An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan
Abstract
Involved in filmmaking more than four decades, Elia Kazan had been a witness and an influence for significant change in the American film industry. His final phase includes four films, respectively, America America, The Arrangement, The Visitors and The Last Tycoon which are his most neglected films in film studies, compared to his previous successful films such as On the Waterfront, A Streetcar Named Desire, East of Eden and Splendor in the Grass. This study has focused on one of his late films for mainly two reasons; to fill the gap in the literature and present an analyses of Kazan’s most structurally different film regarding its narrative complexities with the concept of realism. Realism is one of the key concepts to study Kazan in the research field, but distinctively, I have tried to find the realism within the mise-en-scène and ambivalence in the narrative.
Keywords
References
- Andrew, J. D. (1976). The Major Film Theories. New York: Oxford University Press.
- ----------------- (1984). Concepts in Film Theory. New York: Oxford University Press.
- Balio, T. (1993). Grand Design: Hollywood As a Modern Business Enterprise, 1930-1939. (C. Harpole, ed.). New York: Simon & Schuster.
- Bazin, A. (2005). What Is Cinema? (H. Gray, trans.). University of California Press.
- Bordwell, D. (1985). Narration in the Fiction Film. The University of Wisconsin Press.
- Bordwell, D. and Thompson, K. (1997). C. Ward, N. Blaine, C. Berkowitz (eds.) Film Art: An Introduction. McGraw-Hill.
- Callahan, J. F. (1978). “The Unfinished Business of “The Last Tycoon”. Literature Film Quarterly. 6(3). 204-213.
- Ciment, M. (1973). C. Williams (ed.) Kazan on Kazan. London: Secker & Warburg.
Details
Primary Language
English
Subjects
Communication and Media Studies
Journal Section
Research Article
Authors
Publication Date
October 7, 2019
Submission Date
June 20, 2019
Acceptance Date
September 11, 2019
Published in Issue
Year 2019 Number: 4
APA
Ağın, B. (2019). An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan. Etkileşim, 4, 220-235. https://doi.org/10.32739/etkilesim.2019.4.71
AMA
1.Ağın B. An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan. Etkileşim. 2019;(4):220-235. doi:10.32739/etkilesim.2019.4.71
Chicago
Ağın, Besna. 2019. “An Analysis on Ambivalence in Cinema: ‘The Last Tycoon’ Elia Kazan”. Etkileşim, nos. 4: 220-35. https://doi.org/10.32739/etkilesim.2019.4.71.
EndNote
Ağın B (October 1, 2019) An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan. Etkileşim 4 220–235.
IEEE
[1]B. Ağın, “An Analysis on Ambivalence in Cinema: ‘The Last Tycoon’ Elia Kazan”, Etkileşim, no. 4, pp. 220–235, Oct. 2019, doi: 10.32739/etkilesim.2019.4.71.
ISNAD
Ağın, Besna. “An Analysis on Ambivalence in Cinema: ‘The Last Tycoon’ Elia Kazan”. Etkileşim. 4 (October 1, 2019): 220-235. https://doi.org/10.32739/etkilesim.2019.4.71.
JAMA
1.Ağın B. An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan. Etkileşim. 2019;:220–235.
MLA
Ağın, Besna. “An Analysis on Ambivalence in Cinema: ‘The Last Tycoon’ Elia Kazan”. Etkileşim, no. 4, Oct. 2019, pp. 220-35, doi:10.32739/etkilesim.2019.4.71.
Vancouver
1.Besna Ağın. An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan. Etkileşim. 2019 Oct. 1;(4):220-35. doi:10.32739/etkilesim.2019.4.71
