Sofia Coppola

Anna Backman Rogers is a Senior Lecturer in Feminist Philosophy and Visual Culture at the University of Gothenburg in Sweden. Her publications include American Independent Cinema: Rites of Passage and the Crisis Image (2015) and the collection Female Agency and Documentary Strategies: Subjectivities, Identity and Activism (2018, coedited with Boel Ulfsdotter).

""This is a forceful and necessary feminist intervention in film theory; Anna Backman Rogers brilliantly carves out a space for work that is usually marginalized as pretty, as superficial, as ineffable, insisting we reckon head-on with the politics of seeing the world through a woman's perspective. And she does it in wonderfully straight-talking prose that doesn't shy away from controversy, underlining how necessary it is to tackle these questions, now more than ever." - Lauren Elkin, author of Fl neuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London"This work on Coppola makes a genuinely significant contribution to the field of film studies--the writing on The Virgin Suicides is simply the best I have read. It is a radical work, in keeping with the radical, subversive and beautiful films it does justice to." - Lucy Bolton, Queen Mary, University of London"Anna Backman Rogers has produced a timely, beautifully written, and trailblazing account of female authorship and femininity in contemporary cinema, full of both conviction and compassion." - Davina Quinlivan, Kingston University

• List of IllustrationsAcknowledgementsIntroduction: The Surface of The Image is PoliticalPART I: IMAGING ABSENCE AS ABJECTION AND IMAGING THE FEMALE GOTHIC AS RAGEChapter 1. The Virgin Suicides (1999)Chapter 2. The Beguiled (2017)PART II: EMPTY SUBJECTIVITIES AND MASCULINITY AS VOIDChapter 3. Lost in Translation (2003)Chapter 4. Somewhere (2010)PART III: THE FEMALE BODY AS PATRIARCHAL CURRENCY AND THE COMMODIFICATION OF FEMALE IDENTITYChapter 5. Marie Antoinette (2006)Chapter 6. The Bling Ring (2013)Conclusion: On BeguilementReferencesIndex