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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 inThe Virgin Suicides to the \"female gothic\" inThe 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.

Sofia Coppola’s enigmatic film, Somewhere, has met with conflicting responses from critics who attempt to label it a “European” film. Yet, as I argue, the film may be best understood not in its relationship to European cinema, but, rather, its relation to philosophical debates between modernism and postmodernism, to American film history, and, even more importantly, to one of the oldest and most dominant tropes in US culture —that of the hobo-hero. I begin by explaining the background of the figure of the hobo-hero, and its relationship to modernism, and then return to look at the manner in which Coppola draws upon this image in order to invoke (and comment upon) American identity, the postmodern culture of Los Angeles/Hollywood, and questions that are central to the discourse of philosophical modernism. Towards the end of the article, I draw upon the work of Marshall Berman in order to question whether there is a way in which the hobo-hero can allow modernism to openly defy postmodernism itself, even while expressing and exploring a postmodern landscape, a postmodern world. Perhaps surprisingly, I argue that such a question may be best answered by Sofia Coppola’s fourth feature film.

This article contends that Sofia Coppola’s Priscilla (2023) uses digital filmmaking to re-animate the commodified image of Priscilla Presley, privileging surface and affect over historical realism. Though Coppola predominantly shoots on film, her decision to film Priscilla digitally—an adaptation of Presley’s memoir—marks a formal shift in her filmography aligned with her ongoing exploration of feminine interiority and aesthetic control. The film traces Priscilla’s life from her first encounter with Elvis Presley to their separation, presenting a visually stylized narrative that immerses viewers in what Walter Benjamin terms a phantasmagoria: a spectacle of commodification divorced from historical consciousness (The Arcades Project). Rather than striving for veracity, Coppola evokes a nostalgic atmosphere that re-members Priscilla through pre-circulated cultural images. This article examines Coppola’s often-criticized “flat” visual style in relation to the Freudian uncanny, i.e., the estrangement of the familiar through temporal and affective distortion. Coppola manipulates digital temporality—looping and flattening time—to produce an oneiric repetition that heightens the artifice of Presley’s image while emotionally distancing viewers. These formal strategies dissipate emotional depth but intensify aesthetic control. Finally, this article considers the political valences of Coppola’s digital aesthetics in a media landscape that both enables visibility and enacts erasure.

A feminist study of the mood, texture, tone, and multifaceted meaning of director Sofia Coppola’s aesthetic through her most influential and well-known films. A Choice Outstanding Academic Title 2019 “With this book Rogers has produced a sophisticated and impassioned analysis of Coppola’s work… Rogers’s main argument – that Coppola manipulates pleasurable images to unsettle rather than mollify us – is utterly convincing. If nothing else, this certainly hits home in relation to my own enchantment with Coppola’s work.”—Bright Lights Film Journal 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 misconstrues 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. From the Introduction: Sofia Coppola possesses a highly sophisticated and intricate knowledge of how images come to work on us; that is, she understands precisely how to construct an image – what to add in and what to remove – in order to achieve specific moods, tones and cinematic affects. She knows that similar kinds of images can have vastly different effects on the viewer depending on their context…. This monograph is an extended study of Coppola’s outstanding ability to think through and in images.

Sofia Coppola's 2006 biopic Marie Antoinette has been derided by scholars and critics for its perceived lack of historical depth. However, this article re-examines the role of adaptation and historical fidelity in Coppola's film through a comparative reading of the narratively, structurally, and temporally similar eighteenth-century novel Lettres d'une Péruvienne (1747). Through this parallel reading with Françoise de Graffigny's epistolary novel, I demonstrate how the film is a prime representative of its era in its use of autobiographical centralism and the role of foreign feminine Other as social critic, speaking to a transhistoric girlhood across centuries and borders.

If only every party had an espresso martini-fueled Bill Murray sashaying away underneath a disco ball before entrees. ​​ Perhaps the secret then is having Sofia Coppola at the helm, as she was Wednesday evening at the Doubles Club for a dinner thrown with Chanel to celebrate her second book, \"Chanel Haute Couture.\" The coolest girl on TikTok - that would be Romy Mars, Coppola's 18-year-old daughter - and her younger sister Cosima imitated red carpet photographers as their mother posed for photos. \"Yes Sofia! The \"Chanel Haute Couture\" book was in the works for over a year, and features exclusive photographs of Chanel clients wearing designs, as well as fashion photographs, never before seen sketches, runway images and more. \"I'm really thrilled that we got many images that we loved,\" Coppola said, adding that it was quite the tall order to edit down all the imagery. \"The book wasn't supposed to be so big. [...]I really wanted to have the whole picture.\" Coppola interned with Chanel in the summer of 1986, and her youngest Cosima followed in her footsteps by interning with the house this summer. \"I was so excited for her.