Cardullo, Robert

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Profile URL
https://hdl.handle.net/20.500.14365/7202
Name Variants
Cardullo, R. J.
Cardullo, Bert
Cardullo R.J.
Cardullo, Robert James
Cardullo, Robert J.
Job Title
Email Address
robert.cardullo@ieu.edu.tr
Main Affiliation
04.01. Cinema and Digital Media
Status
Former Staff
Website
ORCID ID
0000-0003-0816-9751
Scopus Author ID
26121009000
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Google Scholar ID
WoS Researcher ID
IJQ-1109-2023

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Documents

66

Citations

47

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Scholarly Output

66

Articles

53

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WoS Citation Count

41

Scopus Citation Count

49

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0.62

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JournalCount
Yale Revıew6
Neophılologus4
Cambrıdge Quarterly4
Explıcator4
Mıdwest Quarterly-A Journal of Contemporary Thought3
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Now showing 1 - 10 of 64
  • Thumbnail Image
    Film Review
    Farce, Dreams, and Desire: Some Like It Hot
    (Wiley-Blackwell Publishing, Inc, 2010) Cardullo, Robert
    [Abstract Not Available]
  • Thumbnail Image
    Review
    Period piece, peace picture: La Grande Illusion reconsidered
    (2012) Cardullo, Robert
    [No abstract available]
  • Thumbnail Image
    Editorial
    Film in Review Dostoyevskyan Surges, Bressonian Spirits
    (Wiley-Blackwell Publishing, Inc, 2009) Cardullo, Robert
    [Abstract Not Available]
  • Thumbnail Image
    Article
    Citation - WoS: 1
    Citation - Scopus: 2
    Death Wish, Child's Whim, Auteurist Will: Boyer and Clement's Forbidden Games Replayed
    (Salisbury State Univ, 2011) Cardullo, Robert J.
    [Abstract Not Available]
  • Thumbnail Image
    Article
    Citation - Scopus: 2
    Why We Fight, or Men, War, the Movies, and Metaphor
    (Pittsburg State Univ, 2011) Cardullo, Bert
    [Abstract Not Available]
  • Thumbnail Image
    Article
    Citation - WoS: 1
    Citation - Scopus: 1
    Theatrical Melodrama, Dramatic Film, and the Rise of American Cinema: the Case of Griffith's Way Down East
    (University Press of Southern Denmark, 2011) Cardullo, Robert
    Way Down East (1920) was made from a highly successfid stage play of the same name, written by Lottie Blair Parker, Joseph R. Grismer, and William A. Brady, which had its premiere at Newport, Rhode Island, on September 3, 1897, and was performed around the United States for more than twenty years. The Parker-Grismer-Brady play came at the end of a century in which the form of melodrama had dominated the American theater-so much so that it spawned several types, such as the rural melodrama of Way Down East. The film of Way Down East itself represents a landmark in the transition between two worlds: of intensive play structure and extensive film form, of Aristotelian drama and Eisensteinian cinema, of nineteenth-century theater culture and twentieth-century American film. This essay is an analysis of the important differences between the dramatic and cinematic versions of Way Down East and an evaluation of the movie in the context of American film history.
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    Article
    Citation - WoS: 3
    Citation - Scopus: 4
    The Pillar of Ibsenian Drama: Henrik Ibsen and Pillars of Society, Reconsidered [pp. 359-371]
    (Springer, 2011) Cardullo, Robert J.
    Pillars of Society is the most ignored of the dozen major Ibsen prose plays. Written between 1875 and 1877, it was an immediate success and made Ibsen the champion of radical artists and social reformers throughout Europe. This drama remained part of the standard Ibsen repertory through the first several decades of the twentieth century and was produced a number of times in England and America. But it is rarely presented in English today. Critically the play has fared no better. Pillars of Society was the work that got William Archer excited about Ibsen, and it was the first Ibsen play to be translated into English-by Archer-but a few years after his translation he declared that British theater audiences had grown so advanced and enlightened that the play already seemed commonplace and old-fashioned. Most modern critics seem to agree, by default if nothing else. To wit: no major critical essay or article on the play has been published in several decades, and even full-length books on Ibsen usually either pass over it entirely or grudgingly accept it as another one in the long bumbling series of Ibsen's apprenticeship plays. Moreover, Pillars of Society is still approached as a problem play in the narrowest definition of that term. From this point of view, the meaning of the play indeed becomes simplistic, i.e., that bourgeois society is hypocritical and its leaders are often corrupt. Far from being an apprenticeship play, however, Pillars of Society is the mature work of a dramatic genius on which he brought all his imaginative powers to bear-the first time, in fact, that Ibsen's manifold creative talents become totally fused in the same work.
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    Article
    Citation - WoS: 1
    Citation - Scopus: 3
    The Delay of Polonius in Shakespeare's Hamlet [pp. 487-495]
    (Springer, 2012) Cardullo, Robert J.
    In a play built on Hamlet's hesitation or delay, it should come as no surprise that Polonius's own long-winded delaying finds a home. In fact, Polonius's delay is intricately wound up with Hamlet's in the play. Polonius may provide us with comic relief in Hamlet, but it is not of the gratuitous kind. Rather it is structurally necessary: his comic delay places Hamlet's own tragic delay or hesitation in perspective; and it leads, in the turning point of the drama-the closet scene-to the stunning, fateful meeting of both delaying forces. This essay considers each of Polonius's delays in Hamlet in detail and attempts to relate them to the larger action, and meaning, of Shakespeare's drama.
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    Editorial
    Theater and Film, or Adolphe Appia and Me: a Discussion With Hans-Jurgen Syberberg
    (Salisbury State Univ, 2010) Cardullo, Robert; Syberberg, Hans-Juergen
    [Abstract Not Available]
  • Thumbnail Image
    Article
    Fiction Into Film: Bresson's Une Femme Douce and Its Russian Source
    (Taylor & Francis Ltd, 2012) Cardullo, Bert
    Robert Bresson attained his power through his method, which is less a thing literally to be described or expressed than an inner orientation enabling an outward quest. That quest, in Bresson's case, was to honor God's universe by using film to render the reality of that universe, and, through its reality, both the miracle of its creation and the mystery of its being. In this essay the author reconsiders Bresson's 1969 film Une Femme douce (A Gentle Creature), after the 1876 novella by Dostoyevsky, from the perspective of its spiritual style, which is consonant with the film's very adaptation method.