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  <titleInfo>
    <title>Sofia Coppola</title>
    <subTitle>a cinema of girlhood</subTitle>
  </titleInfo>
  <name type="personal">
    <namePart>Handyside, Fiona</namePart>
    <namePart type="date">1974-</namePart>
    <role>
      <roleTerm authority="marcrelator" type="text">creator</roleTerm>
    </role>
  </name>
  <typeOfResource>text</typeOfResource>
  <genre authority="marc">bibliography</genre>
  <genre authority="marc">biography</genre>
  <genre authority="fast">Criticism, interpretation, etc.</genre>
  <originInfo>
    <place>
      <placeTerm type="code" authority="marccountry">enk</placeTerm>
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    <place>
      <placeTerm type="text">London</placeTerm>
    </place>
    <publisher>I.B. Tauris &amp; Co. Ltd</publisher>
    <dateIssued>2017</dateIssued>
    <issuance>monographic</issuance>
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  <language>
    <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
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  <physicalDescription>
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    <extent>ix, 201 pages : illustrations ; 25 cm.</extent>
  </physicalDescription>
  <abstract>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. 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. 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. Chapters reveal a post-feminist aesthetic that offers sustained, intimate engagements with female characters. These characters inhabit luminous worlds of girlish adornments, light and sparkle and yet find homes in unexpected places from hotels to swimming pools, palaces to strip clubs: resisting stereotypes and the ordinary. In this original study, Handyside brings critical attention to a rare female auteur and in so doing contributes to important analyses of post-feminism, authorship in film, and the growing field of girlhood studies.</abstract>
  <tableOfContents>Sofia Coppola: postfeminist [d]au[gh]te[u]r? -- Luminous girlhoods: sparkle and light in Coppola's films -- 'There's no place like home!' the exploded home as postfeminist chronotope -- Dressing up and playing about: costume and fashion -- Conclusion: the agency of authorship.</tableOfContents>
  <note type="statement of responsibility">Fiona Handyside.</note>
  <note>Includes bibliographical references (pages 187-196), filmography (pages 197-198) and index.</note>
  <subject authority="lcsh">
    <name type="personal">
      <namePart>Coppola, Sofia</namePart>
      <namePart type="date">1971-</namePart>
    </name>
    <topic>Criticism and interpretation</topic>
  </subject>
  <subject>
    <name type="personal">
      <namePart>Coppola, Sofia Carmina</namePart>
      <namePart type="date">1971-</namePart>
    </name>
    <topic>Crítica e interpretación</topic>
  </subject>
  <subject authority="lcsh">
    <topic>Women motion picture producers and directors</topic>
    <geographic>United States</geographic>
  </subject>
  <subject>
    <topic>Mujeres directoras y productoras de cine</topic>
    <geographic>Estados Unidos</geographic>
  </subject>
  <classification authority="lcc">PN 1998.3 H236s 2017</classification>
  <relatedItem type="series">
    <titleInfo>
      <title>International Library of the Moving Image ;  39</title>
    </titleInfo>
  </relatedItem>
  <identifier type="isbn">9781784537159 (paperback)</identifier>
  <identifier type="isbn">1784537152 (paperback)</identifier>
  <identifier type="lccn">2021351383</identifier>
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    <recordCreationDate encoding="marc">211029</recordCreationDate>
    <recordChangeDate encoding="iso8601">20230411090901.0</recordChangeDate>
    <recordIdentifier source="BJBSDDR">22290420</recordIdentifier>
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      <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
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