Table of Contents

List of Illustrations
Acknowledgements

Introduction: The Surface of The Image is Political

PART I: IMAGING ABSENCE AS ABJECTION AND IMAGING THE FEMALE GOTHIC AS RAGE

Chapter 1. The Virgin Suicides (1999)
Chapter 2. The Beguiled (2017)

PART II: EMPTY SUBJECTIVITIES AND MASCULINITY AS VOID

Chapter 3. Lost in Translation (2003)
Chapter 4. Somewhere (2010)

PART III: THE FEMALE BODY AS PATRIARCHAL CURRENCY AND THE COMMODIFICATION OF FEMALE IDENTITY

Chapter 5. Marie Antoinette (2006)
Chapter 6. The Bling Ring (2013)

Conclusion: On Beguilement

References
Index

About the Author

Anna Backman Rogers is a Associate Professor/Reader in Feminist Philosophy and Visual Culture at the University of Gothenburg in Sweden. She is the author of American Independent Cinema: Rites of Passage and the Crisis Image (2015) and the co-founder and co-editor-in-chief of the experimental journal MAI: Feminism and Visual Culture.

Reviews

"Rogers's book led this reviewer to rewatch some of Coppola's films and decide that at least Lost in Translation (2003) and Marie Antoinette (2006) are masterpieces. What can be better than a book of criticism that leads one to revise one's own aesthetic judgments?" * Choice

"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 Flaneuse: 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