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'The Making of a Young Queen'

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'The Making of a Young Queen' ‘The making of a young Queen’ Een vergelijkende analyse van de historische televisieseries Victoria en The Crown in de context van het historiography-historiophoty debat MASTERSCRIPTIE PUBLIEKSGESCHIEDENIS UNIVERSITEIT VAN AMSTERDAM 10 april 2018 VERSIE 2 Lisanne Grob Scriptiebegeleider: dhr. dr. P. Knevel Tweede lezer: dhr. dr. J.C. van Zanten ‘The making of a young Queen’ Een vergelijkende analyse van de historische televisieseries Victoria en The Crown in de context van het historiography-historiophoty debat Masterscriptie Publieksgeschiedenis Universiteit van Amsterdam 10 april 2018 versie 2 Lisanne Jessica Grob Scriptiebegeleider: dhr. dr. P. Knevel Tweede lezer: dhr. dr. J.C. van Zanten INHOUDSOPGAVE Voorwoord……………………………………………………………………………………..1 Inleiding…………………………………………………………………………………….….2 Hoofdstuk 1: Het historiography-historiophoty debat………………………………………………9 1.1 Kritiek op de traditionele geschiedschrijving…………………………………..………9 1.2 Historiography/historiophoty…………………………………..………………………….10 1.3 Zorgen van de postmoderne historicus & de hedendaagse historische cultuur………………...…………………………………………………..14 1.4 De huidige stand van zaken: A Companion to the Historical Film ……………………..…16 Hoofdstuk 2: Het theoretisch kader: werkwijze & analysemethode………………………….18 2.1 Het ‘ideaalmodel voor de analyse’: niveaus & betekenissen……………...…………...18 2.2 De genderfocus ……………………………………………………………..…….…..19 2.3 Het analyseprotocol & scèneselectie voor analyse………………………………..…...21 2.4 Methode van analyse: het history as film paradigma…….……………………………..22 2.5 Verfilming van een historisch verhaal ………………………………………….…….24 2.6 Het authenticiteitsbegrip……………………………………………………………...25 Hoofdstuk 3: The Crown en Victoria: een introductie…………………………………………..27 3.1 Biografische gegevens…………………………………………………………………27 3.2 De intentionele betekenis & de makers………………………………………………..29 3.3 Actualisering: de brexit…………………………………..……………………………30 3.4 Het televisiegenre: kijkgedrag & boeken bij de series ………………………………...32 3.5 Britishness: het genre van de kostuumdrama …………………………………………..33 3.6 De Britse monarchie: en de ‘invention of tradition’…………………………………..35 3.7 Het voyeuristische verlangen & de monarchie als ‘gouden kooi’……………………..38 3.8 Enscenering: filmlocaties & set- en kostuumontwerp…………………………………39 3.9 De filmische stijl en de narratieve laag………………………………………………..41 3.10 Tijdsbeleving: accuraatheid versus herkenbaarheid…………………………………44 Hoofdstuk 4: Koninginnen aan het werk: de representatie van de professionele rol………...46 4.1 Elizabeth Regina……………………………………………………………………...46 4.2 Koningin Victoria aan het werk………………………………………………………47 4.3 Koninklijk huis Mountbatten?………………………………………….……………..49 4.4 Koningin in een mannenwereld………………………………………………………51 4.5 Koningin Victoria en haar premier…………………………………………………...53 Hoofdstuk 5: Echtgenote, moeder, dochter, zus: de representatie van de privé rol………….60 5.1 De privé-rol……………………………………………………………………………60 5.2 Koningin Victoria als echtgenote……………………………………………………..61 5.3 Elizabeth & Philip: een huwelijk onder druk………………………………………….66 5.4 Elizabeths verscheurdheid: ‘I realized as Queen that I have no choice’……………………..67 Conclusie……………………………………………………………………………….…….72 English summary……………………………………………………………………………..79 Bronnenlijst…………………………………………………………………………………...80 Literatuur………………………………………………………………………………….80 Artikelen op internet………………………………………………………………………82 Series……………………………………………………………………………………....86 Bijlage...………………………………………………………………………………………87 VOORWOORD Uit eigen ervaring kan ik u vertellen dat de aantrekkingskracht die een historische televisieserie op een persoon kan hebben, zeer groot is. De populariteit van historische series bij het grote, internationale publiek is de laatste decennia alleen maar gegroeid en het lijkt erop dat de verbeelde geschiedenis steeds vaker boven de geschreven geschiedenis wordt verkozen. Het lezen van een boek om kennis over de geschiedenis op te doen lijkt een overbodige bezigheid anno 2018. Is dit een zorgwekkende ontwikkeling? Sommigen beweren van wel. Ik besloot de aantrekkingskracht van historische televisieseries – waarmee ik zelf maar al te bekend ben – te omarmen en te kijken naar wat deze manier van representeren van het verleden met zich meebrengt. Als het inderdaad zo is dat een grote groep mensen tegenwoordig in toenemende mate hun ideeën over het verleden verkrijgt via het kijken van dit soort series leek het mij, als toekomstig publiekshistoricus, relevant om deze vorm van publieksgeschiedenis eens met een meer kritische blik te gaan bestuderen. Dit heeft geleid tot het schrijven van deze scriptie. Ik schreef deze scriptie in het kader van mijn master Publieksgeschiedenis aan de Universiteit van Amsterdam. Graag wil ik mijn begeleider, Paul Knevel, bedanken voor zijn hulp, tips en adviezen tijdens het gehele proces. Toen ik ergens halverwege – melodramatisch – beweerde dat ik er mentaal volledig doorheen zat en niet meer wist hoe ik verder moest, nam Paul mij gelukkig niet al te serieus en adviseerde hij me ‘om maar gewoon te beginnen met schrijven’. En dat heeft geholpen. Natuurlijk wil ik mijn lieve ouders en vriend bedanken voor het bieden van de nodige morele steun en het hebben van vertrouwen in het feit dat ik deze scriptie tot een goed einde zou brengen. In het bijzonder dank aan mijn vader, mijn persoonlijke spelling- en grammaticachecker, die de taak op zich nam om mijn scriptie na te lezen en van correcties te voorzien. En tenslotte dank aan Raymond en Saraya, voor het beschikbaar stellen van een werkplek waar ik me volledig op het schrijven kon concentreren, maar waar ook ruimte was voor gezelligheid. Bedankt! Ik wens u veel leesplezier. Lisanne Grob Amsterdam, 22 februari 2018 1 INLEIDING Certainly, it is not farfetched to foresee a time (are we almost there?) when written history will be a kind of esoteric pursuit and when historians will be viewed as the priests of a mysterious religion.1 – Robert A. Rosenstone (1988) Historische televisieseries zijn voor het grote – niet meer schoolgaande – publiek tegenwoordig een populair middel om kennis over de geschiedenis op te doen. Elk jaar komen er weer nieuwe series bij. Met de komst van platformen als Netflix, die de kijker de mogelijkheid bieden op elk gewenst moment naar online films en series te kijken, is de aanwezigheid van audiovisuele media in ons dagelijks leven groter dan ooit. Het lijkt er op dat de verbeelde geschiedenis door het grote publiek tegenwoordig steeds vaker wordt verkozen boven de geschreven geschiedenis. In toenemende mate verkrijgen de mensen hun ideeën over en beelden van het verleden via televisieseries, speelfilms en documentaires.2 EEN AMBIVALENTE HOUDING Binnen de academische historische wereld bestaat een lange traditie van wantrouwen jegens allerlei vormen van fictie en verbeelding in de presentatie van het verleden. Het overgrote deel van de historische speelfilms en televisieseries kan rekenen op kritische commentaren van historici. Een veel gehoord commentaar is bijvoorbeeld dat historische films en series vaak enerzijds te gedetailleerd en anderzijds niet gedetailleerd genoeg zijn.3 De filmwereld opent voor de historicus de deur naar een enorm publiek, waaraan hij zijn bevindingen kan presenteren. Maar de geschiedenis op het scherm kan nooit volledig voldoen aan de eisen, die de historicus van oudsher stelt volgens de uitgangspunten van de academische geschiedbeoefening. Dit verontrust de historicus. De trend die laat zien dat de verbeelde geschiedenis door het grote publiek steeds vaker wordt verkozen boven de geschreven geschiedenis, werd al eerder gesignaleerd door historicus Robert Rosenstone. De quote aan het begin van deze inleiding komt uit een artikel dat hij in 1988 publiceerde in The American Historical Review. Als beoefenaars van een ‘mysterious religion’ worden historici drie decennia na deze opmerking van Rosenstone gelukkig (nog) niet gezien.4 Maar wat de aantrekkingskracht van de visuele verbeelding van het verleden op het grote publiek betreft had hij gelijk: deze wordt alsmaar groter. De houding die veel 1 Rosenstone, 'History in images/history in words. Reflections on the possibility of really putting history onto film', American historical review 93, 5 (1988) 1173-1185 aldaar 1174. 2 Jerome de Groot, Remaking History: The Past in Contemporary Historical Fictions (Londen 2016), 151. 3 Hayden White, 'Historiography and historiophoty', American historical review 93, 5 (1988) 1194. 4 Rosenstone, ‘History in images/history in words’, 1174. 2 historici ten opzichte van de audiovisuele manier van het verbeelden van het verleden hebben is een ambivalente volgens Rosenstone, die hierover opmerkt: ‘for an academic historian to become involved in the world of motion pictures is at once an exhilarating and disturbing experience’.5 IN HET KORT: HET HISTORIOGRAFISCH KADER Met zijn artikel uit 1988, waarin Rosenstone pleitte voor het accepteren van historische speelfilms als betrouwbaar medium naast geschreven tekst, vestigde hij de aandacht op een traditie, die door de Amerikaanse historicus Robert Toplin in dezelfde uitgave van The American Historical Review werd bekritiseerd. Toplin vroeg in zijn artikel aandacht voor het feit dat er tot dan toe niet veel historici waren geweest, die serieus naar films als representatie van het verleden hadden gekeken.6 Hierop publiceerde Hayden White, wederom in diezelfde The American Historical Review, een artikel waarin hij zich afvroeg aan welke eisen films moeten voldoen, willen ze het verleden daadwerkelijk op een correcte wijze weergeven. Is het überhaupt mogelijk
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