![]() ![]() Coppola’s next project is apparently an Edith Wharton adaptation, The Custom of the County which seems to fit into this cavalcade of subjects. I’m glad the film was given some serious attention. The author even finds room for Coppola’s TV movie A Very Murray Christmas, where it is viewed as a parody of ’60s style cameo-laden Xmas specials. Ms Ferriss focuses on the interplay between what is on the screen, the life, and the culture at large, and comments on many other Coppola projects besides the films. It’s a good survey and the author avoids the usual feminist writers and cites many who are new to me. Ms Handyside is concerned with tracking the rise of feminist film studies and then fitting Coppola’s work into the current trajectory. The Cinema of Sofia Coppola: Fashion, Culture Celebrity, by Suzanne Ferriss, just published by Bloomsbury, and Sofia Coppola: A Cinema of Girlhood, by Fiona Handyside, from I. Indeed, she has made enough films to warrant critical studies of the work. She’s won an Oscars and other awards and manages to make a movie about every two or so years, and most of them have a large cultural presence, especially Lost in Translation. One of the best American filmmakers working today is Sofia Coppola, though her style may be too “exquisite” for many tastes, as are the films of Whit Stillman. Finally we assess two new books on the cinema of Sofia Coppola. ![]() ![]() After a whirlwind tour of some recent releases, from Los Angeles, Jeff Godsil briefs us on My Man Godfrey. ![]()
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