Sofia Coppola

The Politics of Visual Pleasure
1. Auflage 2018
ISBN: 978-1-78533-965-3
Verlag: Berghahn Books

Buch, Englisch, 200 Seiten, Format (B × H): 157 mm x 235 mm, Gewicht: 431 g

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.

Autoren/Hrsg.

Rogers, Anna Backman

Fachgebiete

• Sozialwissenschaften Soziologie | Soziale Arbeit Soziologie Allgemein Feminismus, Feministische Theorie
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Einzelne Filmschauspieler, Filmregisseure, Drehbuchautoren
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgeschichte

Inhaltsverzeichnis

List of Illustrations

Acknowledgements

Introduction: The Surface of The Image is Political

PART I: IMAGING ABSENCE AS ABJECTION AND IMAGING THE FEMALE GOTHIC AS RAGE

Chapter 1. The Virgin Suicides (1999)

Chapter 2. The Beguiled (2017)

PART II: EMPTY SUBJECTIVITIES AND MASCULINITY AS VOID

Chapter 3. Lost in Translation (2003)

Chapter 4. Somewhere (2010)

PART III: THE FEMALE BODY AS PATRIARCHAL CURRENCY AND THE COMMODIFICATION OF FEMALE IDENTITY

Chapter 5. Marie Antoinette (2006)

Chapter 6. The Bling Ring (2013)

Conclusion: On Beguilement

References

Index

Über Autor(innen)

Rogers, Anna Backman
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.