "HEART OF DARKNESS" AND COPPOLA'S "APOCALYPSE NOW". The Comparatist, 9. doi:https://www.jstor.org/stable/44366725
Hansen, M. (1980). Traces of Transgression in Apocalypse Now. Social Text, 3. doi:http://www.jstor.org/stable/466348
Harrell, B. J. (1982). The Social Basis of Root Metaphor: An Application to "Apocalypse Now" and "The Heart of Darkness". The Journal of Mind and Behavior, 3(3/4). doi:https://www.jstor.org/stable/43852930
Hellmann, J. (1982). Vietnam and the Hollywood Genre Film: Inversions of American Mythology in the Deer Hunter and Apocalypse Now. American Quarterly, 34(4), 418-439.
Hellmann, J. (2007). Apocalypse Now Redux and the Curse of Vietnam. In J. Roper (Ed.), The United States and The Legacy of Vietnam War: PALGRAVE MACMILLAN.
Jeffords, S. (1989). Vietnam War representations. Critical Studies in Mass Communication. doi:https://sci-hub.hkvisa.net/10.1080/15295038909366732
Kılıçarslan, C. (2009). The Masculinist Ideology and War-Combat Films: Reassertion of Masculinity in Hollywood. Journal of Faculty of Letters, 26(1).
Kujawska-Lis, E. (2000). Symbolism and Imagery in “Heart of Darkness ” and “Apocalypse Now". Acta Neophilologica(II), 133-153.
Lacy, M. J. (2003). War, Cinema, and Moral Anxiety. Alternatives: Global, Local, Political, 28(5). doi:https://doi.org/10.1177/030437540302800504
Lichty, L. W., & Carroll, R. L. (2008). Fragments of War: Oliver Stone's Platoon. In P. C. Rollins & J. E. O'Connor (Eds.), Why We Fought: America's Wars in Film and History: The University Press of Kentucky.
Mithers, C. L. (1986). Missing in action: Women, warriors, and Vietnam. Cultural Critique. doi:https://sci-hub.hkvisa.net/10.1080/15295038909366732
Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3).
Nguyen, N. (2015). Which Mirror Is 'Truer'? Portrayal of the Vietnam War in Apocalypse Now and Cánh Ðôȍg Hoang. Journal of American-East Asian Relations.
Norris, M. (1998). Modernism and Vietnam: Francis Ford Coppola's Apocalypse Now. MFS Modern Fiction Studies, 44(3). doi:10.1353/mfs.1998.0070
Nyerges, A. (2014). Orienting the Coppolas: A New Approach to U.S. Film Imperialism. Sydney Studies in English, 40.
Prorokova, T. (2018). Human Duality, Moral Transformation, and the Vietnam War in Apocalypse Now and Full Metal Jacket. Ex-centric Narratives: Journal of Anglophone Literature, Culture and Media, 2. doi:https://doi.org/10.26262/exna.v1i2.6733
Roberts, A. M., & Easingwood, P. (1997). Beyond the Male Romance: Repetition as Failure and Success in Apocalypse Now. Critical Survey, 9(1). doi:https://doi.org/10.3167/001115797782484619
Selig, M. (1993). Genre, gender, and the discourse of war: the a/historical and Vietman films. Screen. doi:https://sci-hub.hkvisa.net/10.1093/screen/34.1.1
Shao, B.-q., & Liu, X. (2015). The Vietnam War in the New Century: The Evolution of
Apocalypse Now Redux (2001) in Narrative Perspective. Journal of Literature and Art Studies, 5(2). doi:10.17265/2159-5836
Sherry, J. (2012). Paratextual Adaptation: Heart of Darkness as Heart of Darkness via Apocalypse Now. In D. Cartmell (Ed.), A Companion to Literature, Film, and Adaptation: Blackwell Publishing Ltd.
Stark, L. (2015). Voicelessness and the Limits of Agency in Early Modern Finnish Narratives on Magic and the Supernatural. Narrative Culture, 2(1).
Thompson, R., & Bowen, C. J. (2009). Grammar of the Edit: Elsevier.
Verrips, J. (2010). The Golden Bough and Apocalypse Now : An-other fantasy. Postcolonial Studies, 4(3). doi:https://doi.org/10.1080/13688790120102688
Verstraten, P. (2009). Film Narratology. Canada: University of Toronto Press.
Watson, W. (1981). Willard as Narrator: A Critique and an Immodest Proposal. Conradiana, 13(1). doi:https://www.jstor.org/stable/24634093
Willoquet-Maricondi, P. (1994). Full-Metal-Jacketing, or Masculinity in the Making. Cinema Journal. doi:https://www-jstor-org.proxy.undip.ac.id/stable/1225514?searchText=vietnam+war+films+and+female+characters&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dvietnam%2Bwar%2Bfilms%2Band%2Bfemale%2Bcharacters&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A9db07e84c2b10b38099207c169341e4a
Zapata, J. V. (1996). HEART OF DARKNESS AND THE AFRICAN STORY: THE (NOW QUESTIONED) CRITICISM OF COLONIALISM. In Many Sundry Wits Gathered Together.
Published
2024-08-24
How to Cite
Mori, A., Priyatna, A., & Adipurwawidjana, A. (2024). SPEAKING BODIES, VISIBLE VOICES: NARRATIVE TENSION IN COPPOLA’S APOCALYPSE NOW: REDUX (2001). Lire Journal (Journal of Linguistics and Literature), 8(2), 311-327. https://doi.org/10.33019/lire.v8i2.315
Section
Articles
Copyright (c) 2024 Alifa Syauqina Mori, Aquarini Priyatna, Ari J Adipurwawidjana
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