Sofia Coppola: The Politics of Visual PleasureBerghahn Books, 29.11.2018 - 200 Seiten A feminist study of the mood, texture, tone, and multifaceted meaning of director Sofia Coppola’s aesthetic through her most influential and well-known films. A Choice Outstanding Academic Title 2019 “With this book Rogers has produced a sophisticated and impassioned analysis of Coppola’s work... Rogers’s main argument – that Coppola manipulates pleasurable images to unsettle rather than mollify us – is utterly convincing. If nothing else, this certainly hits home in relation to my own enchantment with Coppola’s work.”—Bright Lights Film Journal All too often, the movies of Sofia Coppola have been dismissed as “all style, no substance.” But such an easy caricature, as this engaging and accessible survey of Coppola’s oeuvre demonstrates, fundamentally misconstrues what are rich, ambiguous, meaningful films. Drawing on insights from feminist philosophy and psychology, the author here takes an original approach to Coppola, exploring vital themes from the subversion of patriarchy in The Virgin Suicides to the “female gothic” in The Beguiled. As Rogers shows, far from endorsing a facile and depoliticized postfeminism, Coppola’s films instead deploy beguilement, mood, and pleasure in the service of a robustly feminist philosophy. From the Introduction: |
Inhalt
1 | |
Part I Imaging Absence as Abjecton and Imaging the Female Gothic as Rage | 23 |
Chapter 1 The Virgin Suicides 1999 | 25 |
Chapter 2 The Beguiled 2017 | 45 |
Part II Empty Subjectivities and Masculinity as Void | 67 |
Chapter 3 Lost in Translation 2003 | 69 |
Chapter 4 Somewhere 2010 | 90 |
Part III The Female Body as Patriarchal Currency and the Commodification of Female Identity | 113 |
Chapter 5 Marie Antoinette 2006 | 115 |
Chapter 6 The Bling Ring 2013 | 139 |
On Beguilement | 160 |
165 | |
173 | |