Chapters reveal a post-feminist aesthetic that offers sustained, intimate engagements with female characters. Fiona Handyside here considers the careful counter-balance of vulnerability with the possibilities and pleasures of being female in Coppola's films - albeit for the white and the privileged - through their recurrent themes of girlhood, fame, power, sex and celebrity. From The Virgin Suicides to The Bling Ring, her work carves out new spaces for the expression of female subjectivity that embraces rather than rejects femininity. She has received numerous accolades including an Academy Award and two Golden Globes, and in 2004 became the first ever American woman to be nominated for a Best Director Oscar. Chapter 4: Dressing Up and Playing About: Costume and FashionConclusion: The Agency of Authorship.Chapter 3: "There's No Place Like Home!" The Exploded Home as Post-feminist Chronotope.Chapter 2: Luminous Girlhoods: Sparkle and Light in Coppola's Films.Chapter 1: Sofia Coppola: Post-feminist auter?.Englisch.Bibliography Includes bibliographical references (pages 187-196), filmography (pages 197-198) and index. Her work has been published in numerous journals including Studies in French Cinema, Film/ Literature Quarterly, and French Cultural Studies. Fiona Handyside, Exeter, United Kingdom, is lecturer in European film studies at University of Exeter. This book reproduces little-known interviews alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time. Alongside the application of a theoretical rigor to his own films, Rohmer's interviews also discuss directors as varied as Jean-Luc Godard, Marcel Carné, Jean Renoir, and Alfred Hitchcock, and the relations of film to painting, architecture, and music. They also allow Rohmer to act as his own critic, providing an array of readings concerning his interest in setting, season, color, and narrative. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer's remarkably coherent body of films. Yet Rohmer, who became one of the most significant forces in French New Wave film, was almost fifty years old when Maud was released and had already enjoyed a career as the editor of Cahiers du Cinéma.
Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of work examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. nach der Bestellung gedruckt Neuware - Printed after ordering - The 1969 film Ma Nuit chez Maud (My Night at Maud's) catapulted its shy academic film director, Eric Rohmer, born Jean-Marie Maurice Scherer (1920-2010), into the limelight and sold over a million tickets in France, earning a nomination for an Academy Award.
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