Download Jane Austen in Hollywood by Linda Troost, Sayre Greenfield PDF

By Linda Troost, Sayre Greenfield

In 1995 and 1996 six movie or tv variations of Jane Austen's novels have been produced -- an unparalleled quantity. extra extraordinary, all have been serious and/or field place of work successes. What money owed for this explosion of curiosity? a lot of the allure of those movies lies in our nostalgic hope on the finish of the millennium for an age of better politeness and sexual reticence. Austen's ridicule of deceit and pretentiousness additionally appeals to our fin de si??cle sensibilities. The novels have been replaced, despite the fact that, to reinforce their attract a large well known viewers, and the revisions show a lot approximately our personal tradition and its values. those contemporary productions espouse explicitly twentieth-century feminist notions and reshape the Austenian hero to make him agree to sleek expectancies. Linda Troost and Sayre Greenfield current fourteen essays interpreting the phenomenon of Jane Austen as cultural icon, delivering considerate and sympathetic insights at the movies via numerous serious techniques. The participants debate even if those productions improve or undercut the delicate feminism that Austen promoted in her novels. From Persuasion to satisfaction and Prejudice, from the 3 Emmas (including Clueless ) to feel and Sensibility, those movies be triumphant simply because they flatter our intelligence and schooling. and so they have as a lot to inform us approximately ourselves as they do concerning the global of Jane Austen. This moment variation encompasses a new bankruptcy at the fresh movie model of Mansfield Park.

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Sample text

As Darcy’s pursuit of Elizabeth becomes more certain, his physical activities are increasingly replaced by meditative stares which, in turn, become increasingly direct; this expression of longing peaks when he spends a tumultuous night pacing back and forth to his window while attempting to write a response to her rejection of his marriage proposal. Darcy’s physical activities reveal the violence of his emotions while his longing stares restate his inability to express verbally those emotions. While Darcy displays emotional restraint, he physically displays that which he is restraining.

Toward the end of the film, as Marianne recovers, Brandon is displayed reading Book 5 of The Faerie Queene aloud to her. The camera lingers on the scene, and, with Brandon sitting with his back to the camera, the viewer is not sure if the figure is Willoughby’s or Brandon’s. The film encourages the viewer to equate Willoughby and Brandon. The camera slowly circles the couple, revealing Brandon and the growing intimacy between the two as Brandon recites, “For there is nothing lost, but may be found, if sought,” and encourages Marianne to find her lost romantic hero in himself (Thompson 187).

Austen’s Darcy has suddenly displayed too much emotional freedom: he expresses his love openly and then openly states the frustrating barriers his love has overcome. Is Darcy’s proposal too expressive, as the novel might have it, or not expressive enough, as the film has it? The answer is both; he exists as both in two different Pride and Prejudice texts. Masculine emotional display has been envisioned differently by each; it provides a telling example of how Austen’s “balance” has been reformulated and paradoxically maintained by today’s audience, an audience that expects masculinity to evidence balance through emotional display.

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