SPEAKER: My intentions for my presentation script are to showcase Sofia Coppola's distinctive auteuristic
style, as well as how they are present within my studied films - Marie Antoinette, The Bling Ring & The Virgin Suicides. I also aim to discuss the use of soundtrack within her movies, how she uses them as a device to portray emotions and connote sympathy towards protagonists. I will also be expressing how themes within her movies to alter the tone. Finally I aim to discuss the postmodern influences present within her projects - focussing on cinematography, miss-en-scene and soundtrack to form a solid response.
PROJECTOR: Clip from Marie Antoinette (7:59 - 11:25)(Item 1)
SPEAKER: The feelings of misunderstanding and alienation are present within my focus film as the main protagonist of Marie Antoinette is taken from her relaxed life as an Austrian Princess, and is then thrust into the fast paced, aristocratic lifestyles of the French royal family - being met with hostility and xenophobia due to her Austrian heritage. In this clip the use of a melancholic score emphasises the desire to break out of the current situation, but also how the protagonist is isolated within the new setting - Reflective with the previous sequence where she is stripped of anything Austrian (her clothes, dog & friends) and is then placed into an alien French environment. As her projects have been universally criticised Coppola focuses on sound over dialogue "And because the film’s characters say so little, Coppola once again lets her soundtrack serve as a reminder of Marie Antoinette’s youthful recklessness and spirit, something that can be hard to remember in the midst of a more traditionally staged period piece."(item 4)
PROJECTOR: Clip from The Bling Ring (1:16:00-1:16:20) (Item 2) / Clip from The Virgin Suicides (1:05:45-1:06:00) (Item 3) / Clip from Marie Antoinette (1:01:20-1:01:32) (item 1)
SPEAKER: During this scene, Antoinette is seen to be looking out of the window of her carriage, to represent a struggle of to escape. This window gaze being a signature shot utilised by Coppola throughout her filmography; "Glass windows separate the internal from the external, while allowing those on both sides to see each other, speaking directly to Coppola’s themes of alienation and observation... They also reflect back on the person who’s doing the observing, creating a ghost image where the internal and external sublimate into a semi-opaque daydream of wishful reality." (Item 12). This use of the window shot can also act as a physical example of the character reflecting upon themselves and their actions, as the characters reflection is present in the glass. The use of the window shot in The Virgin Suicides emphasised the issues of entrapment and the feeling of being oppressed.
PROJECTOR: Clip of Marie Antoinette (Item 1) (50:47-51:10)
SPEAKER: Isolation is also a key issue regarding the plot of Marie Antoinette. In reality, although the Queen was a heavily focussed on figure who was constantly surrounded by people, she felt alone and trapped in the confines of her role that was forced upon her. "Centering on the loneliness of being female and surrounded by a world that knows how to use you but not how to value and understand you." (Item 17). During the sequence, Marie Antoinette is shot in low key lighting which contrasts with the other aristocracy members who are shot in high key and are enjoying themselves. By shooting Antoinette in low key lighting it signifies the deeper issue of not feeling as if she belonged in her current world. The lugubrious score anchors the sombre emotions felt from the protagonist who's facial expressions mirror the detachment from the world she inhabits. This is also present in The Bling Ring, as although the characters were represented as vacuous and superficial, there is a sense of humanity and misunderstanding in the central character of Marc. Coppola openly discusses how she sympathised with Prugo's character as opposed to the other Bling Ring members, "Usually there’s a girl or a character that I connect with and see part of myself in, and in this one I didn’t. I met [Bling Ring member Nick Prugo], and I thought he was really the most sympathetic one,you could understand how he could have gotten caught up in this group and why he wanted to be a part of it because you want the excitement of feeling like you’re part of something."(Item 5) Showcasing the issues of misunderstanding and the need to be accepted, but also how Marc was an outcast of society longing to break into the 'inner circle'. Coppola has several signature styles that create her auteur, she often tackles themes of young adults not belonging and the difficulty of being an outcast in society, these themes demonstrated throughout her filmography.
SPEAKER: Sofia Coppola's use of postmodernism in her projects enables her to establish this style as her auteur. Soundtrack acts as devices to convey emotions within the scene but also as a way to show irony or act as a voice for the characters. Postmodernism has been criticised for being style over substance, this present within Marie Antoinette's lack of historical accuracy; 'Postmodern cultural texts do not just quote other cultures, other historical moments, they actually incorporate them to the point where any sense of critical distance threatens to collapse' (item 20) suggesting that postmodernism is merely a style as opposed to creating any meaning. The following scene showcases the postmodern style that is present in Marie Antoinette due to the contemporary soundtrack within a historical drama.
PROJECTOR: Clip from Marie Antoinette (53:29 - 55:15) (item 1) Clip from The Bling Ring (48:00 - 49:45) (item 2)
SPEAKER: I have chosen to show a scene from The Bling Ring alongside the scene from Marie Antoinette to show the Coppola's auteur and show how her style has carried through her movies. The use of photo montages alongside clips from the present emphasise the materialism and lavish lifestyle in which the characters lead. The use of a modernised 'I Want Candy' complements the visuals of the photo montage, which is laced with materialistic values by showing; shoes, jewellery and cake. In addition to this, the close up shot of Antoinette's Converse also emphasise the postmodern theme of Antoinette not belonging in that era. 'While much of the soundtrack has the classic, romantic feel that one might expect from a period piece, this conventional music is also interlaced with a liberal dose of modern pop and punk music, again suggesting, in a very postmodern way, the interchangeability of Marie’s historical setting and our own.' (item 18) This reinforcing the use of contemporary soundtrack to emphasise the misunderstanding of adolescence and to adhere to Coppola's postmodernist approach. Coppola consistency of the postmodern style was also showcased within The Bling Ring, whereby the soundtrack is used to create irony and further emphasise the superficiality of the members. Coppola stated 'I wanted the soundtrack to be in that world. I wanted it to just be obnoxious and hyper, like you’re along for the ride with these characters.' (item 6) The irony within the movie is encompassed in the following scene in which the characters sing the lyrics 'live fast, die young/ bad girls do it well' before being in a car accident.
PROJECTOR: Clip from The Bling Ring (29:45-30:20) (Item 2)
SPEAKER: The postmodern aesthetic is further carried through from Marie Antoinette to The Bling Ring as both films are rich with materialistic values. The main contrast to The Virgin Suicides as the characters strive to live a 'normal' life free from the oppressive powers of their strict religious parents. Emphasising her dominant ideology of 'outsiders looking (and wanting) in and insiders looking (and wanting) out, imagining alternative lives.'(item 13) as well as Coppola describing her projects as 'not about being, but becoming.' (item 13). The Virgin Suicides deals with the melancholic subject of suicide, however the Lux sisters do not see suicide as a action that has severe consequences - they see it as the only way. 'Coppola’s atmosphere seems to mirror the inner workings of her characters.' (item 16) reinforcing how death seems to be the only viable option to live a greater life. This similar to The Bling Ring due to the gang believing that committing crimes against celebrities is the only way to achieve self fulfilment and achieve the lifestyle they wish to have. Sonically the film utilises a soundtrack crafted by the band Air. Band member Jean-Benoit Dunckel described his reaction to the film by stating -'I felt trapped. I think the real spirit of the soundtrack is this fascination with death and the fascination with having your spirit floating when you die and how you may suddenly feel free and liberated from earth, from all you are' (item 16). Showing a consistency of style from Coppola's auteur with using soundtrack as a tool to represent her ideas. The following scenes actively display the use of soundtrack and how it it used as a voice for the characters - physically shown by the characters playing songs down the phone to one another. Followed by the scene in which Mrs. Lisbon burns Lux' records, being symbolic of how the sisters have had their voice taken away from them - giving the girls no option other than to end their own lives.
PROJECTOR: Clip from The Virgin Suicides (1:04:04- 1:05:40) / Clip from The Virgin Suicides (1:14:47- 1:16:23) (Item 3)
SPEAKER: In Conclusion, Sofia Coppola's distinctive auteur style is shown throughout her projects as well as choosing to create projects in which have similar themes - isolation, misunderstanding and alienation. From the Lisbon sisters to Marie Antoinette, despite dealing with characters in which come from different social backgrounds, all the characters long to break out of their current situation and live in an alternate setting to be accepted. The sonic element of Coppola's movie is the foundation, for providing a voice for characters as well as manipulating the audience into sympathising with the central characters. The soundtrack also plays huge importance due to Coppola's movies not being heavy with dialogue. Sofia Coppola has crafted postmodern creations in which remain true to her auteur style through music video esque aesthetic and contemporary music to reinforce the characters being one with popular culture - in the case of Marie Antoinette, the ability to show how Antoinette is a child of the present and not of the past.
No comments:
Post a Comment