jmmoth's review against another edition
5.0
This is my favorite book of film criticism about my favorite films and my favorite (living) writer/director. (I'm still fairly new to film criticism, but I think Anna Backman Rogers might be my favorite (living) scholar in the field, too.)
Yes, I'm bias as fuck, and I don't even care. Cause this book of essays is as utterly complex and beautiful and passionate and sublime as the cinema visions of Sofia Coppola.
In her author's note, Anna says, "I want to preface what follows with a brief admission: I became a film scholar because of Sofia Coppola's films. Watching The Virgin Suicides (1999), aged seventeen, alone in a small cinema in London was a paradigm-shifting moment for me, it has taken me most of my adult life to comprehend the profound impact that this film has had on me (its affects and effect) and the ways in which it initiated a shift in my own personal course of life."
Same. Except I was in an empty chain-theater in the suburbs of Houston, Texas watching Marie Antoinette by myself.
I'll add that readers outside of film theory, feminist, postfeminist, and philosophy schools should accompany this book with that of Rosalind Galt, Angela McRobbie, Sharon Lin Tay, Kaja Silverman, Laura Mulvey, Audre Lorde, Jean-Paul Satre, Albert Camus, Teresa de Lauretis, Todd Kennedy, Judith Butler, Anna Backman Rogers, Sara Ahmed, and many other voices.
Plus, obviously, [a:Fiona Handyside|6496446|Fiona Handyside|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png] [b:Sofia Coppola: A Cinema of Girlhood|33509512|Sofia Coppola A Cinema of Girlhood|Fiona Handyside|https://images.gr-assets.com/books/1487834830s/33509512.jpg|54269705]
Yes, I'm bias as fuck, and I don't even care. Cause this book of essays is as utterly complex and beautiful and passionate and sublime as the cinema visions of Sofia Coppola.
In her author's note, Anna says, "I want to preface what follows with a brief admission: I became a film scholar because of Sofia Coppola's films. Watching The Virgin Suicides (1999), aged seventeen, alone in a small cinema in London was a paradigm-shifting moment for me, it has taken me most of my adult life to comprehend the profound impact that this film has had on me (its affects and effect) and the ways in which it initiated a shift in my own personal course of life."
Same. Except I was in an empty chain-theater in the suburbs of Houston, Texas watching Marie Antoinette by myself.
I'll add that readers outside of film theory, feminist, postfeminist, and philosophy schools should accompany this book with that of Rosalind Galt, Angela McRobbie, Sharon Lin Tay, Kaja Silverman, Laura Mulvey, Audre Lorde, Jean-Paul Satre, Albert Camus, Teresa de Lauretis, Todd Kennedy, Judith Butler, Anna Backman Rogers, Sara Ahmed, and many other voices.
Plus, obviously, [a:Fiona Handyside|6496446|Fiona Handyside|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png] [b:Sofia Coppola: A Cinema of Girlhood|33509512|Sofia Coppola A Cinema of Girlhood|Fiona Handyside|https://images.gr-assets.com/books/1487834830s/33509512.jpg|54269705]
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