Introduction 2 the Biopic Genre 3 the Postfeminist Historical Woman In

Home , Becoming Jane, Brian Gibson (director), Frida, Julie Taymor

Notes

Introduction

1. The phrase the ‘post-feminist biopic’ has recently been used by Josephine Dolan, Suzy Gordon and Estella Tincknell (2009). The authors argue that the ‘post-feminist biopic’ functions to ‘rewrite history’ to articulate the ‘redundancy of feminism’ (184). This book takes a different position. 2. Sylvia, directed by Christine Jeffs (2003, MGM Home Entertainment), DVD; Frida, directed by Julie Taymor (2002, Buena Vista Home Entertainment), DVD; The Hours, directed by Stephen Daldry (2002, Buena Vista Home Enter- tainment), DVD; Becoming Jane, directed by Julian Jarrold (2006, Magna Paciﬁc Pty Ltd), DVD.

2 The Biopic Genre

1. He explores this process speciﬁcally in relation to the biopic at 38–46. 2. See, for example, Truffaut, 1993. 3. A volume entitled The Biopic in Contemporary Film Culture, ed. Tom Brown and Belén Vidal, is due to be published by Routledge in December, 2013. 4. For examples see Chung (2005); Waites (2005); Lynch (1998); Ramsey (2005); Lockwood (1997); Garrard (2003); and Doyle (2006). 5. Including Barta (1998); Burgoyne (2008); Grindon (1994); Landy (2001); Sorlin (2001); Staiger (1996); and Toplin (2002). 6. See Anderson (1988: 92), Anderson and Lupo (1996: 91); Landy (1996: 151); and Bingham (2010: 5). 7. A private life portrayed in the recent ﬁlm De-Lovely (Irwin Winkler, 2004). 8. See also ffolliott (2005); Garrard (2003).

3 The Postfeminist Historical Woman in Sylvia

1. Sylvia, directed by Christine Jeffs (2003, MGM Home Entertainment), DVD. 2. In this chapter, I use the first names ‘Sylvia’ and ‘Ted’ to refer to the characters of the film Sylvia. I follow the same convention in subsequent chapters. 3. Authors who include the details of this first meeting between Plath and Hughes include Alexander (1991: 179); Malcom (1995: 38–39); Stevenson (1989: 75–76); and Wagner-Martin (1987: 130). 4. For example, see Alexander (1991: 330); Butscher (1976: 363); Hayman (1991: 3–14); and Stevenson (1989: 296). 5. Brownlow (2003). While there is no record of such a meeting, Diane Middlebrook suggests the two were considering a reconciliation in the final

164 Notes 165

month of Plath’s life (2003: 208). Ronald Hayman speculates that Plath may have met Hughes on the night of her death (1991: 9). 6. Malcolm’s book is not strictly a biography. Rather, it is a self-reﬂexive work on the nature of the biographical industry, focusing on the case of Plath; however, Malcolm does come to her own conclusions about aspects of the biography of Plath. 7. She makes this comment in the ‘Behind the Scenes Documentary’ from Sylvia, directed by Christine Jeffs (2003; MGM Home Entertainment, 2004), DVD. 8. ‘Behind the Scenes Documentary’, Sylvia. 9. Dolan et al. make this argument about the ﬁlm Iris (Richard Eyre, 2001). 10. Bingham similarly notes that the use of voiceover in IWanttoLive!gives the protagonist ‘the last word as well as ownership over her image’ (2010: 287). 11. The golden light of Sylvia is also used in Frida and The Hours,asIexplorein the following chapters.

4 Frida and the Postfeminist Artist Biopic

1. Frida, directed by Julie Taymor (2002; Buena Vista Home Entertain- ment), DVD. 2. She says this in the ‘Commentary by Director Julie Taymor’ on Frida,directed by Julie Taymor (2002; Buena Vista Home Entertainment), DVD. 3. ‘Commentary by Director Julie Taymor’ on Frida. 4. See my discussion of Custen’s work in Chapter 2. 5. The painting was an invention of the ﬁlmmakers but was based on self- portraits by Kahlo such as The Little Deer (Houston: Private Collection, 1946) and The Dream (Private Collection, 1939). 6. Frida Kahlo, Self-Portrait with Cropped Hair (New York: Museum of Modern Art, 1940). 7. Frida Kahlo, What the Water Gave Me (Private Collection, 1938); Frida Kahlo, The Suicide of Dorothy Hale (Phoenix: Phoenix Art Museum, 1938–39); Frida Kahlo, My Dress Hangs There (Private Collection, 1933). 8. The painting referred to is Frida Kahlo, Henry Ford Hospital (Mexico City: Museo Dolores Olmedo Patino,´ 1932). 9. ‘Commentary by Director Julie Taymor’, Frida. 10. ‘Commentary by Director Julie Taymor’, Frida.

5 The Hours, Feminisms and Women’s Art

1. The Hours, directed by Stephen Daldry (Buena Vista Home Entertainment, 2002), DVD. 2. In the novel the year is 1949. 3. Stephen Daldry says this in ‘Commentary by Director Stephen Daldry and Novelist Michael Cunningham’, The Hours, directed by Stephen Daldry (2002, Buena Vista Home Entertainment), DVD. 4. ‘Commentary by Director Stephen Daldry and Novelist Michael Cunningham’, The Hours. 166 Notes

5. Ibid. 6. The link between Rich’s notion of ‘compulsory heterosexuality’ and The Hours is also commented on by Dolan et al. (2009: 181). 7. ‘Commentary by Director Stephen Daldry and Novelist Michael Cunningham’, The Hours. 8. Ibid. 9. Ibid. 10. The quote is directly from Mrs Dalloway, except the line ‘It is possible to die’, which is sourced from Cunningham, The Hours (2006: 151). In the film this lineisrepresentedasfromMrs Dalloway. 11. Hollinger makes the argument about Desperately Seeking Susan (Susan Seidelman, 1985), that despite the lack of a meeting between the protago- nists until the final scene, the relationship with Susan triggers a ‘significant rebirth’ in Roberta (1998: 86). 12. ‘Filmmaker’s Introduction’, The Hours, directed by Stephen Daldry (2002, Buena Vista Home Entertainment), DVD.

6 Postfeminist Spectatorship in Becoming Jane

1. Becoming Jane, directed by Julian Jarrold (2006, Magna Pacific Pty Ltd), DVD. 2. ‘On the Set of Becoming Jane’, Becoming Jane, directed by Julian Jarrold (2006, Magna Pacific Pty Ltd), DVD. 3. ‘On the Set of Becoming Jane’, Becoming Jane. 4. Significantly, Hathaway has named Garland as a favourite actress, and she has signed a contract to play the actress in a biopic. 5. ‘Anne Hathaway Interview for Brokeback Mountain’, themovieguy.com, 24 February 2008, http://www.youtube.com/watch?v=i8qvV98TPUg& feature=related (accessed 25 April 2009). 6. Graeme Broadbent, ‘On the Set of Becoming Jane’, Becoming Jane. 7. Julian Jarrold, ‘On the Set of Becoming Jane’, Becoming Jane. 8. See http://www.imdb.com/title/tt0416508/board/threads/ (accessed 8 August 2009). 9. Jones-95, ‘Board: Becoming Jane (2007), Re: The moments I watched again and again’, http://www.imdb.com/title/tt0416508/board/thread/109889711 (accessed 8 August 2009). 10. ‘Becoming Jane: It was Beautiful’, elee1286, http://www.youtube.com/ watch?v=PRk7iOyatdI&feature=related (accessed 11 August 2009); ‘Becom- ing Jane: How Can I Not Love You?’, annefleur1987, http://www. youtube.com/watch?v=nOJQn3LrUgg (accessed 11 August 2009); ‘Becom- ing Jane: We Are One’, tortoiselle, http://www.youtube.com/watch?v= 9lpBObv0E4w&feature=related (accessed 11 August 2009). 11. Julie Walters, ‘On the Set of Becoming Jane’, Becoming Jane. 12. James Cromwell, ‘On the Set of Becoming Jane’, Becoming Jane. 13. ‘Anne Hathaway in Becoming Jane’, uploaded by CGBCOMS, interview with Claude Budin-Juteau, http://www.youtube.com/watch?v=mCj6ybk_ riE&feature=related (accessed 11 August 2009). Notes 167

14. susico, ‘Board: Becoming Jane (2007), Re: Becoming Jane or Shakespeare in Love?’, http://www.imdb.com/title/tt0416508/board/thread/98582474? d=98746304&p=1#98746304 (accessed 11 August 2009). 15. haley-37, ‘Board: Becoming Jane (2007), Re: Dude! WTF was with the end- ing?!?!?!?’, http://www.imdb.com/title/tt0416508/board/thread/112174543? d=112941985&p=1#112941985 (accessed 11 August 2009). 16. haley-37, ‘Board: Becoming Jane (2007), Re: Dude! WTF was with the end- ing?!?!?!?’. Bibliography

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Introduction

Ally McBeal (Fox, 1997–2002), Becoming Jane (Julian Jarrold, 2007), Bridget Jones’s Diary (Sharon Maguire, 2001), Bridget Jones: The Edge of Reason (Beeban Kidron, 2004), Bright Star (Jane Campion, 2009), Dreamgirls (Bill Condon, 2006), Frida (Julie Taymor, 2002), Fur: An Imaginary Portrait of Diane Arbus (Steven Shainberg, 2006), Hilary and Jackie (Anand Tucker, 1998), The Hours (Stephen Daldry, 2002), Isn’t She Great (Andrew Bergman, 2000), Julie and Julia (Nora Ephron, 2009), Mansﬁeld Park (Patricia Rozema, 1999), Miss Potter (Chris Noonan, 2006), My Week with Marilyn (Simon Curtis, 2011), The Runaways (Floria Sigismondi, 2010), Sex and the City (HBO, 1998–2004), Sylvia (Christine Jeffs, 2003), The Young Victoria (Jean Marc-Valée, 2009).

Chapter 1

All About Eve (Joseph L. Mankiewicz, 1950), Ally McBeal (Fox, 1997–2002), Artemisia (Agnès Merlet, 1997), Bridget Jones’s Diary (Sharon Maguire, 2001), Bridget Jones: The Edge of Reason (Beeban Kidron, 2004), Buffy the Vampire Slayer (Fox, 1997–2003), Cagney and Lacey (CBS, 1981–88), Charmed (The WB Television Network, 1998–2006), Cheaper by the Dozen (Shawn Levy, 2003), Dance Girl, Dance (Dorothy Arzner, 1940), Desperately Seeking Susan (Susan Seidelman, 1985), Forrest Gump (Robert Zemeckis, 1994), Now Voyager (Irving Rapper, 1942), Orlando (Sally Potter, 1993), The Piano (Jane Campion, 1993), Roseanne (ABC, 1988–97), Sex and the City (HBO, 1998–2004), Someone Like You (Tony Goldwyn 2001), Stella Dallas (King Vidor, 1937), Thelma and Louise (Ridley Scott, 1991), Vertigo (Hitchcock, 1958), Xena: Warrior Princess (NBC Universal, 1995–2001).

Chapter 2

Ali (Michael Mann, 2001), An Angel at My Table (Jane Campion, 1990), Angie (Martha Coolidge, 1994), Artemisia (Agnès Merlet, 1997), Battle Hymn (Douglas Sirk, 1957), Blue Steel (Kathryn Bigelow, 1989), Camille Claudel (Bruno Nuytten, 1988), Centre Stage (Stanley Kwan, 1992), Citizen Kane (Orson Welles, 1941), Erin Brockovich (Steven Sodoberg, 1990), Forrest Gump (Robert Zemeckis, 1994), Frances (Graeme Clifford, 1982), Gorillas in the Mist (Michael Apted, 1982), Gunﬁght at the O.K. Corrall (John Sturges, 1957), IWanttoLive!(Robert Wise, 1958), I’ll Cry Tomorrow (Daniel Mann, 1955), I’m Not There (Todd Haynes, 2007), Immor- tal Beloved (Bernard Rose, 1994), Inside Daisy Clover (Robert Mulligan, 1965), Love Crimes (Lizzie Borden, 1992), Malcolm X (Spike Lee, 1992), Marie Antoinette (Soﬁa Copolla, 2006), My Brilliant Career (Gillian Armstrong, 1979), Night and Day (Michael Curtiz, 1946), Nixon (Oliver Stone, 1995), The Notorious Betty Page

182 Filmography 183

(Mary Harron, 2005), The People vs. Larry Flynt (Milos Forman, 1996), Pulp (Mike Hodges, 1972), Reds (Warren Beatty, 1981), Rembrandt (Alexander Korda, 1936), Scarface (Howard Hawks, 1932), The Scarlet Empress (Josef von Sternberg, 1934), Schindler’s List (Steven Spielberg, 1993), Someone Like You (Tony Goldwyn, 2001), Star! (Robert Wise, 1968), Talladega Nights: The Story of Ricky Bobby (Adam McKay, 2006), Walk Hard: The Dewey Cox Story (Jake Kasdan, 2007).

Chapter 3

Artemisia (Agnès Merlet, 1997), The Barretts of Wimpole Street (Sidney Franklin, 1934), Devotion (Curtis Bernhardt, 1946), Factory Girl (George Hickenlooper, 2006), IWanttoLive!(Robert Wise, 1958), I’ll Cry Tomorrow (Daniel Mann, 1955), The Lady With the Lamp (Herbert Wilcox, 1951), Lust for Life (Vincente Minnelli, 1956), My Brilliant Career (Gillian Armstrong, 1979), The Piano (Jane Campion, 1993), Sylvia (Christine Jeffs, 2003).

Chapter 4

The Agony and the Ecstasy (Carol Reed, 1965), The Barretts of Wimpole Street (Sidney Franklin, 1934), Basquiat (Julian Schnabel, 1996), Cadillac Records (Darnell Martin, 2008), Chronik der Anna Magdalena Bach (Danièle Huillet and Jean-Marie Straub, 1968), Disraeli (Alfred E. Green, 1929), Dreamgirls (Bill Condon, 2006), Frida (Julie Taymor, 2002), I’m Not There (Todd Haynes, 2007), IntheTimeofBut- terﬂies (Mariano Borroso, 2001), The Josephine Baker Story (Brian Gibson, 1991), King Kong (Merian C. Cooper and Ernest B. Shoedsack, 1933), Lady Sings the Blues (Sidney J. Furie, 1972), The Life of Emile Zola (William Deiterle, 1937), Love Is the Devil: Study for a Portrait of Francis Bacon (John Maybury, 1998), Lust for Life (Vincente Minnelli, 1956), Modigliani (Mick Davis, 2004), My Brilliant Career (Gillian Armstrong, 1979), Pollock (Ed Harris, 2000), Selena (Gregory Nava, 1997), Total Eclipse (Agnieszka Holland, 1995), What’s Love Got to Do With It? (Brian Gibson, 1993), Wilde (Brian Gilbert, 1997).

Chapter 5

Frida (Julie Taymor, 2002), The Hours (Stephen Daldry, 2002), Lust for Life (Vincente Minnelli, 1956), The Piano (Jane Campion, 1993), Sylvia (Christine Jeffs, 2003).

Chapter 6

All About Eve (Joseph L. Mankiewicz, 1950), Austenland (Jerusha Hess, 2013), The Bachelor (ABC, 2002–), Becoming Jane (Julian Jarrold, 2006), Bridget Jones’s Diary (Sharon Maguire, 2001), Clueless (Amy Heckerling, 1995), Desperately Seeking Susan (Susan Seidelman, 1985), Elizabeth: The Virgin Queen (Shekhar Kapur, 1998), Ella Enchanted (Tommy O’Haver, 2004), Emma (Douglas McGrath, 1996), The Jane Austen Book Club (Robin Swicord, 2007), The Lake House (Alejandro Agresti, 2006), Lost in Austen (ITV, 2008), Mansﬁeld Park (Patricia Rozema, 1999), Meet My Folks 184 Filmography

(NBC, 2002-), Miss Congeniality (Donald Petrie, 2000), The Other Side of Heaven (Mitch Davis, 2001), Persuasion (Roger Michell, 1995), Pride and Prejudice (BBC, 1995), Pride and Prejudice (Joe Wright, 2005), The Princess Diaries (Garry Marshall, 2001), The Princess Diaries 2: The Royal Engagement (Garry Marshall, 2004), Sense and Sensibility (Ang Lee, 1995), Sex and the City (HBO, 1998–2004), Shakespeare in Love (John Madden, 1998), Twilight (Catherine Hardwicke, 2008), The Wedding Planner (Adam Shankman, 2001).

Conclusion: The Postfeminist Biopic

The Agony and the Ecstasy (Carol Reed, 1965), An Angel at My Table (Jane Campion, 1990), Artemisia (Agnès Merlet, 1997), Becoming Jane (Julian Jarrold, 2006), Blonde (Joyce Chopra, 2001), Bright Star (Jane Campion, 2009), Dreamgirls (Bill Condon, 2006), Factory Girl (George Hickenlooper, 2006), Frida (Julie Taymor, 2002), Gen- tlemen Prefer Blondes (Howard Hawks, 1953), The Hours (Stephen Daldry, 2002), Lust for Life (Vincente Minnelli, 1956), Marilyn: The Untold Story (Jack Arnold and John Flynn, 1980), My Week with Marilyn (Simon Curtis, 2011), Norma Jean and Marilyn (Tim Fywell, 1996), The Piano (Jane Campion, 1993), Pollock (Ed Harris, 2000), The Prince and the Showgirl (Laurence Olivier, 1957), The Runaways (Floria Sigismondi, 2010), Sylvia (Christine Jeffs, 2003), Total Eclipse (Agnieszka Holland, 1995), The Young Victoria (Jean Marc-Valée, 2009). Index

Abel,Sue,28 Battersby, Christine, 78 The Agony and the Ecstasy, 84–7, Battle Hymn, 45 91, 153 Becoming Jane Alexander, Paul, 77–8 casting, 134–5 Altman, Rick, 38 cinematography, 137 All About Eve, 15, 130 devotion to Jane Austen, 7, 131–3 Alley, Henry, 121 female desire, 7, 142–4, 148 Ally McBeal, 3, 31, 33, 34 ‘harlequinization’ of Austen, 141–2 Alvarez, Al, 61, 64, 70, 71, 73 intimacy with Jane Austen, 133–6 An Angel at My Table, 53, 152 ordinariness of Jane Austen, 7, Anderson, Carolyn, 45, 47, 93 133–4, 148 Ang, Ien, 29 postfeminist interrogation, 144–7 Artemisia, 35–6, 41, 45, 57–8, 65, 67, romance, portrayal of, 7, 138–40 72, 149 subversive power of Jane Austen, 7, artist biopic, 6, 56, 74, 81, 83–9, 94–5, 136–8, 148 97–9, 102–3, 114–15, 120–2, 124, Berger, John, 102 150, 152–3 biopic, 3, 6, 22, 38–59, 75, 81, 84, 89, autobiographical portrayal of art, 90, 93–4, 101, 103, 119, 131–2, 84, 88–9 134, 149–50, 163 christological imagery, 5, 74–6, 84, ‘biographical route’, 47–9 86–8, 103, 121, 123, 153 celebratory, 51–2, 73–4, 131 narrative structure of, 84–5, 103 artist monograph, 88–9 deﬁnition of, 47–9 Arzner, Dorothy, 16–18, 99 historical development of, 51–4 Arthurs, Jane, 144 experimental biopic, 3, 49 Austen, Cassandra, 128–9, 133, ironic biopic, 45 136, 139 palimpsest, as, 3, 6, 49–51, 55–6, 79, Austen, Jane, 3–4, 7, 22, 57, 128–48, 84, 149–50, 163 162–3 paradigmatic, 3, 48–9 Pride and Prejudice, 129, 130, see also artist biopic; female biopic; 132, 139 feminist biopic; male biopic; see also Becoming Jane;Lefroy,Tom postfeminist biopic Austenland, 132 Bingham, Dennis, 1–3, 6–7, 38, 41, ‘Austenmania’, 132 46–9, 51–6, 60, 63–4, 66–7, 70, auteur theory, 39 72–4, 76–9, 81, 98, 127–8, 130–1, 137, 141–2, 148, 152, 155, 161 The Bachelor, 142 biography, 41, 47, 49 Baddeley, Oriana, 92 ‘Hollywood biography’, 54 The Barretts of Wimpole Street, 62, 84 Künstlerroman, 85 Bartra, Eli, 83, 89–90, 93, 98, 103 literary biography, 88–89 Basquiat, 86 lives of the saints, 84 Basinger, Jeanine, 19–20, 117 passio, 84

185 186 Index biography – continued Cunningham, Michael, 105–6, 114 subjectivity of, 4–5, 7, 57, 82, Currie, Cherie, 154–6 98–102, 103 Curtis, Simon, 159 vita, 84 Custen, George F, 6, 38, 41–55, 75, 82, women, about, 65, 73, 120 84, 93, 134, 149, 151 Blonde, 161 Blum, Virginia, 140 Daldry, Stephen, 105, 108, 110, Blunt, Emily, 157 115, 122 Bowie, David, 156 Dance, Girl, Dance, 16 Branagh, Kenneth, 159 Desperately Seeking Susan, 15, 24, Brawne, Fanny, 151–3 130, 138 Bridget Jones’s Diary, 3, 17, 27, 66, 132 Devotion, 63 Bridget Jones: The Edge of Reason, 3, 17 Disraeli, 90 Bright Star, 1, 4, 151–4 Briley, Ron, 89 Doane, Mary Ann, 10, 13–15, 19, Britzolakis, Christine, 64–5, 72 39, 108 Broadbent, Graham, 133–5, 138 Dobie, Madeleine, 138 Brooks, Ann, 32–4, 104 Dolan, Josephine, 66, 68, 77–9 Broude, Norma, 113 Dreamgirls, 1, 4, 93, 151, 154–7 Brown, Charles, 153 Duncan, Carol, 124 Brownlow, John, 63, 66 Dyer, Richard, 135, 159–60 Brunsdon, Charlotte, 29–30 Bruzzi, Stella, 68 Ella Enchanted, 135 Buffy the Vampire Slayer, 17, 33–4 Elizabeth: The Virgin Queen, 139 Burgoyne, Robert, 41, 45 Ellis, John, 50 Burt, Richard, 136 Emma (1996 film), 132, 138 Butler, Judith, 25, 32, 156 Erin Brockovich, 53 Butscher, Edward, 77–9 Evans, Harriet, 140 Ezell, Margaret, 124 Cadillac Records, 94 Cagney and Lacey, 14, 24 Camille Claudel, 45 Factory Girl, 60, 151 Campion, Jane, 53, 60, 68, 151–3 Faludi, Susan, 2, 23–4, 27 Center Stage, 53 Fanning, Dakota, 154 Chadwick, Whitney, 65 Fein, Seth, 83, 89 Charmed, 33 female biopic, 2–3, 6, 8, 38, 52–6, Cheaper by the Dozen, 25 60–1, 63–7, 70, 72–3, 76, 79, 81, ‘chick-lit’, 140 84, 98, 103, 141–2, 150–2, 155, Chronik der Anna Magdalena Bach, 94 157–8, 162–3 Citizen Kane, 42, 48, 52, 56 downward trajectory, 1, 52–5, 64, Clark, Colin, 159–61 77, 80, 98, 149 Clueless, 132 patriarchal gaze, 54, 127–8, ‘compulsory heterosexuality’, 130, 148 111, 157 victimisation in, 8, 54, 60, 80, Cook, Pam, 5, 12, 16–18, 21–2, 34 149, 151 Coppola, Sophia, 53–4, 60 ‘warts-and-all’ portrait, 1, 52, 54, Cornish, Abbie, 151 73, 161 Craig, Daniel, 61, 69 female spectatorship, 7, 12–15, 128, Cromwell, James, 147 130–1 Index 187 feminism, 2–5, 17–18, 20, 23, 31, communism, depiction of, 89–91 35–6, 51, 56, 58–9, 80, 104–5, Mexicanidad, 91–4 138, 141, 145, 147, 152, 163 narrative structure, 84–5 critique of domesticity, 69, 79–80, postmodern ruptures, 98–102 117, 119 revision of artist biopic, 83–9 feminisms, 7, 21, 32, 105, 162 revision of feminist narrative of lamenting feminism, 27–30 Kahlo, 94–8 liberal feminism, 20 tableaux vivants, 82, 88 ‘micro narratives’ of, 5, 59, Friend, Rupert, 157 133, 163 Fur: An Imaginary Portrait, 1 postmodernism, influence of, 2, 4, 33–4, 35, 81, 99, 104 Garrard, Mary D, 65, 113 revision of history, 76, 112–13 Garrett, Roberta, 5–6, 35–6, 81, 99, second-wave feminism, 1, 4, 7, 104, 113, 125 22–5, 30, 32, 37, 41, 60–1, 106, Gentileschi, Artemisia, 35–6, 41, 57–8, 118, 151, 162 65, 149 socialist feminism, 20 Gentlemen Prefer Blondes, 159 see also sisterhood; woman artist; genre, 38 women’s aesthetic film genre, 1–2, 6–7, 17, 19–20, 22, feminist biopic, 2–3, 6–7, 38, 53–5, 70, 34–6, 38–41, 54–6 79–80, 127–8, 137, 148–9, 155, western, 39–40, 47 162–3 see also biopic; women’s film; feminist point of view, 2, 53 ‘sentimental female friendship feminist gaze, 128, 148 film’ feminist film scholarship, 9–22 genre studies methodology cultural analysis, 12–16, 20, 22, case studies, 54–6, 150–1 50, 54 survey approach, 150 gaze theory, 10–12, 15–16, 72, 100, Gilbert, Sandra, 120 127–8 Gill, Rosalind, 23–4, 26, 28, 30–2, sociological approach, 9–10 59, 144 ‘to-be-looked-at-ness’, 11, 15, 58, Glass, Philip, 107, 123 72, 127, 149 Gledhill, Christine, 5, 13–14, 16, 20–2, ffolliott, Sheila, 72 28, 30, 50, 54 Foxx, Jamie, 154 Goldenthal, Eliot, 90 Freud, Sigmund, 10, 12, 32, 78 Gordon, Suzy, 66, 68, 77–9 Firestone, Shulamith, 10 Gordy Jnr, Berry, 154 Firth, Colin, 132, 143 Gorillas in the Mist, 53 Fischer, Lucy, 132 Grant, Barry Keith, 18, 40 Forrest Gump, 34, 42 Greer, Germaine, 10 Fowley, Kim, 154 Greene, Milton, 160 Frances, 45 Gubar, Susan, 120 Frederickson, Kristen, 65 Gunfight at the O.K. Corrall, 47 Frida, 1, 3–7, 24, 35, 40, 47, 56–7, Guzmán, Isabel, 83 81–103, 104, 121, 123, 133–4, 144, 150, 154, 158, 163 Hall, Stuart, 14 animated sequences, 82 Hare, David, 105 autobiographical portrayal of art, Harlequin novels, 129 83–4, 88–9, 103 Harris, Jocelyn, 138, 141 christological imagery, 84, 86–8 Haskell, Molly, 10, 13, 19–20, 23 188 Index

Hathaway, Anne, 128, 134–7, 147 The Jane Austen Book Club, 132 Hayek, Salma, 40, 82–3, 86–7, 94–6, Jarrold, Julian, 128, 133, 135, 138 99, 102–3 Jeffs, Christine, 17, 61, 66 Haynes, Todd, 60 Jett, Joan, 155–7 Herrerra, Hayden, 82–3, 94–5, 103 Johnston, Claire, 10–11, 99 Hilary and Jackie, 1 Jones, Deena, 154–6 Hine, Lewis, 101 The Josephine Baker Story, 93 historical ﬁlm, 46 Jowett, Madeleine, 28 Hollinger, Karen, 18, 119 Julie and Julia, 1 Hollows, Joanne, 30–1 Hollywood, 1, 2, 5–6, 10–12, 16–18, Kahlo, Cristina, 86, 88, 90 21, 23, 38–40, 45, 50–1, 53, 55, Kahlo, Frida, 3–5, 7, 22, 24, 57, 81–3, 84, 90, 93, 98, 117, 131, 142, 149 86–92, 94, 96, 126, 133, 162–3 depiction of history, 41–4, 46, 50–1, archetypal suffering woman, 95, 97 54, 83 exotic image of, 92 hooks, bell, 14–15, 32–3, 125, 128, 144 feminist narratives of, 5, 7, 81, 94–5, The Hours, 1, 3, 5, 7, 24, 35, 48–9, 97, 103, 163 57–9, 104–26, 133–5, 137, 144–5, Frida Kahlo and Diego Rivera, 88 150, 154, 162–3 Henry Ford Hospital, 95 Brown, Laura, 104–22, 125–7, My Dress Hangs There, 90, 97 137, 154 portrayal in Frida, 85–98, 102–3, 123 editing, 107, 110, 122 Self-Portrait with Cropped Hair, 88 feminist perspectives in, 106–19 The Suicide of Dorothy Hale, 90, 97 ‘leitmotifs’, 110 What the Water Gave Me, 90 ‘literary generativity’, 117–18 see also Frida Kaplan, Deborah, 141 mise-en-scène, 109 Keats, John, 151–3 postmodern aspects of, 104–5, 108, Kidman, Nicole, 105, 115, 122, 114, 126 124, 135 Vaughan, Clarissa, 104, 106–7, King Kong, 82, 99–101 109–14, 116–23, 125, 154 Kinzler, Julia, 158 see also sisterhood; Woolf, Leonard; Knowles, Beyoncé, 154 Woolf, Virginia Kuhn, Annette, 12, 17–18, 20, 40, 117 Hudson, Jennifer, 154 Hughes, Mary Joe, 114 Lady Sings the Blues, 93 Hughes, Ted, 5, 61–2, 64–7, 73, 75, 77, The Lady with the Lamp, 60 79–80, 163 The Lake House, 132 The Hawk in the Rain, 61, 75 Landy, Marcia, 3, 6, 38, 47, 49–51, 55, ‘hyperphysicality’, 143 79, 132 Lane, Christina, 17–18, 41 IWanttoLive!,55, 70 Lauretis, Teresa de, 12, 17 I’m Not There, 56, 86 LeBlanc, Michael, 123 In the Time of Butterﬂies, 94 Leal, Amy, 152 I’ll Cry Tomorrow, 52, 60 Ledger, Heath, 160 imdb.com, 140, 147 Lee, Hermione, 122 Immortal Beloved, 45 Lefroy, Tom, 128–9, 140, 146 irony, 34–5, 43, 70, 96 Lent, Tina Olsin, 65, 83, 85–6, 88, see also ‘postmodernist irony’ 91–2, 94 Isn’t She Great, 1 The Life of Emile Zola, 90 Index 189

Lindauer, Margaret, 94, 96–7 My Brilliant Career, 58, 68, 94 Looser, Devoney, 138, 141 My Week with Marilyn, 1, 4, 151, Lost in Austen, 132, 134, 139 159–62 Lotz, Amanda D, 33–4 Love is the Devil, 86 Neale, Steve, 41, 45 Lowe, Sarah, 92, 97 Negra, Diane, 2, 23–8, 31, 57, 59, Lowell, Robert, 61 66, 141 Lozano, Luis-Martin, 90 ‘new man’, 68–71, 158 Lupo, Jonathan, 45, 47, 93 Night and Day, 43, 54–5 Lust for Life, 74–5, 84–7, 89, 91, Norma Jean and Marilyn, 161 123, 153 The Notorious Betty Page, 53 Now Voyager, 17 Malcolm, Janet, 65–6 male biopic, 1, 7, 52, 60, 73–4, 81, 150 Olivier, Laurence, 159–61 Mansfield Park (1999 film), 3, 132 Orenstein, Gloria, 4, 95 Margolis, Harriet, 141 Orlando, 35 Marie Antoinette, 53, 56 The Other Side of Heaven, 135 Marilyn: The Untold Story, 161 Owens, Alison, 66 ‘marriage plot’, 109 McAvoy, James, 128, 136, 144, 146 McHugh, Kathleen, 17–18, 20–2, 152 Paltrow, Gwyneth, 61, 64, 67, 69, McRobbie, Angela, 2, 16, 24–7, 31, 75–7, 135, 138 58–9, 125 paramour, biopic about a, 44, 56, Meet My Folks, 141 151–4 Mellencamp, Patricia, 10, 135 The People vs Larry Flynt, 45 Merlet, Agnès, 36, 57, 72 Persuasion (1995 film), 132 metteurs en scène, 39 Phoca, Sophia, 32–4 Michelangelo, 87, 91, 103 The Piano, 35, 68, 125, 152 ‘micro narratives’, 5, 59, 104, 133, 163 Plath, Sylvia, 3–6, 22, 57, 60–80, 123, Middlebrook, Diane, 65–6 126, 133, 162–3 Miller, Arthur, 160–1 Ariel, 62, 64, 68, 76–7 Millet, Kate, 10 The Colossus, 62, 64, 69–70 Miss Congeniality, 141 ‘Daddy’, 64, 71 Miss Potter, 1 feminist construction of, 61, 80 Modigliani, 86 portrayal in Sylvia, 60–80 Modotti, Tina, 91 see also Sylvia Moers, Ellen, 4 Pollock, 86, 153 Moine, Raphaëlle, 38, 47–8 Pollock, Griselda, 74–5, 86, 112 Monk, Claire, 69 Poniatowska, Elena, 95 Monroe, Marilyn, 159–62 postfeminism, 2–5, 9, 23–37, 38, 51, Moore, Julianne, 105 56–9, 80–1, 104, 125, 141, 148, Moran, Joe, 131, 141 150–1, 157 Morgan, Robin, 61, 70, 78, 80 backlash, 2, 9, 23–7, 31, 33, 35, 37, Moseley, Rachel, 31 41, 57–9, 80, 151, 162 Mraz, John, 83, 89–90, 93, 98, 103 core themes, 56–9 Mulvey, Laura, 10–13, 15–16, 72, 100, double entanglement, 2, 9, 24–30, 127–8, 130 58, 80, 125, 151 see also feminist film scholarship: epistemological break, 2, 5–6, 9, ‘to-be-looked-at-ness’ 32–7, 56, 58, 104, 148, 150 190 Index postfeminism – continued Queen Victoria, 157–9 historical shift, 2, 9, 30–1 Queen Victoria Receiving the News of Her sensibility, 26 Accession to the Throne, June, 20, postfeminist biopic 1837, 158 construction of femininity, 6, 58, 79, 100, 145 Rabinovitz, Lauren, 20 domesticity, portrayal of, 55, 57, 62, Radner, Hilary, 29, 152 64, 67, 68–71, 80, 106, 112–14, Radovici, Nadia, 128 117–19, 124–6, 134, 141–2, Radway, Janice, 115–16 152–3 Ramsey, E Michelle, 45 female ambition, 6, 66, 69, 72–3, 79, reception studies, 20, 28–9, 59 155, 157–8 see also feminist film scholarship: female desire, 7, 142–4, 148 cultural analysis place of feminism, 3–5, 7, 22, 36–7, Read, Jacinda, 31 41, 51, 56, 58–9, 61, 80, 104–6, Rembrandt, 56 112–26, 138, 141–5, 162–3 Rich, Adrienne, 111 pluralistic conception of the Rivera, Diego, 82–3, 88–9, 92, historical woman, 80 94–5, 97 postfeminist interrogation, Man at the Crossroads, 101 144–7 Rivière, Joan, 13 Rose, Jacqueline, 76, 78 reflexivity, 98–102, 158 Roseanne, 30 revision of history, 7–8, 41, 56–7, Rosen, Marjorie, 10, 13, 19–20, 23 60, 76, 103, 113, 121, 126, 137, Rosenstone, Robert A, 46 152, 154 The Runaways, 1, 4, 151, 154–7 romance, portrayal of, 4, 6–7, 62–8, The Runaways (band), 154 79–80, 108–9, 138–42, 148, 151–2, 156, 157, 159, 162–3 Scarface, 42 sexuality, portrayal of, 57–8, 67–8, The Scarlet Empress, 51 98, 111–12, 144, 157, 159–60 Scharff, Christina, 23–4, 26, 28, 31 see also ‘micro narratives’; female Schatz, Thomas, 39–40 spectatorship Schleier, Merrill, 100 postmodernism, 2, 4, 6, 26, 32–3, Sense and Sensibility (1995 film), 34–7, 81, 99, 104 132, 143 ‘postmodernist irony’, 134 ‘sentimental female friendship see also irony film’, 119 Pride and Prejudice (1995 film Sex and the City, 3, 33–4, 142, 144 adaptation), 132, 143 Shakespeare in Love, 139 Pride and Prejudice (2005 film Shannon, Michael, 154 adaptation), 132, 143 Shaw, Deborah, 83, 86 Pride and Prejudice (novel), 129–30, Showalter, Elaine, 120 132, 139 Sim, Lorraine, 67–8, 124–5 Prince Albert, 157–8 sisterhood, 4–5, 106–7, 119, 125–6, The Prince and the Showgirl, 159–61 154, 156–7 The Princess Diaries, 135 Snead, James, 100 The Princess Diaries 2: The Royal Steiner, George, 61 Engagement, 135 Stewart, Kristin, 155 Projansky, Sarah, 2, 66 Sobchack, Vivian, 34 Pucci, Suzanne, 132 Someone Like You, 25 Index 191

Spence, Jon, 128–9 Vasari, Giorgio, 88–9 Spender, Dale, 4 Vidal, Belén, 5, 35–6, 72, 80 Stacey, Jackie, 11, 15, 128, Vincendeau, Ginette, 34 130–1, 136 Voiret, Martine, 140, 142 star persona, 134–5, 160 Steenkamp, Elizabeth, 139 Wagner-Martin, Linda, 64–5, 71, 73 Steinem, Gloria, 160 Walk Hard, 43 Stella Dallas, 12–13, 17 Walker, John, 89 Stevenson, Anne, 77 Walters, Julie, 147 Strasberg, Paula, 160 Wearing, Sadie, 135 Streep, Meryl, 106 Weber, Brenda R, 132 The Supremes, 154 The Wedding Planner, 141 Sylvia, 1, 3–6, 17, 35, 47, 56–7, 60–80 What’s Love Got to Do With It?, 93 christological artist, 74–6 Whelehan, Imelda, 23–4, 27 feminist concerns, 57, 60–1, 68–71, White, Effie, 154–7 72–3 White, Hayden, 34, 46 gender as discursive strategy, 71–2 Wilde, 91 lighting, 70 Williams, Linda, 10, 12, 39, 117 madness, portrayal of, 76–9 Williams, Michelle, 159–60 mise-en-scène, 70, 79 Wishaw, Ben, 151, 153 postfeminist sexuality, 67–8 woman artist, 5, 58, 65, 95, 103, romance, portrayal of, 62–7 120–1, 123–4, 126 see also Hughes, Ted; Paltrow, women’s aesthetic, 5, 65, 78, 112–14, Gwyneth; Plath, Sylvia 126, 133 women’s film, 2, 10, 13, 16–17, 19–20, Talladega Nights, 43 35, 39, 49, 55, 68, 117, 134 Tasker, Yvonne, 2, 24–6, 31, 39 postmodern women’s film, 5, 34 Tassi, Agostino, 36, 58, 65, 67 window, image of, 108, 146 Taymor, Julie, 82–3, 88, 90, 94–7, Woolf, Leonard, 105, 107–8, 110, 112, 99–103 115, 121–2 The Tempest, 74 Woolf, Virginia, 3–4, 24, 48, 58, 76, Thelma and Louise, 18–19, 24 104–17, 119–25, 133, 154, 162 Thomas, Paul, 153 A Room of One’s Own, 76 Thompson, John, 132 ‘Mr Bennett and Mrs Brown’, 105 Tibol, Raquel, 91–2 Tincknell, Estella, 66, 68, 77–9 Mrs Dalloway, 48, 105–6, 108–10, Tomalin, Claire, 128 114–16, 118–19, 121, 123 Total Eclipse, 86, 91, 153 Trotsky, Leon, 82, 89, 91 Xena, 33–4 Twilight, 132 Yeatman, Anna, 32–4, 37 Van Dyne, Susan R, 79 The Young Victoria, 1, 4, 151, 157–9 Van Gogh, Vincent, 74, 85–7, 89, 103 youtube.com, 140