Lost in Translation

Zusatztext Ferriss finds precision amid ambiguity in her acute study of Sofia Coppola's second feature. . . . Sharp on the movie-wise banter between Bob and Charlotte, she's equally sensitive to the film's unspoken, unresolved feelings: in Ferriss' reading, Lost unfolds like a pop song, its fragments charged with lingering feeling. Informationen zum Autor Suzanne Ferriss is Professor Emeritus at Nova Southeastern University, USA. She has published extensively on fashion, film and cultural studies, She is author of The Cinema of Sofia Coppola (Bloomsbury Academic, 2021), and co-author of An Alternative History of Bicycles and Motorcycles (2016) and Motorcycle (2008). She is also co-editor of Chick Flicks: Contemporary Women at the Movies (2008), Footnotes: On Shoes (2001) and On Fashion (1994), among other titles. Find out more at https://suzanneferriss.com/ Klappentext Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant - emotionally and spatially - from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate. In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation 's structuring device of travel: her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too. Vorwort Suzanne Ferriss takes a close look at Sofia Coppola's celebrated Lost in Translation (2003). Mirroring the film's structuring metaphors of travel, Ferris' analysis takes the form of a trip. Throughout, her emphasis is on establishing the film not only as a cinema classic, but as classic Coppola. Zusammenfassung Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant emotionally and spatially from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate. In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation 's structuring device of travel: her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too. Inhaltsverzeichnis Acknowled...

Préface
Suzanne Ferriss takes a close look at Sofia Coppola's celebrated Lost in Translation (2003). Mirroring the film's structuring metaphors of travel, Ferris' analysis takes the form of a trip. Throughout, her emphasis is on establishing the film not only as a cinema classic, but as classic Coppola.

Auteur
Suzanne Ferriss is Professor Emeritus at Nova Southeastern University, USA. She has published extensively on fashion, film and cultural studies, She is author of The Cinema of Sofia Coppola (Bloomsbury Academic, 2021), and co-author of An Alternative History of Bicycles and Motorcycles (2016) and Motorcycle (2008). She is also co-editor of Chick Flicks: Contemporary Women at the Movies (2008), Footnotes: On Shoes(2001) and On Fashion (1994), among other titles.

Find out more at https://suzanneferriss.com/

Texte du rabat

Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant - emotionally and spatially - from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate. In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation's structuring device of travel: her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too.

Contenu
Acknowledgments Introduction 1. Trip Planning 2. Arrivals 3. Accommodations 4. Sights 5. Departures 6. Reception Notes Credits Bibliography