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…mehr
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.
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.
Inhaltsangabe
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
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
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