04.07.2020

peer edit this paper
Caroline Hiers
Caroline Baker
THTR-218-01
26 October 2023
The Standard of Historical Fashion Accuracy in Film: Rules are Meant to be Broken. An Analysis of Sofia Coppola's Marie Antoinette (2006) as a Costume Film
In Sofia Coppola's 2006 film "Marie Antoinette," the costumes seem to say, "Let them eat cake, but make it couture!" As we dive into the world of powdered wigs and pastel silk, we must ask: does historical accuracy really matter, or is this a cinematic confection best enjoyed with a pinch of creative license? When watching a period piece, the first thing you notice is the costuming. It's what sets the scene, immerses you into the era, and breathes life into the film. For years, there has been a set standard in filmmaking that if you are to make a period film, it has to be accurate. “The main priority is to always ensure the clothes are believable for the time period…When the attire…stands out by looking like something from another era, it creates a jarring effect…that can heavily disturb the believability of the film,” (Long Para. 1). What happens when you break the rules? Just like Marie Antoinette herself, Sofia Coppola rebelled against societal norms in the name of fashion and self expression.
Historically accurate costuming is a vital component of period pieces, as it plays a pivotal role in transporting the audience to a specific time and place. It functions as a time machine and helps establish a visual and emotional connection between the audience and the past, enhancing the overall storytelling experience. It gives the film believability and credibility. The attention to detail in costuming is a testament to the commitment of filmmakers and theater professionals to honoring the past, preserving its legacy, and educating the present. An example of films with incredible historical accuracy would be “Pride and Prejudice” (1995), “Little Women” (2019), and “Dunkirk" (2017). These films are known for their prestigious costuming and ability to portray the time period with precision.
When directing “Marie Antoinette,” however, Coppola wanted to remain close enough to accurate costuming to allow viewers to connect with the time period, while also allowing her creative liberty shine. The costume designer, Milena Canonero, wanted to simplify and stylize the extravagance of 18th century fashion while also maintaining the believability of the era. Coppola wanted to use the costuming to emphasize the naivety of Marie Antoinette. To emphasize that she was only fourteen years old at the beginning of her reign, they used a pastel and confectionary inspired color palette, as opposed to the popular jewel tones of the 18th century. KK Barrett in an interview with the New York Times said:
“[She] is a naive and impulsive teen who loves clothes, jewelry and sweets…a palette of light blues, pinks and greens reflects her youthful spirit…We freshened the whole palette…pastel vision. We didn’t want to get into the darker, somber colors that Sofia calls the ‘jewel tones.’ We…overemphasize[d] the fact that she was 14.”
Instead of the matronly wear and heavy makeup the real Marie Antoinette adorned, Coppola and her team kept the character fresh faced and used organza and netting frills as opposed to the historically accurate heavy lace, making her ruffles look fresher and softer. They also excluded the use of opulent jewelry because they felt it made her look too mature, and instead used ribbons around her neck to emphasize her youthfulness and naivety as monarch. Another whimsical touch Coppola added was the inclusion of Converse sneakers in Marie’s wardrobe. This was extremely frowned upon by the public at the film’s initial release, but I believe it helped enhance the film even further. Despite this, the costume designer Milena Canonero was awarded an Oscar for Costume Design.
The purpose of this film was to depict Marie Antoinette as not just a monarch, but also a teenage girl thrusted into an entirely different world. The decision to infuse inaccurate details and costuming, specifically the integration of Converse, was deliberate and, in my opinion, enhanced the film. By deviating from strict historical accuracy, Coppola managed to humanize Marie Antoinette. This made her character more relatable to modern audiences. It bridged the gap between the 18th century and the present, inviting viewers to see the young queen as more than just a distant historical figure. She was not only a symbol of decadence and opulence, but a woman struggling to navigate the complexities of power and privilege. The color palette and stylized costuming was geared towards a strongly feminine audience and was a cinematic display of hyper femininity and a female perspective on the life of Marie Antoinette. The decision to blend historical and modern elements breathed fresh life into the period piece, ultimately enhancing the film's impact and resonance. This is not the only film that benefited from historical inaccuracies. We have seen other period pieces become highly successful and publicly adored due to its inaccuracies. For example, many believe that the “Pride and Prejudice” (2005) film was more entertaining than the “Pride and Prejudice” (1995) adaptation. The 1995 film was extremely meticulous with its costuming and was flawless in its accurate costuming. The 2005 film, however, stylized the costumes to have a fresher and more modern appeal. “Unfortunately, with its prim and stiff costuming and direction, [it] lacks any notable stylistic flair, making it a somewhat dull visual experience,” (Long Para. 2).
In my opinion, there should be a balance between strictly following historical accuracy and creative liberty. You must know the rules of historic costuming before you can break them. If the costuming is used to enhance the plot, character development, and marketability, then I see no issue with it. Historical accuracy should not be such a strict and hindering guideline for directors to follow. If we keep hindering directors from expressing their creativity in the name of accuracy and fear of critic backlash, we will be stuck with movies that all seem similar and depict the same unoriginal storytelling. Letting creativity and freshness shine in the film industry is just as important as historical accuracy, and we have seen the patterns of recent successes that prove this to be true, “Marie Antoinette” being a prime example.
















Works Cited
Brown, Anastasia. “Sofia Coppola's Marie Antoinette & Its Masterful Costume Design.” Anastasia Brown, December 2021, https://anastasiabrownn.medium.com/sofia-coppolas-marie-antoinette-its-masterful-costume-design-84b8145ed79d. Accessed 23 October 2023.
Coppola, Sofia, director. Marie Antoinette. 2006. Amazon Prime Video, https://www.amazon.com/Marie-Antoinette-Kirsten-Dunst/dp/B000NGYLOM. Accessed 23 October 2023.
King, Susan. “Versailles, done over in pastel.” Los Angeles Times, 10 September 2006, https://www.latimes.com/archives/la-xpm-2006-sep-10-ca-marieset10-story.html. Accessed 23 October 2023.
Le, Mina. “i don’t care that Marie Antoinette (2006) is historically inaccurate!” YouTube, 22 February 2021, https://www.youtube.com/watch?v=6yRmkAe43EA. Accessed 23 October 2023.
Long, Annaliese. “How important is historical accuracy in costume design for period pieces?” The Brantley Banner, 24 October 2022, https://brantleybanner.com/12093/opinions/how-important-is-historical-accuracy-in-costume-design-for-period-pieces/. Accessed 23 October 2023.

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Title: The Standard of Historical Fashion Accuracy in Film: Rules are Meant to be Broken. An Analysis of Sofia Coppola's Marie Antoinette (2006) as a Costume Film

Abstract: In Sofia Coppola's 2006 film "Marie Antoinette," the costumes seem to say, "Let them eat cake, but make it couture!" As we dive into the world of powdered wigs and pastel silk, we must ask: does historical accuracy really matter, or is this a cinematic confection best enjoyed with a pinch of creative license? When watching a period piece, the first thing you notice is the costuming. It's what sets the scene, immerses you into the era, and breathes life into the film. For years, there has been a set standard in filmmaking that if you are to make a period film, it has to be accurate. “The main priority is to always ensure the clothes are believable for the time period…When the attire…stands out by looking like something from another era, it creates a jarring effect…that can heavily disturb the believability of the film,” (Long Para. 1). What happens when you break the rules? Just like Marie Antoinette herself, Sofia Coppola rebelled against societal norms in the name of fashion and self-expression.

Historically accurate costuming is a vital component of period pieces, as it plays a pivotal role in transporting the audience to a specific time and place. It functions as a time machine and helps establish a visual and emotional connection between the audience and the past, enhancing the overall storytelling experience. It gives the film believability and credibility. The attention to detail in costuming is a testament to the commitment of filmmakers and theater professionals to honoring the past, preserving its legacy, and educating the present. An example of films with incredible historical accuracy would be “Pride and Prejudice” (1995), “Little Women” (2019), and “Dunkirk" (2017). These films are known for their prestigious costuming and ability to portray the time period with precision.

When directing “Marie Antoinette,” however, Coppola wanted to remain close enough to accurate costuming to allow viewers to connect with the time period, while also allowing her creative liberty shine. The costume designer, Milena Canonero, wanted to simplify and stylize the extravagance of 18th-century fashion while also maintaining the believability of the era. Coppola wanted to use the costuming to emphasize the naivety of Marie Antoinette. To emphasize that she was only fourteen years old at the beginning of her reign, they used a pastel and confectionary inspired color palette, as opposed to the popular jewel tones of the 18th century. KK Barrett in an interview with the New York Times said: “[She] is a naive and impulsive teen who loves clothes, jewelry, and sweets…a palette of light blues, pinks, and greens reflects her youthful spirit…We freshened the whole palette…pastel vision. We didn’t want to get into the darker, somber colors that Sofia calls the ‘jewel tones.’ We…overemphasize[d] the fact that she was 14.”

Instead of the matronly wear and heavy makeup the real Marie Antoinette adorned, Coppola and her team kept the character fresh-faced and used organza and netting frills as opposed to the historically accurate heavy lace, making her ruffles look fresher and softer. They also excluded the use of opulent jewelry because they felt it made her look too mature, and instead used ribbons around her neck to emphasize her youthfulness and naivety as a monarch. Another whimsical touch Coppola added was the inclusion of Converse sneakers in Marie’s wardrobe. This was extremely frowned upon by the public at the film’s initial release, but I believe it helped enhance the film even further. Despite this, the costume designer Milena Canonero was awarded an Oscar for Costume Design.

The purpose of this film was to depict Marie Antoinette as not just a monarch, but also a teenage girl thrusted into an entirely different world. The decision to infuse inaccurate details and costuming, specifically the integration of Converse, was deliberate and, in my opinion, enhanced the film. By deviating from strict historical accuracy, Coppola managed to humanize Marie Antoinette. This made her character more relatable to modern audiences. It bridged the gap between the 18th century and the present, inviting viewers to see the young queen as more than just a distant historical figure. She was not only a symbol of decadence and opulence but a woman struggling to navigate the complexities of power and privilege. The color palette and stylized costuming were geared towards a strongly feminine audience and was a cinematic display of hyper-femininity and a female perspective on the life of Marie Antoinette. The decision to blend historical and modern elements breathed fresh life into the period piece, ultimately enhancing the film's impact and resonance. This is not the only film that benefited from historical inaccuracies. We have seen other period pieces become highly successful and publicly adored due to its inaccuracies. For example, many believe that the “Pride and Prejudice” (2005) film was more entertaining.

Works Cited
Brown, Anastasia. “Sofia Coppola's Marie Antoinette & Its Masterful Costume Design.” Anastasia Brown, December 2021, https://anastasiabrownn.medium.com/sofia-coppolas-marie-antoinette-its-masterful-costume-design-84b8145ed79d. Accessed 23 October 2023.
Coppola, Sofia, director. Marie Antoinette. 2006. Amazon Prime Video, https://www.amazon.com/Marie-Antoinette-Kirsten-Dunst/dp/B000NGYLOM. Accessed 23 October 2023.
King, Susan. “Versailles, done over in pastel.” Los Angeles Times, 10 September 2006, https://www.latimes.com/archives/la-xpm-2006-sep-10-ca-marieset10-story.html. Accessed 23 October 2023.
Le, Mina. “i don’t care that Marie Antoinette (2006) is historically inaccurate!” YouTube, 22 February 2021, https://www.youtube.com/watch?v=6yRmkAe43EA. Accessed 23 October 2023.
Long, Annaliese. “How important is historical accuracy in costume design for period pieces?” The Brantley Banner, 24 October 2022, https://brantleybanner.com/12093/opinions/how-important-is-historical-accuracy-in-costume-design-for-period-pieces/. Accessed 23 October 2023.

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Louis Daguerre's motivation to begin experimenting with light sensitive materials was so that he and others would be able to capture an image from a still moment in time

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Early photography and Daguerreotype Medium.

Louis Daguerre invented a new process he dubbed a daguerrotype in 1839, which significantly reduced exposure time and created a lasting result, but only produced a single image.

Louis Daguerre called his invention "daguerreotype." His method, which he disclosed to the public late in the summer of 1839, consisted of treating silver-plated copper sheets with iodine to make them sensitive to light, then exposing them in a camera and "developing" the images with warm mercury vapor.

Daguerreotypes became an equalizer among classes. No longer were likenesses only created for the super rich. An average person could walk into a portrait studio, sit for an image, and have the same product as the millionaire down the street. The popularity gave rise to picture factories

Views of modernity and capitalism heavily influenced Daguerre’s discovery because his main goal was to improve and modernize the process previously used to capture images and to upgrade what he saw using camera obscura.

People could start to develop a visual history, not only the rich could afford to have a portrait made, and people could collect images of their friends and family.

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The correct answer is: simile

Through this text, we can see that the phrase "It is as if a great earthen pot has dropped from an unreachable rafter'' represents a comparison with the doubts that the narrator presents. This comparison is made through two elements that have nothing in common, but that the author uses to create a new meaning about one of them. This is done through simile.

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Thoreau states, “… When an acorn and a chestnut fall side by side… bothobey their own laws…” (3). This can be interpreted as success being obtainable withoutthe assistance of another. The acorn and the chestnut are two individuals that are uniquein their own way yet had the same result. The same goes for people; for those reachingthe same goal as another, it is much better to do it under your qualities and your own way.The purpose of this passage was for Thoreau to inform his audience on his viewson the government and its negative affects on civilization. With its restrictions, peoplecannot fully live up to their potential because the bureaucracy will always limit them.Thoreau wants his audience to become successful in their own manor and uses theserhetorical devices to sync with his readers

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In the passage "Boston Navy Yard and the 'Great War,' 1914-1918," the author presents a detailed account of the history of the Boston Navy Yard, specifically focusing on its transformation during World War I. The author develops the significance of this transformation by providing historical context, describing specific events and changes at the Navy Yard, and highlighting the impact of the Yard's actions on the war effort.

The author begins by providing historical context for the Boston Navy Yard, describing its establishment in 1801 and its role as a major naval shipyard for the United States. This sets the stage for the significance of the Yard's transformation during World War I, as it was a key player in the war effort.

The author then describes specific events and changes that occurred at the Navy Yard during the war. For example, the author notes that the Yard's workforce grew from 2,500 workers to over 20,000, and that the Yard's production of ships and submarines increased dramatically. The author also describes how the Yard adapted to the changing needs of the war, such as by building subchasers and convoy escort ships.

The author also highlights the impact of the Yard's actions on the war effort. For example, the author states that the Yard's production of destroyers and submarines helped to tip the balance of the war in favor of the Allies. The author also notes that the Yard's actions played a significant role in the success of the convoy system, which helped to protect supplies and troops being transported across the Atlantic.

Overall, the author develops the significance of the Boston Navy Yard's transformation during World War I by providing historical context, describing specific events and changes at the Navy Yard, and highlighting the impact of the Yard's actions on the war effort. This information provides a clear understanding of the importance of the Navy Yard in the war and its impact on the outcome of the war.

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In lines 578-579, Mrs. Keeney tells her husband why she wanted to sail with him: "I wanted to see
you the hero they make you out to be in Homeport." In what way does the voyage change the way she sees her husband? Cite evidence from the play in your answer.
Mrs. Keeney sees that her husband is a hard man who can be brutal toward his crew in pursuit of
his goal. In lines 650-653, she tells him, "You want to live up to your silly reputation even if you do
have to beat and starve men and drive me mad to do it."
At the end of the play, Captain Keeney breaks his promise to his wife, even though he says he loves
her. What is the motivation for his behavior, beyond simple economic opportunity?
Keeney's pride pushes him to put his goal of
getting the oil ahead of any feelings for his wife. He needs to get the oil to feel strong and to prove himself. At the same time, he denies that his wife is really going mad, saying, "I know you're foolin' me" (lines 892-893). He may feel justified in staying "jest a little while longer" at sea because he can't believe she is actually losing her mind and because she insisted on making the voyage in the first place.

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make necessary changes as required to make the points better

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The phrase "we'll head north again, in other words, to the land of sensible people" shows that the entire venture, planned by the Professor and the Captain was not wise. It has a critical tone.

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The phrase above was uttered by the Canadian in the book, "Twenty Thousand Leagues Under the Seas Revised" By Jules Verne. He meant that the venture which they had undertaken was fruitless and unwise.

He criticized the journey because at that time the Nautilus was stuck in the ice and could no longer move forward.

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Based on the context of the presented proposal, we can give such a definition:
Reverence is a feeling of deep respect or awe, in this case for nature. Reverence can be a feeling of awe, and it can also describe how you feel about something, especially.

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George and Lennie dream of getting their own farm. George wants the independence that comes with owning his own land, and Lennie wants to have rabbits. Their dream is the central theme in the story. It is their dream that brings them to the ranch, and that dream spreads to Candy and Crooks.

George is small while Lennie is burly in terms of physical size. George is cunning and calculating while Lennie is obtuse and carefree. But from the early scene where the two stopped to drink water, you can already perceive that George is the one who looks after Lennie.

Lennie and George have an argument over a mouse that Lennie has petted a little too hard and long. Lennie wants to keep the dead mouse in his pocket, but George throws it away.

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