Cinematic Ways of Seeing in the Novels of D.H. Lawrence
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_________________________________________________________________________Swansea University E-Theses Cinematic ways of seeing in the novels of D.H. Lawrence. England, Adam John How to cite: _________________________________________________________________________ England, Adam John (2002) Cinematic ways of seeing in the novels of D.H. Lawrence.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42423 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ Cinematic Wavs of Seeing in the Novels of D.H.Lawrence Adam John England Submitted to the University of Wales in fulfilment of the requirements for the Degree of Doctor of Philosophy of English University of Wales Swansea 2002 ProQuest Number: 10798131 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10798131 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ;£is/r> &LIBRARY Summary This thesis aims to identify and analyse the cinematic ways of seeing in Lawrence's novels by comparing the novels to the films adapted from them. Methodologically, the cinematic ways of seeing are initially identified in the novels by a series of pointers which are derived from Lawrence's comments on the cinema in his letters, novels, short stories and essays. These ways of seeing, once identified, are compared to the ways of seeing in the film adaptations. The films are considered as works of art in their own right, but the focus falls on them as metanarratives, the analysis of which draws out characteristics of the novels' ways of seeing. The thesis's introduction presents Lawrence's own comments on the cinema, and thus facilitates connections between the novels' ways of seeing and Lawrence's life. The connections suggest that the ways of seeing are expressions of Lawrence's experiences as a son, a lover, a husband, an outcast and a traveller. In each role, especially that of the outcast during and after the war, there is a gulf between him and society which is reflected in his characters' and narrators' ways of seeing. This alienation has its counterpart in the form of the novels and generates some of the prototypical tropes of modernism and postmodernism. Lawrence understood that seeing is a form of relationship; that how we see is as important as what we see; and that it is in our seeing that the drama between health and sickness in each individual is played out. This thesis will study aspects of that drama through its analysis of ways of seeing in three of Lawrence's novels and their film adaptations. DECLARATION This work has not pnwfcusly been accepted in substance for any degree and is not being concurrently su^n^tt^m candidatur£<for any degrep'/ Signed ...................... (candidate) D ate L............... L 2 ClM 0 X STATEMENT 1 This thesis is the result of my owjr investigations, except where otherwise stated. Other sources are acknowledged by footnote^-giving explicit references. A bibliography is appended. * / /P' / ✓ O Signed ./. ......... (candidate) D ate.............(./.................. q/l/oZ STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans, and for the^tte and summary to made available to outside organisations. ........................................................ (candidate) Contents List of abbreviations 6 Introduction: A History of Lawrence and the Cinema 9 Sons and Lovers 84 Women in Love 160 Kangaroo 294 Bibliography 350 Filmography 370 Acknowled gements I would like to express my sincere gratitude to the following people and organisations: My supervisor, John Turner, without whom the thesis would not exist; my family, for believing in me and encouraging me; Claire Smith, who was there in the beginning; Claire Atwell, who was there for me when I needed someone; Veronique Ayme, who was extremely patient; Tricia Hodge, whose love and support helped me re-write the thesis; Craig Thomas, Robert Fell and Beverley Thomas, who have been great friends; the examiners, whose comments helped to shape the thesis into its current form; the English Department at Swansea University; the Gilchrist Educational Trust, and the Professional Classes Aid Council, who helped me financially at critical moments; CATCH!, who employed me, and gave me crucial ideas; Robbie and Max, the two dogs; Michael Bell, for his encouragement; Julian Bahari, Gill Clement, Ryan and Anna Guest, Brett Lyons, Phil Jones and David Morgan. I cannot remember everyone else who helped, but there are many of them, and I would like to express my thanks here, and apologise for not mentioning you by name. Guide to Abbreviations and Editions. A.- Apocalypse. Ed. MaraKalnins. London: Penguin 1995. AR- Aaron’s Rod. Ed. MaraKalnins. London: Penguin 1995. BB - The Boy in the Bush. Ed. Paul Eggert. London: Penguin 1996. CP - The Complete Poems o f D.H.Lawrence. Eds. Vivian de Sola Pinto and Warren Roberts. London: Heinemann 1964. E - England, My England and Other Stories. Ed. Bruce Steele. Cambridge: Cambridge University Press 1988. FU - Fantasia of the Unconscious. No editor listed. London: Penguin 1986. I - Twilight in Italy. Ed. Paul Eggert. Cambridge: Cambridge University Press 1994. K - Kangaroo. Ed. Bruce Steele. London: Penguin 1997. L - Letters. General Ed. James T. Boulton. Cambridge: Cambridge University Press 1979 - 1991. LCL - Lady Chatterley’s Lover. Ed. John Lyon. London: Penguin 1990. LG - The Lost Girl. Ed. John Worthen. London: Penguin 1995. P - Phoenix. Ed. Edward McDonald. London: Heinemann 1936. P2 - Phoenix II. Eds. Warren Roberts and Harry T. Moore. London: Heinemann 1968. PO - Pornography and Obscenity in Phoenix. London: Faber and Faber 1929. PU - Psychoanalysis of the Unconscious. London: Penguin 1986. R - The Rainbow. Ed. Mark Kinkead-Weekes. London: Penguin 1995. RDP - Reflections on the Death of a Porcupine and Other Essays. Ed. Michael Herbert. Cambridge: Cambridge University Press 1988. SL - Sons and Lovers. Eds. Helen Baron and Carl Baron. London: Penguin 1994. SS - D.H.Lawrence: Selected Short Stories. Ed. Brian Finney. London: Penguin 1989. TH - Study of Thomas Hardy and Other Essays. Ed. Bruce Steele. Cambridge: Cambridge University Press 1985. TI - Twilight in Italy. With an Introduction by Richard Aldington. London: Heinemann 1956. WL - Women in Love. Eds. David Farmer, Lindeth Vasey and John Worthen. London: Penguin 1995. WL (i) - The First 'Women in Love'. Eds. John Worthen and Lindeth Vasey. Cambridge: Cambridge University Press 1998. WP - The White Peacock. Ed. Andrew Robertson. Cambridge: Cambridge University Press 1983. Introduction: A History of Lawrence and the Cinema. This thesis explores the cinematic ways of seeing in some of Lawrence's novels by comparing these novels with the films based on them. A rudimentary key, or constellation, of pointers to these ways of seeing is summarised in the following paragraph. Please note that to facilitate a chronology the source inspiration and date of each pointer as it has appeared in connection with Lawrence and his work are given in parentheses. This first chapter will also list the references to the cinema in Lawrence’s work in chronological order, drawing out their contributions to Lawrence’s understanding of the cinema. The first two pointers are mechanical watching, or, as Lawrence calls it, ‘Kodak-vision’ (Creative Evolution, Bergson, 1911), and mechanical time, or the artifice of the moment (ibid.). This sense of the mechanical leads into the dancing and dithering pictures of the cinematograph in Sons and Lovers (1913) and The Lost Girl (1920). The flickering, jerky action of the pictures is thus a further pointer to the cinematic way of seeing in Lawrence’s prose. These initial pointers, which centre on subject/object relations and the actual hardware of the cinema, circumscribe a basic concept of the cinema which the subsequent pointers elucidate. The voyeurism intrinsic to watching a film, and the sadism and masochism associated with such perception, are detectable in The Rainbow (1915), as are the mechanical forces or power, like brilliant electric light,