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Zusatztext The Cinema of Sofia Coppola will fast become the go-to reference volume for any student, scholar or cinephile interested in the films of this talented, award-winning director. Writing in a readable and engaging style, the author provides a wealth of well-researched material about the complicated itinerary that lead to the success of one of the world’s most prominent women auteurs. Informationen zum Autor Suzanne Ferriss is Professor Emeritus at Nova Southeastern University, USA. She has published extensively on fashion, film and cultural studies, She is author of The Cinema of Sofia Coppola (Bloomsbury Academic, 2021), and co-author of An Alternative History of Bicycles and Motorcycles (2016) and Motorcycle (2008). She is also co-editor of Chick Flicks: Contemporary Women at the Movies (2008), Footnotes: On Shoes (2001) and On Fashion (1994), among other titles. Find out more at https://suzanneferriss.com/ Klappentext 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. Vorwort Considers the central role of fashion to Sofia Coppola’s films, exploring fashion’s primacy in film narrative; costuming, production, sound and music design; cinematography; and branding/marketing. Zusammenfassung 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 f...
