Sofia Coppola: The Politics of Visual Pleasure

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Berghahn Books, 29.11.2018 - 200 Seiten

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 miscontrues 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.

 

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Inhalt

Introduction The Surface of the Image Is Political
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
References
165
Index
173
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Über den Autor (2018)

Anna Backman Rogers is a Associate Professor/Reader in Feminist Philosophy and Visual Culture at the University of Gothenburg in Sweden. She is the author of American Independent Cinema: Rites of Passage and the Crisis Image (2015) and the co-founder and co-editor-in-chief of the experimental journal MAI: Feminism and Visual Culture.

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