Genre on the Surface: Sofia Coppola’s Marie Antoinette

2018 ◽  
pp. 173-208
Author(s):  
Katarzyna Paszkiewicz
Keyword(s):  
Public Image ◽  
Feature Film ◽  
Marie Antoinette ◽  
Image Building ◽  
Family Connections ◽  
Women's Film ◽  
Costume Drama ◽  
Critical Discourses ◽  
Film Authorship ◽  
American Film Industry

Sofia Coppola, one of the most visible indie directors in recent years, is clearly embedded in the ‘commerce of auteurism’ (Corrigan 1991), as she actively participates in constructing her public image. Building on existing scholarship on the filmmaker as illustrative of the new critical paradigm in studies of women’s film authorship, the first section of this chapter looks at the promotional and critical discourses surrounding her films to trace the various processes of authentication and de-authentication of Coppola as an auteur (family connections, the privileged position in the American film industry, her filmmaking style marked by a focus on flat affects and the mise-en-scène’s surface details, as well as her interest in postfeminist/neoliberal femininity which has divided critics, especially with her 2013 feature film, The Bling Ring). In the exploration of Coppola’s authorial status, the chapter sheds light on the issue of genre, arguing that her engagement with familiar conventions is far more complex than current analysis of her work has acknowledged. This is particularly evident in the case of Marie Antoinette (2006), a film which has been read variably as a costume drama and/or as a historical biopic. In establishing a dialogical relationship between biopic and costume drama scholarship, the chapter centres on self-conscious devices deployed in Coppola’s film, which are mobilised not against but through a logic of a feminised consumerist culture. The aim is not to reject the supposed ‘feminising’ aspects of the costume drama or to masculinise them in framing the film as a ‘self-conscious’ biopic, but rather to investigate the gender anxieties that underlay the labelling of genres by film criticism.

Externe Communicatie Als Onderdeel Van Het Ondernemingsbeleid

1984 ◽  
Vol 19 ◽  
pp. 125-130
Author(s):  
Paul Looijmans
Keyword(s):  
Direct Product ◽  
Psychological Effects ◽  
Public Image ◽  
Direct Control ◽  
Company Strategy ◽  
External Communication ◽  
Writing Course ◽  
Image Building

An analysis of Shell's 'public image' shows that this company (a) controls most of the factors which determine this image, and (b) invests much time, money and energy in influencing those factors which are beyond direct control. Creating and maintaining a positive public image seems to outweigh direct product-centered promotional activities. In relation to this, external communication is considered a very important 'image-building' aspect of the total company-strategy. A writing course for future managers should - under certain constraints - take this into account, and place heavy emphasis on the psychological effects of style variables.

Demand Side Abundance

2016 ◽  
Vol 43 (3) ◽  
pp. 315-343
Author(s):  
György Péteri
Keyword(s):  
Good Life ◽  
Public Image ◽  
Demand Side ◽  
Feature Film ◽  
The Public ◽  
State Apparatus ◽  
And Coping ◽  
Party State

In this essay, the discussion proceeds from the public image of the functionary at the end of the Rákosi era, through the Kádárist policies of ‘new sobriety’ disciplining the functionary in order not to irritate and provoke the rest of society, to the new contrat sociale established by the mid-1960s in which the party-state apparatus class and the commoners join one another in pursuing shared (consumerist) ideas of good life and happiness, within the constraints and coping with the conditions of demand side abundance (the tension between consumerist aspirations, desires and an economy of sustained shortages). The article draws on archival sources as well as texts from contemporary cabarets and an analysis of the 1964 feature film, Don’t Waste the Gas!, and its manuscript.

Vitagraph

2021 ◽  
Author(s):  
Andrew A. Erish
Keyword(s):  
World War I ◽  
Film Adaptation ◽  
Feature Film ◽  
Creation Myths ◽  
American Cinema ◽  
Film Studios ◽  
History Of ◽  
Les Miserables ◽  
The Military ◽  
American Film Industry

For more than a century, the origin story of the American film industry has been that the founders of Paramount and Fox invented the feature film, that Universal created the star system, and that these three companies (along with the heads of MGM and Warner Bros.) were responsible for developing the multi-billion-dollar business we now know as Hollywood. Unfortunately for history, this is simply not true. Andrew A. Erish's definitive history of this important but oft-forgotten studio compels a reassessment of the birth and development of motion pictures in America. Founded in 1897, the Vitagraph Company of America (later known as Vitagraph Studios) was ground zero for American cinema. By 1907, it was one of the largest film studios in America, with notable productions including the first film adaptation of Les Misérables (1909); The Military Air-Scout (1911), considered to be one of the first aviation films; and the World War I propaganda film The Battle Cry of Peace (1915). In 1925, Warner Bros. purchased Vitagraph and all of its subsidiaries and began to rewrite the history of American cinema. Drawing on valuable primary material overlooked by other historians, Erish challenges the creation myths marketed by Hollywood's conquering moguls, introduces readers to many unsung pioneers, and offers a much-needed correction to the history of commercial cinema.

Impossible Liaisons? Genre and Feminist Film Criticism

2018 ◽  
pp. 1-33
Author(s):  
Katarzyna Paszkiewicz
Keyword(s):  
Genre Theory ◽  
Gendered Identities ◽  
The Status ◽  
Women's Culture ◽  
Feminist Film ◽  
Women's Cinema ◽  
Women's Film ◽  
Film Authorship ◽  
Female Filmmakers ◽  
Film Genres

This chapter traces how, traditionally, feminist analyses of films authored by women tended to centre on experimental or art-house cinema and, subsequently, on genres culturally codified as ‘female’. It then goes on to engage with the most important debates around the concept of ‘women’s cinema’ and their significance in relation to genre theory. In particular, Alison Butler’s insights into women’s cinema as ‘minor cinema’, adapted from Deleuze and Guattari’s (1975) concept of the minor – as an alternative to the negative aesthetics of counter-cinema – is particularly apt here, as it allows for a reconsideration of women’s film authorship in mainstream productions and the ‘major’ language of film genres. Following and expanding this concept, it is argued that genres can be particularly productive spaces from which to think about female filmmakers, film authorship and the cultural politics of gender (especially in terms of the status of the woman author or her lack of status), as will be explored in the following chapters. Finally, instead of locking women filmmakers into a segregated gender sphere defined by ‘women’s culture’, the chapter argues for the mutability of gendered identities and questions the oversimplified notion of gender-to-gender cinematic identification – a typical assumption underpinning the categorisation of genres by gender – and suggests that ‘opportunities for resistance are more available than the opposition between “dominant cinema” and “counter-cinema” allows’ (Cook 2012: 33).

Surveying psychology's public image.

1986 ◽  
Vol 41 (9) ◽  
pp. 947-953 ◽  
Author(s):  
Wendy Wood ◽  
Melinda Jones ◽  
Ludy T. Benjamin
Keyword(s):  
Public Image

Report of the Treasurer, 1995: Psychology's public image.

1996 ◽  
Vol 51 (8) ◽  
pp. 797-804
Author(s):  
Gerald P. Koocher
Keyword(s):  
Public Image
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