This collection of essays looks at all aspects of Coppola's "classic," as the late Dr. Anne Paolucci called it. The individual studies examine a series of issues that are both thematic and structural. How did the lm speak to us in 1972, and how does it speak to us now? What narrative devices did Coppola adopt to bring forth his communiqué? Can we decipher what his communiqué was? In viewing the lm from a more theoretical perspective, what can the spectator take away from the film? -FROM THE "PREFACE"