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Introduction 2 the Biopic Genre 3 the Postfeminist Historical Woman In 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 Abel, Sue. ‘Postfeminism Meets Hegemonic Masculinities: Young People Read the “Knowing Wink” in Advertising.’ In The Handbook of Gender, Sex, and Media, edited by Karen Ross, 401–418. Malden: Wiley-Blackwell, 2012. Alexander, Paul. Rough Magic: A Biography of Sylvia Plath. New York: Viking, 1991. Alley, Henry. ‘Mrs Dalloway and Three of Its Contemporary Children.’ Papers on Language and Literature 42, no. 4 (2006): 401–19. Altman, Rick. Film/Genre. London: British Film Institute, 1999. Anderson, Carolyn. ‘Biographical Film.’ In Handbook of American Film Genres, edited by Wes D. Gehring, 331–51. New York: Greenwood Press, 1988. Anderson, Carolyn, and Jon Lupo. ‘Hollywood Lives: The State of the Biopic at the Turn of the Century.’ In Genre and Contemporary Hollywood, edited by Steve Neale, 91–104. London: British Film Institute, 2002. Anderson, Rachel S. ‘Saints’ Legends.’ In A History of Old English Literature,edited by R. D. Fulk and Christopher M. Cain, 87–105. Malden: Blackwell Publishing, 2003. Ang, Ien. ‘Melodramatic Identifications: Television Fiction and Women’s Fan- tasy,’ Feminist Television Criticism: A Reader, edited by Charlotte Brunsdon and Lynn Spiegel, 235–46. Berkshire: Open University Press, 2008. Aristotle. Poetics. Oxford: Clarendon Press, 1968. Arthurs, Jane. ‘Sex and the City and Consumer Culture: Remediating Postfeminist Drama.’ Feminist Media Studies 3, no. 1 (2003): 83–98. Baddeley, Oriana. ‘ “Her Dress Hangs Here”: De-Frocking the Kahlo Cult.’ Oxford Art Journal 14, no. 1 (1991): 10–17. Banet-Weiser, Sarah, and Laura Portwood-Stacer. ‘ “I Just Want to Be Me Again!”: Beauty Pageants, Reality Television and Post-Feminism.’ Feminist Theory 7, no. 2 (2006): 255–72. Barta, Tony. ‘Chapter One: History Since the Cinema.’ In Screening the Past: Film and the Representation of History, edited by Tony Barta, 1–17. Westport: Praeger Publishers, 1998. Barthes, Roland. Mythologies. Translated by Annette Lavers. London: Vintage, 2000. Bartra, Eli, and John Mraz. ‘Las Dos Fridas: History and Transcultural Identities.’ Rethinking History 9, no. 4 (2005): 449–57. Basinger, Jeanine. A Woman’s View: How Hollywood Spoke to Women 1930–1960. London: Chatto and Windus, 1994. Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics. London: The Women’s Press, 1989. Bazin, André. What is Cinema? Translated by Hugh Gray. Berkeley: University of California Press, 2005. Beauvoir, Simone de. The Second Sex. Translated by H. M. Parshley.
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