出版社：Université Catholique de Louvain, Katholieke Universiteit Leuven
摘要：Sofia Coppola, one of the most discussed female directors in recent years, is clearly embedded in the « commerce of auteurism » (Corrigan 1991), as she actively participates in constructing her authorial image. Building on existing scholarship on the filmmaker as illustrative of the new critical paradigm in the studies of women’s film authorship, this article will look at the critical discourses surrounding her films to trace the various processes of authentication and de-authentication of Coppola as an auteur. In my exploration of Coppola’s authorial status – how it is produced in the interaction of these multiple agencies – I will focus specifically on the case of Marie Antoinette (2006). The film, which arguably explores the nature of female celebrity in the early 21st century, was criticized because of its disregard for historical accuracy, its fascination with surfaces and materiality, and because it offers a highly stylized objectification of the female protagonist. In reference to these critical responses, I will delineate the manifold ways in which Coppola’s authorship is expressed within the realm of material objects and spectacle. This analysis is enriched through a comparison to Sally Potter’s Orlando (1992), which can also be understood as a self-conscious declaration of authorial agency in relation to image making. The web of the possible intertextual relations between both films and Virginia Woolf’s source novel, Orlando: A Biography (1928), points more broadly to the complex network of possibilities and constraints for female authorship, as well as suggesting a critical shift towards a postfeminist moment, informed by changing discourses on consumption and feminine agency.
