Abstract

The scene of Sofia Coppola’s movie, Marie Antoinette, is made in dialectic with pictorial works, which occur primarily in three forms: classical painting within diegetic space, as an element of scenography; painting as a scene, when the film picture incorporates the pictorial aesthetics of a canonical work; and the re-appropriation of a canonical painting according to the aesthetic molds of the fictional universe of the film in question, which was placed as scenic object.