Find in Library

This article deals with the different modalities of night scenes in three recent movies by Francis Ford Coppola. Whether shot in day for night or night for night, the author explores the poetics of darkness and reverie set forth in each of the movies in question. The aim of this article is to show how filmic authority cannot depart from cinematography, and a close alliance between director and cinematographer. It also offers some elements of reflection concerning the role of light, or its absence, in film art.