The Historical Threshold : Crisis, Ritual and Liminality in Sofia Coppola’s Marie-Antoinette (2006)

Author(s)

  • Anna Backman Rogers

DOI:

https://doi.org/10.18352/relief.762

Keywords:

Coppola, Costume, Ritual, Rite of Passage, Anachronistic, Adolescence

Abstract

Marie Antoinette does not pertain to any of the narrative tropes and standards set by the conventional historical drama. Rather, it is a film about the politicisation of the female body. Its focus on the rite of passage of a young girl into adulthood in an extreme situation is, in effect, highly political both in its effort to convey a specifically female subjectivity and in its eschewal of a more traditional treatment of its subject matter.

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Author Biography

  • Anna Backman Rogers
    Anna Backman Rogers completed her PhD at the University of Edinburgh. She currently works as a postdoctoral researcher in the cinema studies department at Stockholm University. She researches and writes on American Independent Cinema, feminist cinemas and film philosophy.

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Published

2012-10-09

Issue

Vol. 6 No. 1 (2012): History movies /Transculturalities

Section

Articles - thematic dossier

License

All articles published in RELIEF appear in Open Access under the Creative Commons Attribution 4.0 International License (CC-BY 4.0). Under this licence, authors retain ownership of the copyright of their article, but they allow its unrestricted use, provided it is properly cited.

How to Cite

Backman Rogers, A. (2012) “The Historical Threshold : Crisis, Ritual and Liminality in Sofia Coppola’s Marie-Antoinette (2006)”, RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE, 6(1), pp. 80–97. doi:10.18352/relief.762.