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- W17758297 abstract "This essay interrogates two film adaptations of Jane Austen's Emma, Amy Heckerling's Clueless and Douglas McGrath's Emma, reading the portrayals of femininity complex and unstable: simultaneously conservative and progressive. This essay examines representations of the feminine they come together in the protagonists of two large-screen adaptations of Jane Austen's Emma: the 1996 Miramax Emma, directed by Douglas McGrath, and Paramount's Clueless, directed by Amy Heckerling and released in 1995. Resonances and divergences between the films and the novel will be investigated in an attempt to chart the anxiety that can haunt filmic constructions of femininity. As adaptations, Emma and Clueless have been described Hollywood-style and Imitation, respectively, the latter term designating a film that uses a novel's plot and character but updates the setting to focus on a modern-day highly structured (Troost, Nineteenth-century 76). The literary film adaptation, whether it preserves the historical setting or replaces this with the day, is inevitably in dialogue with the time of its making. Through processes of appropriation and invention, it manifests complexities and uncertainties that resonate both with the literary text from which it draws inspiration and with the society that produces it. Some critics have observed that the spate of film and television adaptations of Austen's novels released in the 1980s and 1990s promoted the writer's status in popular culture a conservative icon (North), often containing the texts' potential subversiveness, and representing a cultural antifeminist articulation of nostalgia an unchallenged patriarchal order (Sonnet 59). Instead of viewing these films a neutralization of the novel's subversive potential, liberal-feminist rewritings, or deadlocks between contrary tendencies, it seems fruitful to consider them an overlaying of discourses of submission and agency. Thomas Leitch, among others, has discussed the tenacity of fidelity a criterion the analysis of adaptations. Much of the critical response to Emma and Clueless appears to have adopted this criterion, appraising the films in terms of their fidelity to a spirit, essence, or intention attributed to the original; an essentialist rhetoric of authenticity and inauthenticity, depth and surface, has been invoked to justify a perceived hierarchy in which novel outranks film. Several subtler readings, however, have avoided value judgments of this kind and insisted on a dialogic relationship between literary text and film. The present study, unconcerned with aesthetic evaluation, adopts an approach in line with Deborah Cartmell's postmodern rejection of attempts to determine the degree of faithfulness of a given film to a set of seen belonging to the original literary text, in favour of a reading of adaptations for their generation of a plurality of meanings (28). Gender will be defined Teresa de Lauretis elaborates it in Technologies of Gender: Essays on Theory, Film and Fiction. For de Lauretis, gender can neither be assumed to derive unproblematically from sexual difference, nor be reduced to a mere effect of language, to the pure imaginary. She proposes an understanding of gender as and self-representation, [...] the product of various social technologies, such cinema, and of institutionalised discourses, epistemologies, and critical practices, well practices of daily life (2). Such a definition brings feminists to a paradox, to the discrepancy [...] between Woman representation, the object and the very condition of representation, and, on the other hand, women beings, subjects of 'real relations,' [...] women are both inside and outside gender, at once within and without representation (10). The fact that gender cannot be equated with biology, or with the essential categories of man and woman--that it is a construction, the product of systems of representation--sits alongside women's undeniable status subjects. …" @default.
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- W17758297 date "2010-09-01" @default.
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- W17758297 title "Film Adaptations of Emma between Agency and Submission" @default.
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