She has received numerous accolades including an Academy Award and two Golden Globes, and the first ever American woman to be nominated for a Best Director Oscar. From The Virgin Suicides to The Bling Ring, hout new spaces for the expression of female subjectivity that embraces rather than rejects femininity. Fiona Handyside here considers the careful counter-balance of vulnerability with the possibilities and pleasures of being female in Coppola's films - albeit for the white and the privileged - through their recurrent themes of girlhood, fame, power, sex and celebrity. Chapters reveal a post-feminist aesthetsustained, intimate engagemencharacters. These characters inhabit luminous worlds of girlish adornments, light and sparkle and yet find homes in unexpected placto swimming pools, palaces to strip clubs: resisting stereotypes and the ordinary. In this original study, Handyside brings critical attention toauteur and in so doing contributes to important analyses of post-feminism, authorship in film, and the growing field of girlhood studies.
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