This article uses Sofia Coppola's 2000 film adaptation of Jeffrey Eugenides's 1993 novel, The Virgin Suicides, as a tool to reveal the articulation of characterization and point of view which the film offers through style, performance, narrative organization and mode of address.
It explores the gendered perspectives that the film offers on the action and in particular focuses on the film's appropriation of the rhetoric of still photography to inflect the story's concern with obsession and epistemological limits.
Adaptation, or the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries. In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries. Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.