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This
persona
is
closely
associated
with
the
youthful
female
protagonists
of
her
films,
who
find
themselves
at
odds
with
the
traditional
social
roles
they
are
expected
to
occupy.
It
is
configured
as
gendered
and,
crucially,
generational.
In
light
of
her
paternal
lineage,
it
can
be
no
accident
that
Sofia
Coppola
cites
the
influence
of
the
Nouvelle
Vague
with
its
drive
to
break
with
the
French
cinma
de
papa.
She
is
not
alone
in
this;
she
is
identified
with
a
creative
lite
of
younger
film-makers
whose
work
spans
areas
of
popular
culture
such
as
fashion,
music,
art
and
film
and
who,
despite
retaining
links
with
old
and
new
Hollywood,
differentiate
themselves
from
the
past
while
nostalgically
recycling
it.
This
set
has
been
characterised
as
a
'play
group'
in
ironic
resonance
with
the
movie
brat
generation
to
which
Francis
Ford
Coppola
belonged.14
It
is
defined
by
postmodern
cool
and
the
adoption
of
whimsical
perspectives
on
dysfunctional
characters
and
institutions.
Jeffrey
Sconce
has
labelled
the
new
sensibility
that
emerged
in
North
American
cinema
in
the
1990s
as
'smart
cinema,'
describing
its
diverse
manifestations
in
terms
of
irony,
black
humour
and
fatalism.
For
Sconce,
the
ironic
detachment
characteristic
of
smart
films
is
a
strategic
attempt
to
address
niche
audiences
and
demarcate
the
works
from
popular
mainstream
cinema.
He
connects
the
cinematic
trend
with
the
emergence
of
post-60s
Generation-X
youngsters
in
the
USA,
who
mobilised
irony
and
cynicism
as
a
means
of
expressing
their
disaffection.15
[Slide
7]
Sofia
Coppola
does
not
appear
in
Sconces
exclusively
male
pantheon
of
smart
film-makers,
though
many
of
her
'play
group'
peers
do.
Nevertheless,
her
work
shares
the
predilection
for
irony,
dark
undertones,
preoccupation
with
surface
style,
engagement
with
consumer
culture
and
address
to
sophisticated
audiences
of
the
smart
clique.
Her
films
dramatise
generational
relationships
and
conflict,
and
target
affluent
younger
cinemagoers.
They
differ
from
smart
films
in
projecting
a
'feminine'
aesthetic
that
chimes
with
her
own
ultra-feminine
sartorial
style
and
identity,
evident
in
the
girlish
look
and
persona
she
cultivates
despite
being
in
her
forties
and
having
two
children.
[Slide
8]
This
hyper-
femininity
has
been
linked
to
postfeminism
and
to
third-wave
feminisms
celebration
of
youth,
fashion,
celebrity
and
commodity
culture
a
further
indication
of
the
way
Coppola
projects
an
identity
that
distances
itself
from
the
past
while
not
renouncing
it.16
Others
have
positioned
her
work
more
in
the
tradition
of
second-wave
feminisms
analytical
response
to
consumerism
and
popular
culture
and
its
critique
of
patriarchy.17
Coppolas
auteur
persona
spans
a
number
of
contradictions:
the
appeal
to
a
hip
younger
generation
is
matched
by
nostalgia
for
the
likes
of
Jean-Luc
Godard
and
Franois
Truffaut
or
indie
classics
such
as
her
fathers
Rumble
Fish
(1983),
whose
diffused
cinematography
she
emulated
for
Somewhere
(2011).18
Her
feminine
image
encompasses
conflicting
tendencies:
between
passive
and
active;
fragility
and
toughness;
effortlessness
and
drive;
and
naturalness
and
artifice.
Her
film-making
technique
oscillates
between
the
observational
distance
of
cinma
vrit,
the
intimacy
of
home
movies
and
highly
stylised
collages
of
images
and
music.
These
tensions
emanate
from
her
position
within
Indiewood
and
her
negotiation
of
the
branding
imperatives
of
global
film
culture;
they
traverse
her
work,
inflecting
her
creative
choices
and
execution
of
projects.
[Slide
9]
Coppola's
authorial
brand
projects
a
Europeanised
persona,
work
and
lifestyle
that
evoke
familiar
notions
of
cosmopolitanism
and
cultural
sophistication.
This
conjures
up
old
Europe
rather
than
the
multicultural
communities
of
contemporary
Europe.
Indeed,
there
are
similarities
between
the
Coppola
idea
of
Paris
and
that
portrayed
in
Minnelli's
An
American
in
Paris
(1951),
where
the
love
story
plays
out
against
a
quaint
old-world
setting
in
which
wealthy
North
Americans
represent
a
primary
market
for
luxury
goods.
There
is
a
transnational
dimension
to
the
brand's
evocation
of
cross-cultural
exchange
that
complies
with
global
marketing
demands:
Lost
in
Translation's
targeting
of
the
Japanese,
for
example,
or
Marie
Antoinette's
appeal
to
French
and
British
audiences.
The
Europeanness
of
Coppola's
style
is
a
mobile,
hybrid
construct
that
can
be
tailored
to
different
contexts;
nevertheless,
from
around
2006
when
she
and
Thomas
Mars
purchased
a
home
in
Paris,
Frenchness
has
been
a
privileged
marker
in
her
cosmopolitan
identity.
In
interviews
she
refers
to
her
family's
longstanding
fascination
with
Paris,
her
teenage
internship
at
Chanel,
her
love
of
high-end
French
fashion
and
lifestyle
and
the
influence
of
the
Nouvelle
Vague.19
Although
the
hommages
to
the
French
were
most
visible
around
the
time
of
Marie
Antoinette,
they
are
consistently
present
in
Coppola's
2008
and
2011
commercials
for
Miss
Dior
Cherie
fragrance,
which
playfully
recycle
French
popular
culture,
and
in
her
sartorial
style,
often
described
as
'effortless
chic'
(as
we
know,
chic
is
far
from
effortless).
More
recently,
her
2009
collaboration
with
French
fashion
house
Louis
Vuitton
on
a
range
of
signature
handbags
was
extended
in
2011
to
a
resort
collection
that
included
dresses,
pyjama
suits,
bags
and
cardigan
sweaters.20
Sofia
Coppola's
French
connections
are
strategic
factors
in
her
performance
of
her
authorial
identity.
They
are
intimately
linked
to
public
versions
of
her
private
life
and
history,
which
enables
her
to
reinforce
her
projection
of
herself
as
a
personal
artist
who
is
the
sole
creative
source
of
her
work.
This
traditional
view
of
cinematic
authorship
is
reiterated
in
production
notes,
media
coverage
and
other
promotional
discourses
despite
her
collaboration
with
other
distinguished
artists
and
technicians.
Whereas
the
Nouvelle
Vague
mobilised
the
politique
des
auteurs
as
part
of
their
assault
on
mainstream
French
cinema,
Coppola's
auteurism
is
embedded
in
the
commercial
operations
of
the
industry;
it
enables
her
to
acquire
creative
capital
that
she
can
use
in
negotiations
around
future
projects.21
European
style
and
aesthetics
are
commodities
that
can
be
used
in
global
and
niche
marketing.
[Slide
10]
However,
commodities
have
cultural
power
and
significance
as
well
as
commercial
exchange
value,
and
it
is
in
this
realisation
that
Coppola's
resistant
voice
surfaces
-
although
in
the
context
of
commodity
auteurism,
that
too
can
be
seen
as
strategic
necessity.
Her
films
question
commodity
fetishism
while
celebrating
counter-cultural
impulses
in
fashion.
The
exquisitely
beautiful
surfaces
of
their
images
mask
dark,
destructive
social
forces,
exposing
the
limits
of
commodity
and
celebrity
culture.
Her
projection
of
an
ultra-feminine
style
and
identity
could
be
interpreted
as
a
form
of
masquerade,
a
gender
performance
that
draws
attention
to
femininity
as
a
social
construct
along
the
lines
argued
by
Judith
Butler.
Here,
I've
been
concerned
with
the
way
Coppola's
gendered
deployment
of
the
commerce
of
auteurism
breaks
down
traditional
barriers
between
art
and
commerce,
refusing
to
disguise
cinema's
and
the
artist's
http://mubi.com/topics/sofia-coppolas-somewhere/.
5
See Alisa Perren, 'Sex, lies and marketing: Miramax and the Development of the
Pam Cook, 'Sofia Coppola', in Fifty Contemporary Film Directors, ed. Yvonne
more than ten times that amount, as reported on Internet Movie Database, accessed
September 26, 2011, http://www.imdb.com/title/tt0335266/business.
10
12
Evgenia Peretz, 'Something About Sofia', Vanity Fair, no. 553, September 2006,
237.
13
14
Jeffrey Sconce, 'Irony, Nihilism and the New American Smart Film', Screen 43, 4
See Suzanne Ferriss and Mallory Young, 'Marie Antoinette: Fashion, Third-Wave
Bingham, Whose Lives Are They Anyway?, 371, 376; Todd Kennedy, 'Off With
Isabel Stevens, 'A Kind of Softer Feeling,' Sight and Sound 21, 1 (January 2011):
19
Lynn Hirschberg, 'Sofia Coppola's Paris', New York Times T Magazine, September
24, 2006,
http://travel2.nytimes.com/2006/09/24/travel/tmagazine/24coppola.html?pagewanted
=all, accessed 2 July 2012.
20
21
For the concept of 'creative capital' see Pam Cook, Baz Luhrmann (London: