Edited By Danielle Hipkins and Roger Pitt
Postfeminist (D)au(gh)teurs: Sofia Coppola and the Girl’s Voyage to Italy in Somewhere
ANNA PRADERIO: What relationship do you have with Italy, and with Italian cinema? SOFIA COPPOLA: Of course, my father’s family is Italian, so I feel close to Italian culture. And he raised us on watching the films of Fellini and other filmmakers that he admired, so I have great admiration for the history of Italian film.
— INTERVIEW on the occasion of Sofia Coppola winning the Golden Lion at the 2010 Venice Film Festival1
It may seem unusual, or even perverse, to talk about a US film, directed by a US citizen, starring US actors (Stephen Dorff and Elle Fanning), and produced by Focus Features, the small ‘speciality films’ unit of Universal Pictures, its name alone speaking to the global and homogenizing ambitions of Hollywood cinema, in a book dedicated to Italian cinema. I am doing so to make several polemical and intertwined points: that commentary upon a national cinema can come from outside of its borders; that national cinemas circulate within an international arena; that views from outside can open up national cinemas to unexpected influences and ideas; and that film cultures are formed as much in the crucible of exhibition and reception as they are production. Furthermore, there is a long history of transnational exchange between Hollywood and Italian cinema, as each nation consumes the other’s ← 129 | 130 → cinematic products (meaning not only their films, but also their studios, stars, directors and so on). Federico Fellini’s La dolce vita (1960), a...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.