Sofia in Translation:

Examining the Auteur Qualities Embedded in the

Films of Sofia Coppola

(image source: honeymoonbabybriulotta.blogspot.com, by Blogspot user: mamma claud)

COMM 2342 Research in Contextual Studies

Vanessa Quincey
S3197785

Vanessa Quincey

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RESEARCH STATEMENT
WORKING TITLE:
Sofia in Translation: Examining the Auteur Qualities Embedded in the Films of Sofia
Coppola
AIMS AND OBJECTIVES
My project was undertaken with an aim to achieve the following goals:
- to contribute to contribute to literature on Sofia Coppola, by examining her work in
the context of auteurship
- to redefine and reevaluate the auteur theory
- to contribute to literature on female auteurs and young auteurs, which is still
underdeveloped when compared to existing material on male auteurs.
CONTACT DETAILS
Vanessa Quincey
s3197785
0433 397 168
ness_361@hotmail.com
SUPERVISOR
Glen Donnar
Cinema Studies Supervisor
WORD COUNT
Current word count: 6, 538
PROJECT ABSTRACT
Since it was first coined in the 1950's, the auteur theory has been debated and
reinterpreted several times and subsequently presents itself as a somewhat muddied
term. One of the fundamental consistencies, and indeed, weakness, within the auteur
theory (that has been sustained throughout the decades), is that 'auteur' is a term used
to glorify the work of predominantly male directors. This isolation of auteurship
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towards male directors is, of course, somewhat narrow-minded given that in recent
times, female directors (eg: Kathryn Bigalow, Jane Campion, Sally Potter etc) have
shown the same unique, personalized vision in their works to reflect their own
auteurship. This project attempts to explore the films of one particular female
director, Sofia Coppola, and determine whether or not she can be considered an
auteur. The project will examine each of her three films and extract evidence to both
support and challenge the idea of her being an auteur. It also attempts to revaluate and
redefine the auteur theory, based on past debates and arguments about defining auteur
theory, as well as bring to light the increasing prominence of female auteurs in today's
film industry.
RESEARCH COMMUNITY
My nice community is, undoubtedly, the cinema studies community. However, whilst
I do not by any means profess my work to be of the same academic or intellectual
standard, synonymous with say, a cinema journal, I do on the contrary, believe that I
have identified a legitimate gap in research concerning auteur theory. On a broad
scale, the trend in recognizing female directors as auteurs is a fairly recent one and in
addition, on a more specific note, given that Sofia Coppola's career is still developing,
my research, on both counts, in relatively incomplete.
Therefore, my goal for my research community is to contribute to encouraging
discussion on the progress and emergence of female directors and auteurs and perhaps
see others take up this idea in the future. My essay does, however, largely focus on
the work of Sofia Coppola, which would appeal to readers who are familiar and
partial to her films. With that being said, I also feel that my project may engage the
interest of feminist film scholars who perhaps seek to help abolish the notion of
Hollywood and cinema being a typically male-dominated industry.
REFLECTION ON THE RESEARCH PROCESS
Initially, one of the biggest challenges I faced was narrowing down my broader area
of interest: women in the film industry, into a succinct research topic that dealt with a
relevant gap in current research. However, whilst several journalists have labeled
Sofia Coppola an auteur, none of them had actually investigated the evidence to
support this title. This allowed me to build a research project based on the evidence of
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the key auteur qualities embedded in the films of Sofia Coppola. In doing so, I was
forced to also examine the auteur theory itself to determine what it is that warrants a
directors status as an auteur. One of the hardest parts of the research process for me
was narrowing down my information. I essentially had to fight the urge not to write
too much about auteur theory and to keep my project balanced in my focus on
Coppolas work in particular. I believe I have succeeded in this because I have only
included the important information on auteur theory and discarded many of the finite
details and opinions, which surround it, but do not necessarily develop, to my
argument.
In addition, I also struggled with pertaining to the word limit set for this essay. There
was so much information to include both on Coppolas work and auteur theory that it
was very hard for me to decide what to include and what to leave out. One of the
ways I dealt with this was to focus only on Coppolas feature-length films and did not
mention her short film: Like the Star (1998), her screenplay Life Without Zoe (1989)
nor did I explore the various music videos and commercials she has directed. I also
strategically chose not to include reference to Coppolas most recent film Somewhere
(2010) given the fact that it has not been released in Australia, despite the plethora of
material analyzing the film, which is currently available.
In researching my project, I sought to include the largest number of possible sources
and I was successful in my methods of research as I obtained almost all of the
material in the AFI Library. My research project is ultimately comprised of both a
textual analysis and qualitative analysis. In order to define whether or not Sofia is an
auteur, I had to first examine the auteur theory itself and the debates and approaches
associated with the original definition. This formed the basis for my qualitative
analysis, which I then combined with a close textual analysis of Sofia's films. In
addition, I drew upon various resources to build up a coherent and well-supported
case study on both Sofia's work and the concept of auteurism as a process, rather than
a quantitative idea.

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Sofia in Translation:
Examining the Auteur Qualities Embedded in the Films of Sofia Coppola
Throughout history, despite several female directors having displayed characteristics
of auteurship within their films, the term auteur continues to remain synonymous
with male directors. In particular, Sofia Coppolas burgeoning status as an auteur is
one that is ripe for contention. Her three feature length films, The Virgin Suicides
(1999), Lost in Translation (2003) and Marie Antoinette (2006), harbor a shared set of
aesthetic, stylistic and narrative traits, which in turn have contributed to a greater
sense of consistency and familiarity in her work. Critics have similarly picked up on
Coppolas recognizable visual approach and the self-conscious beauty of her
films (Rogers, 2006: p.1). They have dubbed her an artist (Bunbury, 2000: p. 2),
the most powerful woman director in Hollywood (OHagan, 2006: p. 4) and drawn
attention to the specific formula for her work, which seems to be repeated
throughout Coppolas filmography (Saccarelli, 2006: p.3). Ostensibly, Coppola
possesses a distinct identity and personalized vision as a director, which she imprints
unto each of her films. However, whether or not this personalized vision earns her the
title of auteur remains unclear.
Marred by critical debate and several counter-interpretations, the auteur theory has
transformed into somewhat of a muddied term. In this context, the ambiguous tie
between Coppola the director and Coppola the auteur can perhaps be best understood
as a reflection upon the fallibly, multi-faceted definition of the auteur theory itself.
Hence why, in determining whether or not Sofia Coppola can be considered an auteur,
this essay will explore the evolution and changeability of the auteur theory throughout
history, with particular consideration towards the defining qualities that validate
directors as auteurs today. In doing so, this essay will also examine Sofia Coppolas
work as a director through a close textual analysis of her three in order to ultimately
evaluate her legitimacy as an auteur.
The Evolution of Auteur Theory: Origins
There are no qualitative measures for auteurship, thereby making it less a coherent
theory than a variable set of critical practices that over time have been appropriated,
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attacked and reformulated in many different ways. Essentially, auteur theory is

founded on the romantic belief, as advocated through Alexandre Astrucs notion of
the camra-stylo, that the director is able to use the commercial apparatus of
filmmaking much in the same way as an artist uses a paintbrush or a writer uses a pen
(Hillier: 1985). This line of thinking thereby qualifies film as art and the director as
the artist, or in the case of cinema, auteur. Fraois Truffault first coined the term
auteur in his 1954 essay, Une certaine tendance du cinma franais, arguing that film
is a great medium for which a director can express his own personalized, creative
vision (Naremore: 1999). Hence, the director is ascribed as the ultimate creative force
or impetus behind the film. Truffault, alongside his fellow Cahier du Cinma peers,
thereby dismiss film as being a co-operative, industrial product, which was further
insinuated in his provocative allegation that there are no good and bad movies, only
good and bad directors (Hillier, 1985: p.127).
Evidence of auteurship is translated in films through a directors distinctive visual
style, originality and particular emphasis on mis-en-scene. The directors personal
vision is also articulated through the repetition of narrative themes and motifs as well
as the self-consciousness of convention, whereby as Andre Bazin points out, once the
auteur realizes his particular signature convention, he will continue to employ it
throughout his films (Dudley: 1978). Historically, auteur theory was very much
designed as an attack on the big, commercial productions common in post-war
France, which were considered to be less viable as an art form by Truffault and his
peers. Alas, auteur theory is seen as a celebration of a directors triumph in achieving
a distinctive, personalized vision throughout their films in the face of industrial
constraints and other forms of studio interference. Nowadays however, these shackles
of industrial and studio constrain have undoubtedly been lifted and directors are
generally given more time, greater flexibility, increased control and a larger budget to
work with.
To an extent, Sofia Coppola has similarly been encumbered by constrains within her
own working environment in Hollywood. Unlike the political and industrial
constraints depicted in the Cahier writings, Coppola has had to cope with social
constraints and the expectations inherent in being the daughter of an already
canonized auteur, Francis Ford Coppola. As a testament to these constraints, Francis
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Ford commented in an interview with Premier magazine, shes [had] pressure from
every side (Spines, 2000: p.92). Coppola herself similarly admitted in an interview
with Empire magazine: everybody has to go outside their family you have to try to
figure out your own identity on your own I had to [make films] in my own style
(Collis, 2000: p.82). In establishing her own creative vision and identity through her
work, pertained to the triumph of auteurship against constrains as depicted in the
Cahiers.
Furthermore, another defining quality of auteurship is the tendency for a director to
work within a particular genre of films. As Graeme Turner noted, auteur studies
meant, genre films were now deemed interesting (Turner, 1999: p. 133). Likewise,
the films of Sofia Coppola similarly pertain to a specific film genre, belonging the
indie/arthouse category. Coppolas consistency in creating these types of films,
demonstrates her creative control over her work. She has a clear vision for the types
of films she wishes to direct and in doing so, her personality and creative presence
becomes an identifiable aspect of her work.
In addition, American film critic Andrew Sarris helped popularize auteur theory for
American critics and audiences. Intrinsic to Sarris work is his notion of the great
director, which is still very much revered as an important aspect in film criticism
today (Sarris: 1973). According to Sarris, an auteurs body of work is characterized
by technical flair, recurring characteristics of style which serve as the filmmakers
signature as well as the filmmakers interior meaning (vision of the world)
(Sarris: 1973).
The Evolution of Auteur Theory: Critical Debate
Highly persuasive in nature, auteur theory is often intricately woven throughout
popular discourse on films and is habitually articulated through critical opinions and
reviews. For the most part, scholarship debates about auteurship occupied a privileged
position in film studies during the 1950-80s, however auteur theory is nevertheless
still relevant to cinema analysis and discussion today. From the 1960s onwards,
several film critics began to challenge the legitimacy of auteur theory and
undoubtedly, one must take these criticisms into account in order to develop a
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coherent understanding of auteur theory. The predominant fallibility critics have

identified with auteur theory is that it participates in the cult of personality and
celebrity at the expense of examining the collaborative dimensions of filmmaking
(University of Queensland, 2010, p. 13). In particular, Pauline Kael deplored Sarris
articulation of auteur theory on several counts. She denounced Sarris notion of
auteurship as a rigid formula and further rejected Sarris supposed desire to view
directors in a pristine state, stating, it is an insult to an artist to praise his bad work
along with his good (Kael, 1965: p. 298). Of course, Sofia Coppolas films have
engendered both praise and criticism from film critics. In particular, Lost in
Translation was hailed as intelligent, calm, filmmaking brilliance (Dawson, 2003:
p. 1) meanwhile Marie Antoinette was considered by many to have missed the point
(Scott, 2006: p. 13). Yet whether or not a film gains popularity amongst its audience
is irrelevant to auteur theory, which is far more concerned with the presence of a
directors consistent personal vision innate in each film, no matter how it is received
by the public.
Nevertheless, like several other critics, Kaels primary concern with Sarris dealings
with auteur theory is that it privileged the role of the director at the expense of other
poignant collaborators in the filmmaking process. Kael has been joined by notable
screenwriters such as Ernest Lehman and William Goldman, among others, who
similarly baulked the idea that directors are more authorial than screenwriters. David
Kippen even went as far as to coin the phrase Schreiber theory, a term used to credit
the screenwriter as the principal auteur of a film (Kippen: 2006). Meanwhile, film
historian Aljean Harmetz championed the creative input and auteurship of producers
and studio executives in Hollywood, arguing that auteur theory collapses against the
reality of the studio system (Harmetz, 1992: p.29).
To examine the auteurship in one stand-alone film, then of course, credit is owed to
the screenwriter and other collaborators on the film as well as the director. Whilst the
screenwriter is responsible for writing the script and thereby determining the narrative
of the film, it is the director who ultimately chooses to use the script. Therefore,
auteur qualities in a director can be found through the patterns in the types of films he
directs based on the individual scripts and screenplays he uses. Moreover, this
particular criticism on auteur theory falls short of Sofia Coppola, who plays the dual
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role of director and screenwriter in each of her three films. Indeed, whilst this doesnt
necessarily prove that Coppola is in fact an auteur per se, it does show that her
personalized creative vision is executed through both the subject matter (screenplay)
and the overall aesthetic and stylistic realization of her films (directing). Adding
further strings to her bow, Coppola also co-produced Lost in Translation and Marie
Antoinette.
In addition, Timothy Corrigan argues that film directors market themselves as
auteurs on purpose to create their own star image. Corrigan asserts that rather than
being a category with any influence on the way his/her products are read, the auteur is
simply seen as a commercial strategy for organizing audience reception, as a critical
concept bound to distribution and marketing aims that identity and address the
potential cult status of an auteur (Corrigan, 2008: p.221). In some ways, Corrigan
has a point. Certainly, after the success of The Virgin Suicides and Lost in
Translation, Sofia Coppolas subsequent films each specifically name her as the
director for branding purposes. Although these commercial strategies are present
within his theory, Corrigan does not, however, account for the complexities of the
way in which films are read by the spectator; nor does it acknowledge the myriad of
influences that must be taken into consideration through the production of meaning.

Alas, through analyzing the definition of auteur theory and its evolution through
critical debate, it is clear that Sofia Coppolas role as a director, in many ways,
mirrors the image of an auteur as painted by the original auteur theorists. She has
triumphed against social constraints within the industry, maximized her creative input
through her dual role as screenwriter and director and further demonstrated a
consistency in the directing genre-specific films. However, with this being said,
whilst these factors do not necessarily qualify Coppola as an auteur in the absolute
sense of the word, they do, nevertheless, contribute to evidence supporting her
possession of auteur qualities. Ostensibly, Coppola inhabits an authorial persona, yet
it is only with close textual analysis of her films that we can fully understand the
strengths and limitations of her presupposed auteur status. Similarly, New Critics
(from the New Criticism school of literary criticism) contend that many critics have
made an intentional fallacy by trying to interpret works of art by speculating what
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the author meant based on his personality or life experiences (Wimsatt & Monroe,
1954: p.19). This is the approach I will be taking in analyzing Sofia Coppolas status
as an auteur, whereby I will be focusing on the stylistic, aesthetic, narrative, thematic
aspects as well as her use of mis-en-scene in order to evaluate her authorial role. I will
not, therefore, be taking into account the external information or speculation about her
intention as this falls outside of the scope of my research.
The Female Auteur
Many feminist writers have argued that the auteur theory has no value or relevance to
female filmmakers. Despite acknowledging the significance of auteur theory being
extremely important work within the broader context of filmmaking, Angela Martin
insists the work of women filmmakers remains of marginal interest to [auteur theory
and auteur theorists] (Marks, 1984: p. 18). In saying this, Martin appears to uphold a
similar view to several the feminist critics, which is that auteur approaches are not
able to interrogate womens work. According to Marks, this is due to the fact that
films directed by women are either outside the auteur cannon or indescribable
within it (Marks, 1984: p. 23). Similarly, this perceived masculinity of auteurism has
been frequently chastised by feminist critics such as Pauline Kael who expressed her
view that [auteurs] are so enthralled with their narcissistic male fantasies staged
within the small range of experience of their boyhood and adolescence (Kael, 1996:
p. 72).
However, Lisa French professes that it may well be that the masculinity celebrated
by the Cahiers du cinema was a recognition of a particular masculine perspective
(French, 2007: p. 105). Likewise, Frenchs notion of the masculine perspective can
be transcended into the study of female auteurship, through the recognition of the
female and a feminine point of view in womens cinema. In many ways, this
feminine perspective, echoes Sarris projection of interior meaning as one of the
fundamental building blocks to auteurship (French: 2007).
This projection of femininity and a female point of view, which French and Martin
have linked to female auteurship, is very much apparent throughout Sofia Coppolas
films. However, on the contrary, this theory ignores the formal, stylistic attributes of
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auteurship and it is altogether too literal in translating a films characters and narrative
as a direct representation of the director. Thus, my focus for this essay is to evaluate
the extent to which Sofia Coppola can be considered an auteur based on a close
textual analysis of her films. Personally, I tend to disagree with critics such as Kaja
Silverman, who contends, it might not be possible to locate a female authorial voice
using the same strategies as locating the male authorial voice (Silverman, 1988: p.
67). I believe auteurship should be defined in cinema using the same rules and
practices no matter the gender of the director. Therefore, to apply different strategies
for evaluating female versus male auteurs, is to invite further prejudice and inequality
between the sexes. Hence, my approach to appraising the auteur status of Sofia
Coppola will fall inline with the original criteria for auteurship which is largely
based on stylistic, narrative, aesthetic and thematic consistencies as dictated by the
Cahiers writers and supporting critics and film theorists.
Sofia Coppola and Auteurship
Sofia Coppola is a self-proclaimed visual and creative person (Spines, 2000: p.
92). Undoubtedly, her background in painting, photography, fashion and acting have
all largely contributed to her aesthetic sensitivity and creative style. Coppola
describes making a film as a personal thing and indeed, her personality and
personal style has underpinned each of her three feature length films (OHagan, 2006:
p. 1). As Sean OHagan asserts, no other young female film director possesses her
clout in Hollywood (OHagan, 2006: p. 1). Incidentally, growing up Sofia Coppola
cites muses in Jean-Luc Godard, Fraois Truffault and the French New Wave, of
which she affirms, Ive always been drawn to individuals really, people with their
own distinctive but identifiable style that no one else has (OHagan, 2006: p. 4).
Surely, Coppolas admiration of these auteurs sense of individuality can ultimately
translate to an admiration, and perhaps, aspiration towards auteurship in general.
Thus, the question of Coppolas own auteurship subsequently emerges. In addressing
this, I will examine Coppolas use of characters, narrative and themes; style; and misen-scene throughout her three feature length films in order to evaluate her status as an
auteur.

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Sofia Coppolas Use of Characters, Narrative & Themes

Although her films are vastly different in time, setting and plot (The Virgin Suicides:
Michigan, mid 1970s; Lost in Translation: Tokyo, early 2000s; Marie Antoinette:
France, late 1700s), they each uphold similarities in characters and themes. The
trajectory of Coppolas films is often unpredictable and lacking in solid, narrative
arcs. On this point, Coppola contends that she is more concerned for the stylistic
realization of her films as opposed to the narrative or storyline (OHagan: 2006).
Coppola admits to a personal interest in a search for identity and trying to develop,
and the choices you have (Hauser, 2006: p. 65). These common narrative leads and
themes have been woven throughout each of her three films. Interestingly, upon
retrospect, Coppola has stated that she can see a definite link between each of the
three films, how each film starts where the other one leaves off in a way (Hauser,
2006: p. 65). As film critic, Jen Johans puts it; Coppolas films can be viewed as an
unlikely thematic trilogy of isolated young women coming of age in three very
different time periods (Johans, 2006: p. 1).
Coppolas films demonstrate an interest in liminal situations, rites of passage and
marginal groups of people (Rogers, 2008: p. 1). The protagonists in her films are
unformed characters facing a moment of transition or life-crisis, they feel lost,
alienated and overwhelmed or incapacitated by the situation, environment or world in
which they have been thrust. The key message in The Virgin Suicides is the violence
of the adolescent rite of passage and finally, the refusal to progress into the adult
world (Rogers, 2008: p. 8). Similarly, as Coppola described, In Lost in Translation,
[Scarlett Johanssons character] is trying to understand that stage in her life and is on
the verge of figuring it out. In Marie Antoinette, its the full evolution of someone
transforming from a girl to a woman and growing up in a really extreme setting. To
me, it feels like the next chapter (Hauser, 2006: p. 65). In saying this, Coppolas
films seem to possess a European sensibility about them, whereby her sense of
ennui parallels that of many of Italian director, Michelangelo Antonionis,
characters. This, in part, may be owing to Coppolas self-proclaimed admiration for
the cinema of the French New Wave and in particular, the work of Antonioni (Rogers:
2008).

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One of the ways in which Coppola deals with the seemingly melancholic nature of her
subject matter, is through her characteristic observation of various forms of ritual
within her films. Coppola focuses on different types of ritual in each film, yet these
rituals are all depicted as social or cultural weaknesses, failures or sites of disaster and
in doing so, serve to further alienate the protagonists from their environment. The
Virgin Suicides portrays rituals associated with established institutions (eg: The
Church and medical profession) as well as various American high school and
adolescent rituals (eg: homecoming dance, losing ones virginity, first kiss, first house
party). Lost in Translation includes cultural rituals associated with Japanese customs
such as the welcome ceremony Bob receives at the hotel, whilst Marie Antoinette
presents an abundance of rituals associated with the routine of waking and dressing
the queen as well as scenes of worship and commensality. From this, we can ascertain
that Sofia Coppolas consistent use of ritual conveys a greater, human concern in the
search for identity and is not just exclusive to the female concerns of her films
protagonists.
Furthermore, Coppola also demonstrates a fondness for depicting the empty moments
in human lives, which she conveys through her characters who constantly expose the
void within themselves. This is exemplified in The Virgin Suicides by the young boys
who are besotted with the mythical beauty of the Lisbon girls and in Lost in
Translation as the protagonist Charlotte is constantly shown looking out her hotel
window in awe of the landscape below her. In Marie Antoinette, the void and
loneliness within the young queen is expressed through her desire for excess and lust
for all things aesthetically gratifying.
Intrinsic to Coppolas narrative approach is perhaps her favored use of the indefinite
or open-ended conclusion in her films. This technique allies her strongly with the
tradition of European filmmakers who have favored the inchoate reality of the world
over the fabricated, tidy endings of Hollywood (Rogers, 2008: p. 3). The Virgin
Suicides is narrated from the present day yet the action is rooted firmly in the past as
the boys characters try to understand the Lisbon girls and the incidents of their
untimely deaths. The film concludes with the boys being unable to make sense of the
mystery which the girls embody, which as Rogers notes, results in a profound
inability to fully integrate with the present, modern-day world and ultimately
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contributes to a lack of resolution within the narrative (Rogers, 2008: p. 8). The final
scene in Lost in Translation shows the character Bob whispering something to
Charlotte, which is unclear to audiences. All we see is her reaction: she cries, then
smiles and the two protagonists walk their separate ways. This ambiguous ending
leaves the audience wondering what it was that Bob said to Charlotte and what will
become of the characters lives afterwards. Likewise, Marie Antoinette concludes with
the King and Queen and their children trying to flee Antoinettes home of Prussia. By
not concluding the film with the anticipated (according to history) beheading of the
King and Queen, Coppola seemingly re-writes history and infiltrates the film with a
sense of vague uncertainty.
Sofia Coppolas Technical and Visual Style:
Coppolas cinematic style is characteristically visual and observational and
throughout her three films, she demonstrates an amazing facility for capturing
ephemera. In many of her films, Coppolas camera remains focused on a shot while
very little action unfolds. This, in a way, contributes to a sense of voyeurism or
documentary-type feel to her films and the aesthetic and mis-en-scene in her films
often takes precedence over dialogue and narrative. On this level, Coppolas
distinctive visual approach, which typically involves a wandering and restless cameraeye, liminal images and use of dead time, conjures a Deleuzean interpretation of the
time image (Deleuze, 2005: p.29). Essentially, Coppolas use of time image is
reflected upon her preference to show rather than tell the crises and liminal moments
that repeatedly surface in her narrative. A Gothic sensibility seems to underpin each
of Coppolas three films. This is revealed through her patently fraught subjectivities
and visual rather than scripted or narrative expression, as well as the construction
of a poignant ambiance that evokes a strong sense of alienation. For the most part,
Coppolas films are comparable to classic European art cinema, owing to her specific
interest in stillness rather than action. In this sense, Coppolas films, emulate a similar
impressionistic resonance that was initially established by filmmakers like Carl
Dreyer (Haslem, 2004: p. 1).
Sofia Coppolas cinematography is characterized in her films through her use of
minimalist, static shots coupled with her partiality to framed and handheld shots. This
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particular style of shooting helps underscore the themes of entrapment, isolation,

alienation and suffocation in The Virgin Suicides. Meanwhile, the static camera is
used to represent the rigidity of Bobs character in Lost in Translation, who is
portrayed as being unimpressed and unimpressionable during the bar scene in Tokyo.
Coppola uses a handheld camera to shoot the dance scene in The Virgin Suicides in
order to visually express the increased level of happiness and freedom of the scene.
On the contrary, Coppola opts for handheld shots when following the Charlottes
travels throughout Tokyo in Lost in Translation, in order to infiltrate her characters
sense of alienation and seduction by the Japanese culture. Where as Marie Antoinette
is concerned, Coppolas cinematography perpetuates a perfect balance of
unconventionally framed and handheld shots, poised with static shots, which can be
likened to Stanley Kubricks cinematography in Barry Lyndon (1975). In doing so,
Coppola is able to articulate the formality associated with the French aristocracy, the
tranquil beauty of the Versailles setting as well as the private emotional upheavals
endured by Marie Antoinettes character.
Another pertinent, stylistic trait her three films share in common is the use of pointof-view shots in order to portray whimsical, dreamlike state. Essentially, The Virgin
Suicides is predominantly shot from the point of view of the boys and the narrative
that unfolds in the film has been recreated through their memories. Thus, throughout
the film, the girls are shown as merely fantastic images of the boys imaginations and
when shot through the point of view of the boys, the film is given a phantasmagorical
ambiance, assisted also by the soft use of mis-en-scene.

The shots taken from

Charlottes point of view in Lost in Translation, show her wandering through Tokyo
and are depicted through drowsy eyes and a hazy perspective; enabling a picture
that is impressionistic, fluid and mobile (Haslem, 2004: p. 1). This, in turn, produces a
nostalgic, dreamlike aesthetic, whereby the dizzy quality of Charlottes point of view
amplifies her surreal experience of Tokyo and personal sense of estrangement.
Concurrently, the careful mixture of point-of-view shots and intimate close-ups in
Marie Antoinette work to capture the protagonists sense of fragility, awe and
trepidation. This is most pronounced in the scenes where Antoinette is addressing the
crowd and looking out at the grimacing faces that stare back at her. On the contrary,
Coppolas use of point-of-view shots during Antoinettes introduction to her rooms at
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Versailles, create another meaning altogether. Alternatively, the point-of-view shots

used in this scene provide a dreamlike, sensual approach, aided by the close ups of
crystalline chandeliers, plethora of plush, pastel fabrics and accompanying music of
Apex Twin.
Sofia Coppolas Use of Mis-en-scene
Sofia Coppolas films bear a sensual, self-conscious beauty about them and her
common artistic traits and approaches to mis-en-scene have formed the recognizable
backbone of Coppolas often romantic, feminine aesthetic and style. She demonstrates
a considered approach to mis-en-scene that ritually starts with a collection of visual
images and compilation soundtrack in order to create an evocative and emotive visual
style. The use of colour and lighting in Coppolas films help convey a sense of place
and contextualise each of her films within their respective eras. The soft, buttery
lighting and pastel colours used in The Virgin Suicides accentuates the femininity of
the Lisborn girls and many of the scenes present like a postcard from the 70s. Both
Lost in Translation and Marie Antoinette similarly maintain a pastel colour palette,
which conveys Coppolas heightened stylistic approach to landscape and ambiance.
Coppolas use of mis-en-scene in each of her films, act as subtle, visual
reinforcements of the key themes and narrative elements advocated throughout the
text. Though it is not always apparent to the viewer in an immediate sense, Coppolas
use of space and blocking within her films often carries a symbolic purpose or motive.
For example, in Lost in Translation, Bobs character (who is tall in stature when
compared to typical Japanese people) is unable to fit inside the Tokyo hotel shower
cubical during one of the scenes. This use of space, on a physical level, represents
Bobs struggle to fit in (pardon the pun) with this foreign culture and environment, yet
on a deeper level, it also promotes the key themes of alienation and transition
exemplified in the film. Space is also used purposefully in The Virgin Suicides when
the girls are descending from the stairs to greet their prom dates. This scene is shot
from the boys perspective looking up at the girls and insinuates both their sense of
awe as well as the girls mythical, angelic personaes (they appear to be descending
from heaven). Similarly, in Marie Antoinette, Antoinettes character is often portrayed
on camera as being dwarfed by the extreme magnitude and decadence of her
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surroundings within the Palace of Versailles, thereby emphasizing her sense of

overwhelmed isolation and loneliness. Coppola hereby uses visual clues, which she
achieves through her strategic use of mis-en-scene, in order to insinuate her
characters emotions and experiences. Rather relying on dialogue and bold action,
Coppola demonstrates her visual sensitivity and preference for showing rather than
telling her stories.
Attention is drawn to specific props and artifacts featured in The Virgin Suicides,
which in the narrative, act as souvenirs of the Lisbon girls. Ostensibly, these
keepsakes may seem mundane in everyday life old bottles of nail polish, old family
photographs, pastel-coloured items of clothing, photos and other teenage
paraphernalia yet they are given greater meaning in the film through the way in
which Coppola draws particular attention to them in order to drive the narrative
forward. These objects occupy symbolic clout and act as a common medium through
which the boys are able to explore their collective memory of the girls. Again,
Coppolas strategic use of props in Lost in Translation, act as symbolic triggers to
emphasize the key themes explored in the film. A poignant example of this is when
attention is drawn to Bobs characters fax machine, which in one scene is shown to
randomly start spitting out hand written notes in the early morning hours. The use of
the fax machine in this sequence emphasizes the characters distance from home and
subsequently, Bobs sense of alienation and isolation in Japan. However, Coppolas
use of mis-en-scene is perhaps most pronounced in Marie Antoinette, which is renown
for its ostentatious array of props, costume, lighting and pop music soundtrack. Yet,
the mis-en-scene here does not merely exist for the superficial viewing pleasure of the
audience. Rather, it is used by Coppola to convey the ineffectual nature of tradition
and excess. In particular, she chooses to focus on items of food as artifacts rather than
nourishment and adorns several scenes with lavish costumes and a ceaseless stream of
candies, pastries and shoes.
In addition, her inspired choice of music used in each of her films has further
promoted Coppolas sense of individuality and creative vision. Both The Virgin
Suicides and Lost in Translation feature a soundtrack comprised of soft, blurred,
minimalist, instrumental tracks that perfectly encapsulate the dreamlike scenes, which
unfold on the screen. The music also compliments the indie/arthouse nature of these
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films and is mostly by alternative artists and bands, which in turn, reflect the
Coppolas sense of originality and creativity. Likewise, Marie Antoinettes
soundtrack, is similarly comprised mainly of atmospheric guitar-based rock and
electronic music. However, in this instance, Coppolas choice of modern music (in
particular, 1980s New Wave and post-punk artists) runs at sharp odds with the formal,
historic context of the film which is set in 18th Century, France.
Furthermore, Coppola maintains an authorial consistency in the aesthetic approach of
her work when it comes to the physical appearance of her female protagonists.
Although she has used actress, Kirsten Dunst in two of her films: The Virgin Suicides
and Marie Antoinette, Scarlett Johansson in Lost in Translation, similarly upholds the
pure, Arian, soft, feminine features which have become synonymous with the leading
women in Coppolas films. Coppola also casts American actors to play her leading
roles, which is a most pertinent choice in Marie Antoinette, given that Antoinettes
character is portrayed as being French, yet speaks with an American accent. This,
perhaps, demonstrates Coppolas consciousness of her American audiences.
Sofia Coppolas Status as An Auteur
The term auteur is readily used to describe directors who occupy any sort of
prominence and notoriety within Hollywood. Sofia Coppola has similarly been
labeled an auteur by journalists such as Graham Fuller (Fuller, 2000: p. 1) and
Christine Spines (Spines, 2009: p. 92), who use the term loosely and without
providing any real evidence or justification to support her having earned this title
(Spines: 2009). In this essay, I have explored the evolution of auteur theory from its
origins in the Cahiers du Cinema, as well as the ensuing critical debate, which in turn
has reshaped and redefined what it means to be an auteur. However, with that being
said, there is still no finite, absolute definition of auteurship and perhaps one of the
greatest fallibilities of the theory is the subjectivity through which it is received and
employed by critics.
Indeed, Sofia Coppola has exemplified many of the key attributes of auteurship in her
films to date. Her films bear several recognizable patterns and characteristics with
regards to her choice of narrative and themes, style, aesthetic and use of mis-en-scene.
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However, intrinsic to a directors status as an auteur is the consistency of his personal

vision throughout a large body of work (Sarris, 1973: p.654). Given that Coppola
has directed only three films to date, it is difficult to ascertain whether or not her
authorial attributes are in fact absolute or incidental. At this stage, it remains unclear
as to whether Coppola will continue to employ these particular, distinctive traits
during the remainder of her directorial career; or whether she will change and start
making completely different types of films. If this is the case, then the body of
evidence I have collected in this in essay in support of Coppolas sense of auteurship
would indeed become irrelevant and superfluous. Thus, Coppola cannot truly be
considered an auteur at this point or until she has directed a greater number of films
for consideration.
Suffice to say, Coppola does inhabit many of the key traits of an auteur, yet only time
will tell as to whether these traits located in her works to date, will continue and
thereby confirm her authorial status. Undoubtedly, another prominent factor
contributing to Coppolas pending sense of auteurship that similarly will only be
revealed in time is whether or not society is yet ready to accept the female auteur.
However, given that Sofia Coppola joins the company of other successful directors
such as Kathryn Bigalow and Jane Campion who continue to flourish and grow in
notoriety and status - I for one believe this will be the era of rebalance for the underrepresented gender. And its about time.
References
Filmography:
The Virgin Suicides, 1999.
Lost in Translation, 2003.
Marie Antoinette, 2006.
Works Cited:
Rogers, Anna, Sofia Coppola, Senses of Cinema, filed under Great Directors in
issue no. 45, 2008
Bunbury, Stephanie. Sofias Choices, Sunday Age: Agenda, 30th July, 2000, pp. 1-2.

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O'Hagan, Sean, "Something About", Sunday Age, 2006, pp. 1-4.

Saccarelli, Emanuele, "Sofia Coppola's Marie Antoinette: Not even cake?", 2006, pp.
1-5.
Hillier, Jim, "Cahiers du Cinema: The 1950s: Neo-Realism, Hollywood New Wave",
Harvard FIlm Studies, Volume 1, 1985, pp. 107-154.
Naremore, James. "Authorship" in Toby Miller & Robert Stam (eds) A Companion to
Film Theory. Blackwell. Malden, Mass. 1999. p. 9-24.
Dudley, Andrew, "Andr Bazin", New York: Oxford University Press, 1978, pp. 1119.
Spines, Christine, "Sofia's Choice", Premiere, v. 13, n. 7, 2009, pp. 92-93.
Collis, Clark, "In Person: Sofia Coppola", Empire, n. 132, 2000, pp. 82-83.
Turner, Graeme. Film as Social Practice, Routledge, 3rd Edition, 1999, pp. 133-136.
Sarris, Andrew. "Notes on the Auteur Theory in 1962", The Primal Screen, Simon &
Schuster. N.Y. 1973, pp. 650-665.
The University of Queensland Cinema Studies Webpage: Auteur Theory, last
viewed

October

2010,

<http://webcache.googleusercontent.com/search?q=cache:_t6vy1Yjo_oJ:www.emsah.
uq.edu.au/courses/mstu1001/day%2520ten.doc+auteur+theory&cd=5&hl=en&ct=cln
k&gl=au>
Kael, Pauline. "Polemics Circles and Squares: Joys and Sarris",I Lost It at the
Movies, Little, Brown and Company. Boston & Toronto. 1965. pp. 293-319
Dawson, Jonathan, Lost in Translation, ABC Tasmania: Reviews, December 12,
2003, p. 1.

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Scott, A.O., A Lonely Petit Four of a Queen, New York Times, October 13, 2006, p.
13.
Kipen, David. The Schreiber Theory: A Radical Rewrite of American Film History.
Melville House, 2006, pp. 14-29.
Harmetz, Aljean. Round up the Usual Suspects, Hyperion Pr; 1st Paperback Ed,
1993, p. 29.
Corrigan, Timothy. The Film Experience: An introduction, Bedford/St. Martins;
Second Edition, 2008, pp. 198-222.
Wimsatt, William K. and Monroe C. Beardsley. "The Intentional Fallacy." Sewanee
Review, vol. 54 (1946): 468-488. Revised and republished in The Verbal Icon: Studies
in the Meaning of Poetry, U of Kentucky P, 1954: 3-18.
Marks, E., & de Courtivron, I. (ed.), New French Feminisms, Schocken, New York,
1984, pp. 18-39.
French, Lisa. Centering the female: the articulation of female experience in the films
of Jane Campion, RMIT, 2007, pp. 90-132.
Kael, Pauline. Conversations with Pauline Kael, University Press of Mississippi,
1996, pp. 54-78.
Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and
Cinema, Indian University Press, Bloomington and Indianapolis, 1988, pp. 56-69.
Hauser, Brooke, "Women in Hollywood Icon 2006: Sofia Coppola", Premiere, v. 20,
n. 2, 2006, pp. 62-65.
Johans, Jen. Sofia Coppolas Marie Antoinette, Film Intuition, 2006, pp. 1-2. <
http://www.filmintuition.com/Marie_Antoinette.html>

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Gilles Deleuze, Cinema 2: The Time-Image, New York, Continuum International

Publishing Group, 2005, pp. 24-32.
Haslem, Wendy. Neon Gothic: Lost in Translation, Senses of Cinema, 2004.
Fuller, Graham, Sofia Coppolas Second Chance, New York Times, April 16, 2000,
pp. 1-2.

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