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The Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola's oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola's films, exploring fashion's primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola's own director-star persona, and argues that Coppola's auteur status rests on an original and distinct visual style, derived from the filmmaker's complex engagement with photography and painting.Ferriss analyzes each of Coppola's six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters'identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola's engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.

Both an exploration of the ways in which we fashion our public identity and a manual of modern sociability, this lively and readable book explores the techniques we use to present ourselves to the world: body language, tone of voice, manners, demeanour,'personality'and personal style. Drawing on historical commentators from Castiglione to Machiavelli, and from Marcel Mauss to Roland Barthes, Joanne Finkelstein looks to popular visual culture, including Hollywood film and makeover TV, to show how it provides blueprints for the successful construction of'persona'. She also discusses the role of fashion and of status symbols and how advertising sells these to us in our never ending quest for social mobility. Finkelstein's interest here is not in the veracity of the self - recently dissected by critical theory - but rather in the ways in which we style this'self', in the enduring appeal of the'new you'and in our fascination with deception, fraudulent personalities and impostors.