The Cinema of Sofia Coppola

Abstract

The Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola’s oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola’s films, exploring fashion’s primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola’s own director-star persona, and argues that Coppola’s auteur status rests on an original and distinct visual style, derived from the filmmaker’s complex engagement with photography and painting. Ferriss analyzes each of Coppola’s six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters’ identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola’s engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.

Por uma Genealogia das Festas de Fim do Mundo

“…Quando comecei a rever Marie Antoinette (Maria Antonieta, 2006), de Sofia Coppola 4 , o que me chamou a atenção foi a coexistência de certa atitude aristocrática e uma visão, não revolucionária que via na corte apenas um mundo de privilégios, injustiça social, mas burguesa, que via hipocrisias, desperdícios e a etiqueta como inutilidade.3 Apesar dos documentários sobre o Carnaval no cinema brasileiro, só A Lira do Delírio (1978), de Walter Lima Jr., me vem à cabeça, apesar de não ter cenas apoteóticas de blocos e desfiles. Pensando alto, lembro da cena final exuberante de carnaval em Les enfants du paradis (O Boulevard do Crime, 1945), de Marcel Carné, que remonta talvez a uma celebração do teatro popular, especialmente a comédia dell'arte, revisitada também em II Viaggio di Capitan Fracassa (A Viagem do Capitão Tornado, 1990), de Ettore Scola.4 Para referências ao conjunto dos filmes de Sofia Coppola(ROGERS, 2018;FERRISS, 2021), que podem trazer elementos para aprofundar as discussões aqui sugeridas.…”