This paper seeks to illustrate the auteurism and the cinematic influences present in Sofia Coppola’s Lost in Translation, specifically through the lenses of the gender and historical modes of cultural film analysis. It argues that Sofia Coppola’s personal brand of auteurism permeates the film in a variety of distinct and important ways, and that much of the film’s success can be traced back to both her auteurism at work, and to the subtle but distinct nods made therein to the historical cinematic movement known as the French New Wave. It seeks to attack these ideas on two distinct but clearly interrelated fronts. First, it seeks to demonstrate that, according to the writings of Andrew Sarris, Ms. Coppola is a demonstrable and certifiable cinematic auteur, and that “hidden meaning” can be derived from both the film and Coppola’s greater body of work when seen from this perspective. Secondly, it seeks to draw a connection between key elements of the traditional French New Wave filmmaking playbook and the many directorial and stylistic decisions made by Coppola in Lost in Translation – specifically to illuminate the importance of these elements in making the film the refreshing, landmark project it is so often held to be.



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