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Rosamunde Pilcher and Englishness

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Rosamunde Pilcher and Englishness View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit Rosamunde Pilcher and Englishness Verfasserin Helena Schuhmacher Angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, im Dezember 2010 Studienkennzahl lt. Studienblatt A 190 344 353 Studienrichtung lt. Studienblatt UF Englisch (und UF Spanisch) Betreuerin ao. Univ. Prof. Dr. Monika Seidl I would like to seize the opportunity to express my warmest thanks to all those people who have encouraged me or lent me an ear in the course of my studies. I would like to thank my parents who have always let me decide on my own and who have made it possible for me to take up and complete my university studies. Furthermore, my warmest thanks are reserved for Prof. Seidl, without whom I would have not arrived at the idea of writing the current thesis. Moreover, I would like to thank her for all her words of advice and encouragement. Table of Contents 1. Introduction ................................................................................................................... 1 2. Theoretical Framework ........................................................................................... 3 2. 1. Nation as an imagined community ...................................................................... 3 2. 2. Collective memory and nostalgia in the heritage film ..................................... 8 2. 3. Englishness ............................................................................................................18 3. Television: a brief introduction ..............................................................................23 3. 1. The language of television ...................................................................................26 3. 2. Television narrators and genres .........................................................................28 4. The Heritage Film ........................................................................................................32 4. 1. Introduction .............................................................................................................32 4. 2. Genre markers of the heritage film .....................................................................33 4. 3. Criticizing the heritage film ..................................................................................48 5. Analysis Part ................................................................................................................50 5. 1. Rosamunde Pilcher: short biography ................................................................50 5. 2. Overview of the selected films ............................................................................51 5. 2. 1. Wilder Thymian ................................................................................................51 5. 2. 2. Karussell des Lebens ......................................................................................52 5. 2. 3. Wolken am Horizont ........................................................................................53 5. 2. 4. Das Haus an der Küste ...................................................................................54 5. 2. 5. Wind der Hoffnung ...........................................................................................55 5. 2. 6. Der Preis der Liebe ..........................................................................................57 5. 2. 7. Klippen der Liebe .............................................................................................58 5. 2. 8. Blüte des Lebens .............................................................................................60 5. 2. 9. Der lange Weg zum Glück ..............................................................................60 5. 2. 10. Zerrissene Herzen .........................................................................................62 5. 2. 11. Die Rose von Kerrymore ...............................................................................62 5. 2. 12. Küste der Träume ..........................................................................................63 5. 2. 13. Wenn nur noch Liebe zählt ...........................................................................64 5. 2. 14. Wintersonne ...................................................................................................65 5. 2. 15. Liebe im Spiel .................................................................................................67 5. 2. 16. Federn im Wind ..............................................................................................67 5. 3. Microanalysis of selected scenes .......................................................................68 5. 3. 1. Display of the landscape .................................................................................69 5. 3. 2. Display of buildings ........................................................................................ 114 5. 3. 3. Display of period décor and furniture in the interior scenes ....................... 123 5. 3. 4. Representation of Englishness ..................................................................... 135 5. 3. 5. Others ............................................................................................................. 139 6. Conclusion .................................................................................................................. 141 BIBLIOGRAPHY ............................................................................................................. 145 Index .................................................................................................................................. 153 German Abstract ........................................................................................................... 155 List of Figures Fig. 1: Scottish landscape (Wilder Thymian Dir. Gero Erhardt) ............................... 70 Fig. 2: Jock´s last walk (Wilder Thymian Dir. Gero Erhardt) ............................... 73 Fig. 3: Marcus Rydale´s favourite place (Das Haus an der Küste Dir. Dieter Kehler) ................... 80 Fig. 4: Karen and Veronica walking (Das Haus an der Küste Dir. Dieter Kehler) ................... 81 Fig. 5: London Tower Bridge (Das Haus an der Küste Dir. Dieter Kehler) ................... 82 Fig. 6: Falmouth (Die Blüte des Lebens Dir. Gero Erhardt) ...................... 90 Fig. 7: Kerrymore County estate (Die Rose von Kerrymore Dir. Axel de Roche) ............... 96 Fig. 8: Falmouth marina (Federn im Wind Dir. Michael Faust) ........................... 112 Fig. 9: Mrs. Miner´s garden (Federn im Wind Dir. Michael Faust) ........................... 113 Fig. 10: Seamount (Das Haus an der Küste Dir. Dieter Kehler) ................. 115 Fig. 11: Mise-en-abyme of Lord Kerrymore (Die Rose von Kerrymore Dir. Axel de Roche) ............. 120 Fig. 12: Peter and Ellen in front of the fireplace (Blüte des Lebens Dir. Gero Erhardt) ........................... 136 1 1. Introduction The name Rosamunde Pilcher may evoke connotations such as ‚Queen of Kitsch‟, exaggerated romances or quite linear story lines, but she also evokes other, more positive ones, like the display of the picturesque and beautiful Cornish landscape or the presentation of heritage sites, which are pleasant to the eye of the beholder. Thus, the Pilcher films represent a very white and class-based version of a past Englishness in the present and therefore establish it as if it were the present state of being in the United Kingdom. Hence, this study tries to prove that the Pilcher films contain many genre markers of the English heritage films, with the help of which they create Englishness, even though they are German productions, nearly always involving an all German cast. The term heritage can refer to a great number of different cultural, economical and political practices. As far as the heritage films are concerned, on the one hand it alludes to concrete objects such as buildings and landscapes and on the other hand to abstract things, like cultural performances or joint experiences. Furthermore, in the case of the heritage films as well as of the Pilcher films, it needs to be stressed that heritage means a selective preoccupation with the past in the present, whereby specific elements of the former times are chosen and interpreted in a new way. Thus, the term heritage film brings along various subjects for discussion, like questions of authenticity and credibility, which will all be examined in the theory section of the current thesis. As the heritage films can be considered as being part of national cinema, Andrew Higson states that “[…] individual films will often serve to represent the nation to itself as a nation” (Waving the Flag 7). Therefore, in addition to the subjects mentioned further above, Benedict Anderson´s concept of the nation as an imagined community will also be examined in the theoretical part of the thesis as the Pilcher films seem to represent communities like these. Furthermore, as a strong sense of belonging together is an essential prerequisite for the establishment of an imagined 2 community, Maurice Halbwachs´s concept of collective memory will be discussed as well. Moreover, in relation to Halbwachs, Jan and Aleida Assmann´s concepts of collective and cultural identity are also important to mention within the context of the current study as they cater equally to the development of the sense of belonging
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