Fictions of Power: ‘‘My Movie is Not a Movie’’ JULIE GROSSMAN I N 1991, DIRECTOR FAX BAHR AND WRITERS BAHR AND GEORGE Hickenlooper completed the film version of Eleanor Coppola’s documentary footage of her husband’s professional and personal trials during the making of Apocalypse Now . The resulting documentary, Hearts of Darkness: A Filmmaker’s Apocalypse, charts Francis Ford Cop- pola’s attempts to adapt Joseph Conrad’s Heart of Darkness to the con- text of American responses to the Vietnam War. In 1993, HBO presented a mockumentary called Hearts of Hot Shots! Part Deux: A Filmmaker’s Apology , written, produced, and directed by Thomas Grane and Victor Davis. The parody, which functioned as marketing for the cable network’s viewings of Hot Shots! Part Deux begins with a caption introducing the context of the film: In February 1989, Director Jim Abrahams traveled to the remote jungles of Los Angeles to shoot Hot Shots! Part Deux. Based loosely on Bram Stroker’s short story ‘‘Part Deux,’’ the film is set during a hostage crisis in the Middle East. ‘‘Making of Hot Shots! Part Deux’’ is a clever and provocative parody of Hearts of Darkness: A Filmmaker’s Apocalypse. Abrahams’ crew sends up Coppola’s tortured process of ‘‘making art,’’ as it is ardently represented in Hearts of Darkness. For example, just after the introductory caption cited above (where we notice the reference to Stoker, a.k.a. ‘‘Stroker,’’ a sardonic allusion to Coppola’s Bram Stoker’s Dracula, which had come out the year before Abrahams’ parody was made), we hear the voiceover sung to the tune of the Doors’ ‘‘The End’’: ‘‘This is the start. The Journal of Popular Culture, Vol. 43, No. 2, 2010 r 2010, Wiley Periodicals, Inc. 271