Appendix Wuthering Heights Screen Adaptations

Home , Andrea Arnold, Dil Diya Dard Liya, DuPont Show of the Month, Hurlevent, Ian MacNaughton, Jacques Rivette

Abismos de Pasión (1953) Directed by Luis Buñuel [Film]. Mexico: Producciones Tepeyac. Arashi Ga Oka (1988) Directed by Kiju Yoshida [Film]. Japan: Mediactuel, Saison Group, Seiyu Production, Toho. Cime Tempestose (2004) Directed by Fabrizio Costa [Television serial]. Italy: Titanus. Cumbres Borrascosas (1979) Directed by Ernesto Alonso and Karlos Velázquez [Telenovela]. Mexico: Televisa S. A. de C. V. Dil Diya Dard Liya (1966) Directed by Abdul Rashid Kardar [Film]. India: Kary Productions. Emily Brontë’s Wuthering Heights (1992) Directed by Peter Kosminsky [Film]. UK/USA: Paramount Pictures. Emily Brontë’s Wuthering Heights (1998) Directed by David Skynner [Television serial]. UK: ITV, Masterpiece Theatre, PBS. Hihintayin Kita Sa Langit (1991) Directed by Carlos Siguion-Reyna [Film]. Philippines: Reynafilms. Hurlevent (1985) Directed by Jacques Rivette [Film]. France: La Cécilia, Renn Productions, Ministère de la Culture de la Republique Française. Ölmeyen Ask (1966) Directed by Metin Erksan [Film]. Turkey: Arzu Film. ‘The Spanish Inquisition’ [episode 15] (1970). Monty Python’s Flying Circus [Television series]. Directed by Ian MacNaughton. UK: BBC. Wuthering Heights (1920) Directed by A. V. Bramble [Film]. UK: Ideal Films Ltd. Wuthering Heights (1939) Directed by William Wyler [Film]. USA: United Artists/ MGM. Wuthering Heights (1948) Directed by George More O’Ferrall [Television serial]. UK: BBC. Wuthering Heights (1953) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1962) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1967) Directed by Peter Sasdy [Television serial]. UK: BBC. Wuthering Heights (1970) Directed by Robert Fuest [Film]. UK: American International Pictures. Wuthering Heights (1978) Directed by Peter Hammond [Television serial]. UK: BBC. Wuthering Heights (2003) Directed by Suri B. Krishnamma [Television film]. USA: MTV Networks. Wuthering Heights (2009) Directed by Coky Giedroyc [Television serial]. UK: ITV. Wuthering Heights (2011) Directed by Andrea Arnold [Film]. UK: Ecosse Films, Film4, Screen Yorkshire, UK Film Council.

205 206 Appendix

‘Wuthering Heights’ [episode 3] (1952). Broadway Television Theatre [Television series]. USA: WOR-TV. ‘Wuthering Heights’ [episode 72] (1950). Westinghouse Studio One [Television series]. Directed by Paul Nickell. USA: CBS. ‘Wuthering Heights’ [episode 81] (1948). Kraft Television Theatre [Television series]. Directed by Fielder Cook and George Roy Hill. USA: NBC. ‘Wuthering Heights’ [episode 9] (1958). The DuPont Show of the Month [Television series]. Directed by Daniel Petrie. USA: CBS. Notes

Introduction

1. The edition of the novel used throughout this book is based on the authoritative 1976 Clarendon edition of Wuthering Heights, edited by Hilda Marsden and Ian Jack. This authoritative edition is based on the first edition of Wuthering Heights rather than the second edition published in 1850, which included changes made by Charlotte Brontë to her sister’s novel. 2. There have been numerous other studies on screen adaptation that have guided my own reading on the subject, including: Leitch (2007); Elliott (2003); Cartmell and Whelehan (1999, 2007b); Hutcheon (2006); Welsh and Lev (2007); Geraghty (2008); McFarlane (1996); Cahir (2006); Wagner (1975); Stam and Raengo (2004, 2005). 3. Please refer to the Appendix of this book for a full list of known Wuthering Heights screen adaptations. 4. I have not found any significant analyses of the 1985, 2003 and 2009 adaptations, apart from reviews and publicity on the Internet. Stoneman lists Hurlevent in the Appendix to Brontë Transformations (see Stoneman, 1996a, pp. 315–6), but does not analyse it in the body of her work. To me, this highlights the extent to which Rivette’s Hurlevent could not be integrated into Stoneman’s discussion of the mainly American and English adaptations. I feel that the film’s different approach however, in fact highlights the ideological processes at work in the other adaptations of Wuthering Heights.

1 Before the Afterlife: Analysing Wuthering Heights

1. There are two characters named Catherine in the novel and in some of its screen adaptations: the elder Catherine, who is associated with Heathcliff and the first generation of characters, and her daughter, the younger Catherine, who is associated with the second generation. To avoid confusion, I will be referring to the elder Catherine as ‘Catherine’ and the younger Catherine as ‘Cathy’ throughout this book. 2. It is worthwhile to point out that Emily Brontë was familiar with the works of the Romantic authors. See Gordon (1989, pp. 86–94) for details regarding the literary influences of the Brontës. 3. A notable example is Percy Bysshe Shelley’s poem Epipsychidion, to which I shall return in more detail in Chapter 5.

2 The Cinema of Spectacle: Establishing the Wuthering Heights Tradition on the Eve of Hollywood’s Golden Era

1. No copy of the film is known to exist, with only a few photographic stills surviving.

207 208 Notes

2. See Glancy (1999, pp. 70–1) for statistical information regarding Hollywood ‘British’ films of the 1930s and 1940s. 3. Refer to my discussion on Heathcliff in Chapter 1 of this book for further discussion on nineteenth-century discourses of ‘heroic masculinity’.

3 Moving Backward, Looking Forward: Jacques Rivette’s Hurlevent

1. The literal translation of Hurlevent in English is ‘howling wind’. While it is possible to read this title in a metaphoric manner, the title of the film seems to be more practical in meaning. Hurlevent is the standard translation for Wuthering Heights in French, as the title appears in numerous French transla- tions and adaptations of the novel. It seems that Rivette is here simply using a title for his film that would be recognisable for a French audience as a reference to Brontë’s novel. 2. Please refer to the Appendix for full details about these adaptations. 3. The Garrigue is a type of scrubland in the regions of Provence and Corsica. 4. The actress who plays Catherine is Fabienne Babe who, along with Lucas Belvaux, the actor chosen to play Roch, was specifically selected because of her age. Rivette details in his interview with Hazette how he wanted to make an adaptation of Wuthering Heights in which the actors would be the same age as Catherine and Heathcliff in the novel. See Hazette (2003, n.p.). 5. All dialogue transcriptions are my own as there is no available copy of the film’s screenplay. 6. For more detailed discussions on the region of the Cévennes in relation to France’s religious history refer to Deming (1994), Randall (2004), and Kelly (2003). 7. Wuthering Heights was adapted into ballet in France in 1982, 2002 and 2007, with numerous performances. It was adapted into ballet in England in 2003. 8. Poe the ‘literary god’ is largely the product of his French critics, one of the most noted ones being Charles Baudelaire. For illuminating discussions on the issue of Poe’s status in French culture see Weightman (1987, pp. 202–19) and Quinn (1967, pp. 64–78).

4 Wuthering Heights in the 1990s: Peter Kosminsky’s Ambitious Narrative

1. Hereafter, the film shall be referred to as Wuthering Heights. Since there are two Catherines in the film, as in the novel, I will be using the same method to differentiate between the two Catherines as used in my analysis of the novel, by referring to the elder Catherine as ‘Catherine’ and the younger Catherine as ‘Cathy’. 2. Dialogue transcriptions are my own, as the only available screenplay of the film is the shooting screenplay, which differs vastly from the actual final product of the film. I have therefore chosen to concentrate on the dialogue in the film itself rather than the screenplay. 3. Ingham is quoting Francke (1992, p. 60). Notes 209

4. The issues which Monk discusses here are also raised in McFarlane (2001, p. 277). 5. It is important to note that I do not believe that women or femininity are inherently tied to nature, nor that nature itself is an unmediated site that is the antithesis of culture. Rather, I am here engaging with Gilbert and Gubar’s feminist argument and the manner in which the film reworks such feminist arguments. 6. Haire-Sargeant is here referring to the elder Catherine as ‘Cathy’. The allu- sion to ‘Hammond’ is a reference to the 1978 BBC television adaptation of Wuthering Heights, directed by Peter Hammond. See the Appendix for full details regarding this adaptation. 7. The film’s opening inter-title claims that it ‘remains true to the spirit of Emily Brontë’s novel’ by demonstrating that ‘love can only be fulfilled through death’ and that ‘instincts and passions’ are ‘timeless’. This is, of course, a rather familiar mode of decontextualisation of the novel that func- tions alongside overt misogyny in the film. 8. For example, see Anonymous (1991); Heller (1991, pp. 16–17); Paramount British Pictures Limited (n.d.b); Wall (1992b); Matthews (1992, p. 33); Hewitt (1991); Hickling (1992, p. 11). 9. For example, see Aldridge (1992, n.p.); Bark (1994, pp. 1C–7C); Meuller (n.d., p. 34); Verity (1991, p. 40); Matthews (1992, p. 33); J (1992 (n.p.); Hutchinson (1992, n.p.); Hardy (n.d., n.p.); Diamond (1992, pp. 16–17). 10. Lee is here referring to the elder Catherine as ‘Cathy’. 11. Lee is here referring to the elder Catherine as ‘Cathy’ and the younger Catherine as ‘Catherine’.

5 Catherine and Heathcliff for the Y Generation: MTV’s Modernisation of Wuthering Heights

1. All dialogue and narration transcriptions are my own as there is no available copy of the film’s screenplay. 2. For example, see Cohen (1997, pp. 30–1); Coates (1997, pp. 52–3); Leonard (2007, pp. 24–5, 32–3); Shuker (2001, pp. 115–37); Knightley (2001, pp. 109–42). 3. The lyrics have been transcribed from both the film itself and the soundtrack to the film. This particular song is repeated throughout the film.

6 Critical Legacies and Contemporary Audiences: The Politics of Neo-Victorianism in ITV’s 2009 Adaptation of Wuthering Heights

1. For example, see Whelehan (2000); McRobbie (2009); Douglas (2010). 2. For example, see Hadley (2010); Mitchell (2010); Arias and Pulham (2010); Heilmann (2010); Kohlke and Gutleben (2010, 2011). 3. It should be noted that some of these authors’ work range from the 1990s to the present. But the kind of knowing sensibility they represent has moved more strongly into other cultural productions, such as screen adaptations, in the recent decade. 210 Notes

4. All dialogue transcriptions are my own as I have not had access to an available copy of the serial’s teleplay. 5. See Stoneman (2000, pp. 135–55) for a detailed list of sources regarding postcolonial and Marxist interpretations of Wuthering Heights. 6. Riley is here referring to Catherine as ‘Cathy’. 7. Campion’s Bright Star adapts the biography of the Romantic poet, John Keats (1795–1821), through a distinct focus on the much marginalised Fanny Brawne, his fiancée.

Afterword

1. The poem they are referring to here by Tennyson is The Princess: A Medley (1847–51). 2. George is here quoting from the following essay: Pratt (1984, pp. 11–63). 3. George is here quoting from the following essays: Pratt (1984, pp. 11–63); Kaplan (1987, pp. 187–98). Select Bibliography

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Note: Page numbers followed by an ‘n’ refer to notes. Page numbers highlighted in bold indicate illustrations.

Abismos de Pasión (1954, dir. Louis Béart, Emmanuelle, 63 Buñuel, film), 96–7 Beautiful, the (aesthetic category), 11, Abrams, M. H., 31, 126–7 54, 112 Adams, James Eli, 29–30, 133, 189 Belarbi, Kader, 80 adaptation studies, see under Belsey, Catherine, 135, 141 adaptation Belvaux, Lucas, 72, 83, 208n adaptation Bennet, Elizabeth (character in Pride and adaptation studies, 2, 3–4 and Prejudice), 95, 170, 199 aesthetic approach to, 4–5 Berg, Maggie, 26, 36 and cultural critique, 3–5 Berri, Claude, 79 and fidelity criticism, 3–4 Binoche, Juliette, 15, 85, 86–7, 89, 93, and intertextuality, 3–4 107, 110 theory of, 2–5 Bluestone, George, 3 Adjani, Isabelle, 79 Blum, Virginia L., 178 Affinity (novel), 153, 156 Boffini, Moira, 150 ‘angel in the house’, the, 122 Bowker, Richard, 149, 150 Anglo-American tradition, 43–5, 48–9, Bram Stoker’s Dracula (1992, dir. 60, 103, 196 Francis Ford Coppola, film), 101 Arias, Rosario, 147, 148, 209n Bridget Jones’s Diary (novel), 159 Armstrong, Nancy, 18, 25–6, 47, 193, Bright Star (2009, dir. Jane Campion, 195, 197, 199, 204 film), 180, 210n Arnold, Andrea, 203 British Tourist Authority, The, 106 art house, 97, 107 Brontë Transformations, 2, 207n Austen, Jane (1775–1817), 44, 55, 62, Brontë, Charlotte (1816–55), 12, 146, 95, 104, 113, 119, 140, 145, 146, 150, 154, 191, 207n 147, 158, 159, 170, 171, 178–9, Brontë, Emily (1818–48) 199 screen representation of, 86, 92, Austin, Guy, 77, 78–9, 81 99–103 Auteuil, Daniel, 79 Brontë Parsonage Museum, The, 105 authorship, 85, 92, 95, 100–1 Buck, Michelle, 147 Buñuel, Louis, 96–7 Babe, Fabienne, 83, 208n Burke, Edmund (1729–97), 10–11, 18, Bachelard, Gaston, 7, 10 49, 54 Baldick, Chris, 45–6 Bush, Kate, 5–6 ballet, 1, 80, 103, 208n Byatt, A. S., 15, 148, 176, 177, 179 Barthes, Roland, 198 Byron, George Gordon, Lord Byron Bastille Day, 74–5, 78, 82–3 (1788–1824), 31, 35, 170 BBC (British Broadcasting Corporation), 62, 95, 106, 146, 149, 154–5, 158, Campion, Jane, 180, 210n 170, 176, 178, 209n Carter, Angela, 70

221 222 Index

Cartmell, Deborah, 3, 207n Dalton, Timothy, 97 Catherine (character in Wuthering Darcy, Fitzwilliam (character in Pride Heights) and Prejudice), 60, 95, 158, 170, ghost of, 22–4, 56, 70–1, 109–10, 199 116, 121–3, 131, 150, 177, 181–5 Darcymania, 95 and homelessness, 22–4, 34–5, 150 Darnton, Robert, 77 and middle-class femininity, 19–24, David Copperfield (1935, dir. George 27–8, 35–6, 156, 174, 181–2, Cukor, film), 41 184–6 Davies, Stevie, 13 and the mother-daughter Deleuze, Gilles, 78 relationship, 27–8, 109–12, Depression, the, 53 116–24, 149, 151–3, 183 Devil Wears Prada, The (novel), 159 negative analysis of, 64, 69 Dickens, Charles (1812–70), 118, 146, and Romanticism, 32–6 198 Cavanah, Robert, 108 domestic ideology, 18–19, 20, 22, 24, Cecil, David, 13, 47–8, 64, 69 27–8 Cévennes, 15, 63, 73, 74, 76, 208n Douglas, Susan, 119, 149, 157, 209n Chariots of Fire (1981, dir. Hugh Dreams of Speaking, 15, 203 Hudson, film), 78 du Maurier, Daphne (1907–89), 59 Chase, Karen and Levenson, Michael, Dumas, Alexandre (1802–70), 79 18, 19 During, Simon, 115, 133 Chéreau, Patrice, 79 chick-lit, 157, 159 Eagleton, Terry, 13, 14, 45–7, 164, 165 Christensen, Erika, 115, 122 Elliott, Kamilla, 4–5, 57, 207n Cliff, Michelle, 203 Emily Brontë’s Wuthering Heights (1992, Clueless (1995, dir. Amy Heckerling, dir. Peter Kosminsky, film), 15, film), 113, 114, 140 85–112, 89, 94, 113, 116, 121, Coates, Norma, 125, 209n 122, 126, 133, 139, 142, 156, 160, Coleridge, Samuel Taylor 166, 168, 169, 178, 179, 181–204 (1772–1834), 31 passim, 208–9n consumer culture, 50, 53–4, 55, Emily Brontë’s Wuthering Heights (1998, 139–42, 145, 171–2, 176, 197 ITV, television serial), 101, 108 consumerism, see under consumer English Patient, The (1996, dir. culture Anthony Minghella, film), 97, Cormack, Mike, 40 198 costume dramas, see under costume English Studies, 45–7, 48 films Epipsychidion (1821, poem), 128–9, costume films, 15, 45, 78, 95, 99, 101, 207n 104, 106, 145, 170, 176 Eyre, Jane (character in Jane Eyre), Crace, John, 171 150, 154–5, 191 Crang, Mike, 196 cross-marketing, 139 see fairy-tale, 31, 48, 50, 66–7 cross-promotion Faludi, Susan, 119, 149 cross-promotion, 169, 170, 171, 172, Favret, Mary A., 179 199 see cross-marketing femininity Cuarón, Alfonso, 118, 198 during war-time, 50–5 passim Cullen, Edward (character in the and the gaze, 24–8 passim, 50–5 Twilight saga), 123 passim, 108–12 passim, 181–8 cultural memory, 9, 10, 115, 179, 199 passim Index 223

and Hollywood glamour, 50–5 Glancy, H. Mark, 40, 43, 45, 208n passim, 187 Goldwyn, Samuel, 14, 39, 40, 44, 55, and neo-Victorianism, 115–24 57, 149 passim, 131, 149–60 passim Goodbye Mr Chips (1939, dir. Sam in the nineteenth century, 11, Wood, film), 40 19–28 passim, 35–6, 54, 122–3, Goodwin, Andrew, 126, 127, 139, 154–5, 156, 174, 185–6 140–1 and teenage girls, 67, 119, 123–4, Gothic, the, 11, 20, 21, 27, 28, 40, 159 50, 56, 70, 85, 88, 97, 99, 100, feminism, 12, 13, 67, 85, 146, 148, 103, 104, 135, 154–5, 167, 168, 182, 201, 209n 169 backlash to, 86–99 passim, 115–24 Great Expectations (1860–1, novel), passim, 132–3, 185–7 118, 198 and the ‘battle of the sexes’, 131–2, adaptation of, see under individual 186–8, 190–2 adaptations co-opting of, 149–60 passim, 166, Great Expectations (1946, dir. David 175–6, 187 Lean, film), 40 and domesticity, 115–24 passim, Great Expectations (1998, dir. Alfonso 187 Cuarón, film), 118–19, 198 and motherhood, 115–24 passim, Green, Ken, 91–2, 103, 107 187 Gribble, Jennifer, 184, 185 and neo-Victorianism, 115–24 passim, 149–60 passim, 186 Hadley, Louisa, 79, 147, 152, 209n and the sexualised female body, Haire-Sargeant, Lin, 51, 57, 96, 97, 155–60 209n feminist, see under feminism Hamilton Woman, That (1941, dir. Fiennes, Ralph, 15, 85, 86–99 passim, Alexander Korda, film), 41 89, 94, 126, 160, 161, 166, 198 Hardy, Tom, 161, 166, 172, 175 film star, the, 59, 94, 107 Harrington, John, 55–6 Fingersmith (novel), 156 Hawke, Ethan, 118 Fire Over England (1937, dir. William Hazette, Valérie, 62, 66, 71, 73, 208n K. Howard, film), 41 Heathcliff (character in Wuthering Firth, Colin, 95, 158, 170 Heights) Fontaine, Joan, 43 Marxist interpretation of, 14, French New Wave, 61, 62 163–5, 210n French Revolution, The, 75, 77 postcolonial interpretation of, 14, Fuest, Robert, 97 30, 31, 165–6, 191, 210n Fukunaga, Cary, 150 and Romanticism, 31–2, 86–99 passim, 124–34 passim, 135, 142, Gainsbourg, Charlotte, 107 160–7 passim, 188–92 passim Garson, Greer, 43 and the tortured hero persona, 55, George, Rosemary Marangoly, 6, 7, 57, 59, 71, 93–9 passim, 160–1, 201, 203, 210n 166–7, 170, 174 Geraghty, Christine, 3–4, 207n Heckerling, Amy, 113, 140 Giedroyc, Coky, 168 Heilmann, Ann, 147, 209n Gilbert, Sandra M. and Gubar, Susan, Helsinger, Elizabeth K., 193–4, 195, 13, 67, 87, 90–1, 123, 154, 155, 196, 197, 200, 202 186, 190, 209n Henry V (1944, dir. Laurence Olivier, Gitai, Amos, 58 film), 40 224 Index heritage cinema, 6, 8, 15, 142, 145, Hutcheon, Linda, 3–4, 207n 146, 201, 202, 176 Huxley, Aldous, 43 and the heritage industry, 78–84 passim, 99–108 passim, 169–70, Ingham, Patricia, 39, 41, 44, 87, 194–7 passim 208n and historical fidelity, 99–108 ITV (Independent Television), 15, passim, 113, 178 101, 108–9, 145–204 passim and the marketing of the author, 101 Jameson, Fredric, 113–14, 141, 142 the museum aesthetic of, 105, 108 Jane Eyre (1847, novel), 13, 150, and national identity, 78–84 154–5, 171, 191, 193 passim, 99–108 passim, 194–7 adaptation of, see under individual passim adaptations and tourism, 99–108 passim, Jane Eyre (1943, dir. Robert Stevenson, 169–70, 79, 194–7 passim film), 40, 59 heritage films, see heritage cinema Jane Eyre (1996, dir. Franco Zeffirelli, heroic masculinity, 29–30, 59, 133, film), 105, 107 188–90, 208n Jane Eyre (2006, BBC, television serial), Hewitt, Nicholas, 76, 77, 81, 209n 154–5, 158, 176 Higson, Andrew, 6, 7–8, 79, 101, 105, Jane Eyre (2011, dir. Cary Fukunaga, 106, 107, 196, 197, 201 film), 150 hilltop lovers, the, 10, 40–9 passim, Jean de Florette (1986, dir. Claude 42, 64–7 passim, 82–3, 88, 89, Berri, film), 79 108, 121, 123, 137–42 passim, Jones, Gail, 1, 15, 16, 142, 148, 158, 171, 172, 192–4 passim, 199 176, 177, 203 Hitchcock, Alfred, 59 Hollywood, 14, 48, 50, 51, 53, 60, 62, Kaplan, Caren, 201, 203, 210n 149, 187 Kaplan, Cora, 191, 193 and the ‘British’ films of the 1930s Kaplan, E. Ann, 136, 139 and 1940s, 40–5, 208n Kavanagh, James H., 13 golden era of, 39 Kettle, Arnold, 64, 69, 165 and the screen siren, 52, 54 Kingsley, Charles (1819–75), 30, 188, and the studio system, 39, 55 189 home Kippur (2000, dir. Amos Gitai, film), as a theme, 5–9 passim, 193–204 58 passim Knightley, Keira, 170 and cultural inheritance, 5–10 Kohlke, Marie-Luise, 147, 209n passim, 49, 81, 193–204 passim Kosminsky, Peter, 15, 85–112 passim, and national identity, 5–9 passim, 113, 116, 121, 122, 126, 156, 160, 28–32 passim, 49, 81, 193–204 166, 168, 169, 178, 179, 181–204 passim passim and Victorian domestic ideology, Krishnamma, Suri, 15 18–28 passim, 54, 123, 185 Kucich, John and Sadoff, Dianne F., 1, Howards End (1992, dir. James Ivory, 113–14, 115, 204 film), 105, 106 Hurlevent (1985, dir. Jacques Rivette, La Belle Noiseuse (1991, dir. Jacques film), 14–15, 61–84, 72, 83, 85, Rivette, film), 64 99, 116, 117, 139, 142, 160, 163, La Reine Margot (1994, dir. Patrice 171, 181–204 passim, 207n, 208n Chéreau, film), 79 Index 225

‘Lady of Shalott, The’ (1833, 1842, McRobbie, Angela, 119, 149, 156–7, poem), 184–5 175–6, 209n Lang, Jack, 79 Mellor, Anne K., 11, 91 Lawson-Peebles, Robert, 43, 44–5 Merchant, Ishmail, 105 Leavis, F. R., 46 Merchant-Ivory Productions, 79 Leavis, Q. D., 64, 69 Meyer, Stephenie, 123–4, 171 Lee, Ang, 106 Meyer, Susan, 30, 165 Lee, Soyoung, 25, 110–11, 209n Miller, J. Hillis, 12 Leitch, Thomas, 4–5, 207n Miller, Lucasta, 9, 12, 199 Leonard, Marion, 125–6, 209n Mills and Boon, 94, 174 Leonard, Robert Z., 44, 54, 55, 60 Minghella, Anthony, 198 Lincoln, Andrew, 168, 169 Mitchell, Kate, 147, 153, 176–7, 178, Lockwood, Cara, 139 179, 199–200, 209n loss, the theme of, 7, 49, 115, 180, Mitterrand, François (former President 192–204 passim of France), 77, 78, 79 Lost in Austen (2008, ITV, television Moby Clique, 139 serial), 147, 149, 158, 169, 170, 176 Modernism, 47, 203 lovers’ discourse, the, 9–11, 15, 32, 33, Modernist, see under Modernism 40, 66, 86, 87, 88, 92, 108, 110, Monty Python, 49 111–12, 115, 116, 121, 122, 137–8, Mrs Miniver (1942, dir. William Wyler, 140, 142, 151, 159, 167, 168–9, film), 40 171, 174, 177, 178, 179, 185, 192, MTV (Music Television), 15, 108, 109, 193, 194–5, 199, 200, 201 112, 113–43 passim, 146, 148, Lyme Park (shooting location), 106 149, 154, 156, 167, 168, 173, 174, 181–204 passim Madwoman in the Attic, The, 13, 90, 154 MTV Press (publisher), 139 Malina, Maggie, 138 Mundy, John, 138 Mammoth Screen, 147, 169 music video, the, 136, 138–9, 157, Manon des Sources (1986, dir. Claude 167, 168 Berri, film), 79 myth, 9, 11, 13, 38, 60, 61, 62, 76, 84, Marxism, 12, 13, 164, 210n 90, 91, 100, 137, 143, 161, 174, Marxist, see under Marxism 178, 180, 181, 193, 198–9, 200, Mary Shelley’s Frankenstein (1994, dir. 201, 202, 203 Kenneth Branagh, film), 101 Myths of Power, 13 masculinity crisis of, 90, 133, 187, 190 National Trust, The, 106 and fatherhood, 119–20, 131, 190 neo-Romantic, 86, 90, 131 and feminist backlash, 86–99 neo-Victorian (ism), 15, 193, 199 passim, 131–4, 190–1 and domesticity, 115–24 passim, and ‘laddism’, 98 131, 141, 186 in the nineteenth century, 11, 29–30, and feminism, 115–24 passim, 36–7, 59, 133, 188–90, 208n 149–60 passim, 186 and Romanticism, 31–2, 86–99 and fiction, 145–60 passim, 176–80 passim, 124–34 passim, 160–7 passim, 200 passim, 188–92 passim and memory, 176–9 and violence, 55–60 passim, 70, and postmodernism, 176 86–99 passim, 132, 164–6 and the representation of history, Mason, Bertha (character in Jane Eyre), 176–9 154, 155, 191 Niven, David, 43 226 Index

Nixon, Cheryl L., 95 and Victoriana, 114 No Man’s Land, 186 Postmodernism, or, the Cultural Logic of nostalgia, 77, 78, 81, 148, 199, 200, Late Capitalism, 114 202 Powrie, Phil, 78 Pratt, Minnie Bruce, 201, 210n O’Connor, Sinead, 86, 99 Pride and Prejudice (1813, novel), 44, Oberon, Merle, 9, 14, 39, 42, 43, 52, 147, 170 52, 55, 65, 83 adaptation of, see under individual ‘Of Queens’ Gardens’ (1865), 27, 122 adaptations Olivier, Laurence, 9, 14, 39, 42, 43, Pride and Prejudice (1940, dir. Robert 55–60 passim, 65, 71, 72, 73, 83, Z. Leonard, film), 40, 44, 45, 54, 91, 92, 96, 161, 163, 166, 189 55, 60 Pride and Prejudice (1995, BBC, Pagnol, Marcel (1895–1974), 79 television serial), 95, 106, 158, 170 Paltrow, Gwyneth, 118 Pride and Prejudice (2005, dir. Joe Parnet, Claire, 78 Wright, film), 170 patriarchal culture, see under Provence, 79, 208n patriarchy Pulham, Patricia, 147, 148, 209n patriarchy, 6, 21, 23, 24, 26, 28, 34, 35, 37, 67, 69, 70, 117, 118, 131, Rebecca (1938, novel), 59 143, 152, 153, 158, 159, 182 adaptation of, see under individual peasant, the, 71–8 adaptations period dramas, 101, 106 Rebecca (1940, dir. Alfred Hitchcock, Persuasion (1995, dir. Roger Michell, film), 40, 59 film), 178–9 Rego, Paula, 191 Persuasion (2007, WGBH/PBS, Riding, Alan, 61 television serial), 178–9 Riley, Charlotte, 169, 172, 175, 210n Petit, Roland, 80 Rivette, Jacques, 14–15, 61–84 passim, photography, 195, 197, 199 85, 99, 116, 117, 160, 163, 171, Pidduck, Julianne, 95 181–204 passim, 207n, 208n Poe, Edgar Allan (1809–49), 80–1, Roberts, Michèle, 158 208n Robinson, Sally, 133 Poetics of Space, The, 7 Rochester, Edward (character in Jane pop music, 124–6, 128 Eyre), 59, 150, 155, 170 popular culture, 74, 98, 125, 146, 147, rock music, 124–30, 134–5 158, 168, 175, 176 rock star, the, 15, 113, 124–34 passim, Possession (novel), 179 135, 136, 138 postcolonial (ism), 12, 14, 146, 148, Rogers, Susan Carol, 74 164, 165, 173, 176, 210n romance novels, 94, 157, 174 post-feminism, 15, 86, 90, 115, 124, Romantic love, 32–6, 129–30, 131, 170 148, 156, 157, 158, 159 see also Romanticism, 31, 32–6, 42, 43, 80, feminism 85, 86–99 passim, 100, 124–34 post-feminist, see under post-feminism passim, 135, 139, 142, 160–7 postmodern (ism), 108, 146, 147, passim, 170, 180, 188–92 passim, 158–9, 167 207n, 210n and historiography, 113–15, 142, Romantics, the, see under 176, 179 Romanticism and love, 140–1 Ruskin, John (1819–1900), 27–8, and subjectivity, 135–7 122–3, 185 Index 227

Sadoff, Dianne F., 1, 44, 54, 55, Waterloo Bridge (1940, dir. Mervyn 59–60, 99, 105, 113–14, 115, 140, LeRoy, film), 40–1 146, 170, 204 Waters, Sarah, 15, 148, 152–3, 154, Saltram House (shooting location), 156, 158, 176, 177 106 Welles, Orson, 59 Scarlet Letterman, The, 139 Whelehan, Imelda, 3, 98, 115–16, Schindler’s List (1993, dir. Steven 118–19, 120, 131–2, 157, 158, Spielberg, film), 97, 98 159, 167, 187–8, 190–1, 192, Selway, Mary, 94, 100, 102 207n, 209n Sense and Sensibility (1995, dir. Ang White Cliffs of Dover, The (1944, dir. Lee, film), 106 Clarence Brown, film), 41 Sex and the City (novel), 159 White, Susanna, 154 Shelley, Mary (1797–1851), 31 William Shakespeare’s A Midsummer Shelley, Percy Bysshe (1792–1822), 31, Night’s Dream (1999, dir. Michael 35, 91, 128–9, 207n Hoffman, film), 101 Shuker, Roy, 125, 126, 128, 139, William Shakespeare’s Hamlet (1996, 209n dir. Kenneth Branagh, film), Sim, Stuart, 135 101 Sixty Lights, 158, 177 William Shakespeare’s Romeo + Juliet Skynner, David, 108 (1996, dir. Baz Luhrmann, film), soldier, the, 57–60, 133, 190, 194 101 Stam, Robert, 3, 4, 207n Woolf, Virginia (1882–1941), 13, 47, Steinman, Jim, 124, 129, 137, 198 48 Stevenson, Robert, 43, 59 Wordsworth, William (1770–1850), Stillinger, Jack, 31 31, 127 Stoneman, Patsy, 2, 9, 10, 12, 13, 14, Wright, Joe, 170 32, 33, 34, 35, 36, 45, 49, 86, 87, Wuthering Heights (1847, novel) 89, 100, 129, 165, 192–3, 207n, adaptation of, see under individual 210n adaptations Sublime, the (aesthetic category), 9, analysis of, 17–38 10–11, 18, 41–2, 49, 54, 56, 64, critical history of, 12–14 65, 112, 116, 118, 121, 122, 123, Wuthering Heights (1920, dir. A. V. 137, 162, 170, 173, 193, 198 Bramble, film), 39, 207n Swan, Bella (character in the Twilight Wuthering Heights (1939, dir. William saga), 123–4 Wyler, film), 9, 10, 14, 15, 39–60, 42, 52, 61–2, 64, 69, 82, 83, 84, teen culture, 119, 123–4, 135, 139–40, 88, 91, 92, 96, 98, 102, 121, 133, 159, 171 138, 139, 142, 149, 161, 163, 171, Tennyson, Alfred, Lord Tennyson 173, 181–204 passim (1809–92), 184, 185, 186, 210n Wuthering Heights (1948, BBC, theatre, 1, 100 television serial), 62 tie-in characters, 139 Wuthering Heights (1953, BBC, Timmer, Damian, 147 television serial), 62 Tipping the Velvet (novel), 156 Wuthering Heights (1962, BBC, Troost, Linda V., 44 television serial), 62 Twilight saga, the, 123–4, 159, 171 Wuthering Heights (1967, BBC, television serial), 62 Vincendeau, Ginette, 99 Wuthering Heights (1970, dir. Robert Vogel, Mike, 127 Fuest, film), 97 228 Index

Wuthering Heights (1978, BBC, Wyler, William, 9, 14, 39–60 passim, television serial), 62, 209n 62, 88, 96, 102, 121, 149, 161, ‘Wuthering Heights’ (1978, song), 171, 173, 181–204 passim 5–6 Wuthering Heights (2003, MTV, Yorkshire, 80, 88 film), 14, 15, 108, 109, 112, and the moors, 9, 21, 22, 24, 37, 113–43, 122, 127, 146, 148, 41, 42, 43, 45, 49, 50, 51, 54–5, 149, 152, 154, 156, 167, 168, 59, 60, 62, 67, 86, 92, 97, 99, 102, 173, 174, 181–204 passim, 103, 105, 109, 111, 112, 113, 150, 207n 155, 156, 167, 168–9, 170, 171, Wuthering Heights (2009, ITV, 173, 174, 178, 192, 195, 198 television serial), 15, 145–80, and regionalism, 17–19, 25, 38, 102, 172, 175, 181–204 passim, 207n, 107, 108, 169–70, 192–201 passim 210n and tourism, 25, 105–7, 108, Wuthering Heights (2011, dir. Andrea 169–70, 171, 195, 197, 199 Arnold, film), 203 Wuthering High, 139 Zeffirelli, Franco, 105, 107