Marie Antoinette: a metaficção historiográfica de Sofia Coppola

Abstract

Sofia Coppola’s Marie Antoinette (2006) will be investigated through the notion of historiographic metafiction (Hutcheon, 1991), considering it within the poetics of postmodernism. The study considers the work of Sofia Coppola as a playful transformation of the text of the Marie Antoinette’s biography written by Antonia Fraser (2007). It seeks to analyze the film in order to identify the anachronistic elements of its narrative, as the contemporary music to the viewer, and it will try to find the relationship established between the narrative, what is seen, and what is listened (present music), from the perspective of the postmodernist parody. It will discuss the relationship with other biopics of historical genre, like its namesake of 1938, and also with the historiographical metafiction (Reichmann, Herrera, 2006; Hutcheon, 1991): The French Lieutenant's Woman (1981), directed by Karel Reisz. Having the postmodernist narrative (Pucci Jr., 2008) as a point of view this research also explores the feminine world of Sofia Coppola's first film, The Virgin Suicides (1999), in order to find a common ground between this and Marie Antoinette. Finally, it seeks to establish a dialogue between the pop thematic of Sofia Coppola’s film and the contemporary advertising: the colors of Marie, for instance, appear as a strategy of discourse that evokes an updating of the past through an aesthetic of our time.