Understanding the Art of Adaptation: New Approaches to Pride And
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ENGL 2234 Novel, Movie, Meme— Adaptations and Media Culture
ENGL 2234 Novel, Movie, Meme— Adaptations and Media Culture General Information Instructor: Dr. Erin MacWilliam ([email protected]) (Office: A324d) Course Times: Tuesday / Thursday 12:30-2:20 Credits: 3 (for information about transfer credit, visit bctransferguide.ca) Course Description What do Bridget Jones and Cher Horowitz have in common? Beside notable fashion and questionable paths to romance, both heroines owe their iconic appeal to the novels of Jane Austen and the adaptation of Austen’s free indirect discourse into sharp but often cringeworthy narrative voiceovers. Twenty-five years after its release, Amy Heckerling’s Clueless, a film adaptation of Jane Austen’s Emma starring Alicia Silverstone, is still influencing the vocal and sartorial inflections of young adults, while the BBC’s Pride and Prejudice miniseries starring Colin Firth as Mr. Darcy, released the same year, informed Helen Fielding’s classic chick lit novel Bridget Jones’ Diary, later to be a film starring, of course, Colin Firth. In 2021, what Austen created has become the inspiration for a #drunkausten hashtag and countless memes that bring Austen’s observations about social relationships into the internet age. This course will explore the ways in which Austen’s novels continue to influence and produce what William Warner, writing on the effects of Richardson’s 1740 Pamela has described as “media culture,” where the extraordinary popularity of a text shifts not only taste, but the production and consumption of media itself. The eighteenth-century media culture of Pamela has become the twenty-first century internet culture of, among other forms, the meme, defined by Limor Shifman as not only a text, but a cultural practice embedded within digital culture. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Pride and Prejudice
Curriculum Guide 2010 - 2011 Pride and Prejudice by Jane Austen Sunshine State Standards Language Arts Health Theatre • LA.7-12.1.7.2 • HE.7-12.C.1.2 • TH.A.1.7-12 • LA.7-12.1.7.3 • HE.7-12.C.2.2 • TH.D.1.7-12 • LA.7-12.2.1 • HE.7-12.C.2.3 • LA.7-12.3.1 • HE.7-12.C.2 Social Studies • LA.7-12.3.3 • SS.7-12.H.1.2 • LA.7-12.5 Historical Background and Lesson Plans used with permission by Actors’ Theatre of Louisville http://www.actorstheatre.org/StudyGuides 1 Table of Contents A Letter from the Director of Education p. 3 Pre-Performance - Educate Read the Plot Summary p. 4 Meet the Characters p. 4 Research the Historical Context p. 5 Love and Marriage p. 5 Time Period p. 5 Roles of Women p. 6 in Regency England p. 6 From Page to Stage p. 6 A Chronology of Pride and Prejudice p. 8 Speech - What’s the Big Deal? p. 8 Top Ten Ways to be Vulgar p. 9 Best and Worst Dressed p. 10 Dances p. 12 Performance - Excite Theater is a Team Sport (“Who Does What?”) p. 13 The Actor/Audience Relationship p. 14 Enjoying the Production p. 14 Post-Performance - Empower Talkback p. 15 Discussion p. 15 Bibliography p. 15 Lesson Plans & Sunshine State Standards p. 16 2 A Letter from the Director of Education “ All the world’s a stage,” William Shakespeare tells us ”and all the men and women merely players.” I invite you and your class to join us on the world of our stage, where we not only rehearse and perform, but research, learn, teach, compare, contrast, analyze, critique, experiment, solve problems and work as a team to expand our horizons. -
The Rollins Sandspur Newspapers and Weeklies of Central Florida
University of Central Florida STARS The Rollins Sandspur Newspapers and Weeklies of Central Florida 4-4-1934 Sandspur, Vol. 38 No. 26, April 4, 1934 Rollins College Find similar works at: https://stars.library.ucf.edu/cfm-sandspur University of Central Florida Libraries http://library.ucf.edu This Newspaper is brought to you for free and open access by the Newspapers and Weeklies of Central Florida at STARS. It has been accepted for inclusion in The Rollins Sandspur by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rollins College, "Sandspur, Vol. 38 No. 26, April 4, 1934" (1934). The Rollins Sandspur. 394. https://stars.library.ucf.edu/cfm-sandspur/394 ROLLINS COLLEGE LIBRARY WINTER i-'ARi\, i'LORlDA Attend Chapel ttoiUnsi^Santi0pur VOLUME 38 WINTER PARK, FLORIDA, MAY 9, 1934 Helen Welch and Jeannette WORLD POETS ATIEND RHEA SMITH HAS Houghton Offer Song Recitals SCHRAGE WINS FLASHES Jeannette Houghton, contralto, Helen Welch, soprano, assisted YEAR'S LEAVE assisted by Vincent Canzoneri, vio by Virignia Orebaugh, pianist, PRESIDENCY OF From the United Press linist, gave a senior recital Tues gave a senior recital Thursday eve Popular History Prof to Study day e/aning, May 8th, at tlv! ning. May 3, at the Woman's Club. For Ph. D. Woman'sClub. Mrs. Emelie Dough Mrs. Emelie Dougherty accompan FRANCE MAY DEFAULT erty and Lillias Parker accompany ied Miss Welch on the piano. The STUDENT BODY DEBT INDEFINITELY led Miss Houghton and Mr. Can program was as follows: Rhea M. Smith, -
JANE AUSTEN's PRIDE and PREJUDICE on FILM by Katherine
PROFIT AND PRODUCTION: JANE AUSTEN’S PRIDE AND PREJUDICE ON FILM by Katherine Eva Baresay Hon. B.A., University of Toronto, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2008 © Katherine Eva Barcsay, 2008 11 Abstract Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material. -
Introduction We Seem to Accept That Certain Things Can Be Reproduced for Example, Furniture
Introduction We seem to accept that certain things can be reproduced for example, furniture. We might see ‘Genuine Georgian reproduction’ in a furniture shop and we will accept this reproduction. Art galleries sell reproductions of paintings for us to hang on our walls, paintings of which we may never have seen the ‘original’. Indeed the original might be disappointing after only ever having seen the reproduction for many years. It seems inevitable that when a film director makes a film whose source is a novel or a play the critics instantly make a comparison with the original, commenting on what has been left out and what has been changed. What should be asked, however, is why certain things have been left out, why changes have been made and do these alterations to the ‘original’ text actually interfere with our understanding of the original and the new text – the film. Task Try to come up with definitions of the two words ‘adaptation’ and ‘reproduction’. How does each relate to the idea of an ‘original’? When you have done this let’s complicate matters a little by putting in three other words: ‘based on’, ‘inspired by’ and ‘replica’. How do these fit into this pattern? You might also like to consider what we mean by the word ‘original’. ©Film Education 2004 1 Adapting a text Bride & Prejudice is based on Jane Austen’s novel, Pride and Prejudice; however, it is not a straightforward ‘adaptation’. We could say that there are three different types of filmic adaptations of novels and plays: 1. transposition – where the novel is directly given on screen 2. -
It's a Woman's World: Feminist Themes from <I>Pride and Prejudice</I> To
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2014 It's a woman's world: Feminist themes from Pride and Prejudice to The Lizzie Bennet Diaries Amber Naz Haydar University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Haydar, Amber Naz, "It's a woman's world: Feminist themes from Pride and Prejudice to The Lizzie Bennet Diaries. " Master's Thesis, University of Tennessee, 2014. https://trace.tennessee.edu/utk_gradthes/3153 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amber Naz Haydar entitled "It's a woman's world: Feminist themes from Pride and Prejudice to The Lizzie Bennet Diaries." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Amy Billone, Major Professor We have read this thesis and recommend its acceptance: Kirsten F. Benson, Allen R. Dunn Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the -
Bride and Prejudice
“Bride and Prejudice” by Gurinder Chandra although settled in Amritsar, in the heart of Punjab and in the heart of quintessential Indian culture, the plot follows the same story as in the Austen’s classic “Pride and Prejudice”. The Bakshi family has been blessed with five daughters and just as in “Pride and Prejudice” the main preoccupation of their mother is marrying them off to preferably very rich gentlemen. However, the main heroine – Lalita (Aishwarya Rai) is not interested in marriage but rather in reading and self-development. At the wedding of a friend the whole family meets Balraj and his sister along with their friend –Will Darcy a rich, arrogant hotelier. Balraj falls in love with Lalita’s sister Jaya and the love-hate relationship between Lalita and Darcy begins… The initial contact between Lalita and Darcy reveals the power relations and still existent stereotypes between Westerners and Indians. The image of the Englishmen as oppressors and Indians as victims is deeply rooted in the mentality of both cultures. And even though in the movie Mr. Darcy is American he is still portrayed as rich, snobbish and disrespectful of other cultures which he doesn’t understand. Supposedly, the director has decided to make Mr. Darcy American in order to reflect the present political and economic situation of the world in which the US is perceived as the powerful “Empire” just as Britain used to be when it ruled in India. Initially, Darcy sees India only as another business opportunity. He thinks that the country is under-developed and is reluctant to get to know the Indian culture. -
British Nineteenth-Century Literature and the Hollywood Studio
ADAPTATION AS AN INTERTEXTUAL MODE OF PRACTICE: British Nineteenth-Century Literature and the Hollywood Studio Era Penny Chalk BA (Hons), MA This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth April 2018 1 DECLARATION While registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in the thesis are the work of the named candidate and have not been submitted for any other academic award. Signed……………………………………… Date…………………………………… Total word count 71,051 i ABSTRACT This thesis is an interdisciplinary study of adaptations produced in the Hollywood studio era, focussing on British nineteenth-century literature adapted between the years 1930 to 1949. Based on the critical fields of adaptation criticism and historical scholarship of film, it emphasizes adaptations in relation to production practices, examining how and why a range of British literary texts were adapted in this era. The study uses a specially-created dataset collected from the American Film Institute Catalog of Motion Pictures, and archival evidence from the Margaret Herrick library, New York Public Library and British Film Institute. The introductory chapter provides an overview of the period, considering the impact of economic constraints, censorship, and war. This chapter argues that adaptations were an integral part of the industry in this period, driving innovation and production trends. Following this overview of the period, five case studies are presented in order to consider the diverse range of strategies employed in the adaptation of literary texts. -
The Billboard 1918-10-19: Vol 30 Iss 42
nVTIOC TO RCADKR: WTicb jtm *»■<«»» iMdtac ♦!«<« auifMlBr ■ le Maop <B this noUca, mail tho nacutno, uul It «U1 bo blanfa In Vol. XXX, No. 42 no « «■ ' tte hoTHli erf our lolcUrrs or talkm clmtinod to prorotKl ovor-opoo- No October 19,1918 iHCe, iDC «>»*■*. No arfdrm.—A. & BL'RLJESO.N. rcotmooler General Published weekly at Cincinnati, O. Subscription, $3.00 per year. Entered as second-class mail matter, June 4, 18S7, at Post Office, Cincinnati, under act of March 3. 1879. THE PROFESSIONAL ENTERTAINER’S GUIDE, MENTORAKD FRIEND THIS ISSUE CONTAINS 26 PER CENT ADVERTISING AND 74 PER CENT READING MATTER imm EXPLODE SOME TNT. WAKE 'EM UP What if the loan should fail? Of course such a thing is unthinkable, but at this writing two-thirds of the time to be devoted to the drive has elapsed and but a third of the subscriptions secured. So the showing is very disappointing. Each day since the beginning of the campai^ the average of the takings for the remaining days necessary for the loan’s success has increased until now it is so huge that it seems insurmountable. There is no mistaking what this means. Either the loan will not be taken or the larger part, the great bulk of it in fact, will be taken en bloc—an undigested mass—on the last day of the drive by the banks. That would mean that the loan had failed. No other interpretation could be put upon it. The people of this country, in that event, would not have taken it. After they had been begged, urged and pleaded with as never before! The great opportunity had been pointed out to them so clearly, so repeatedly and so'vividly that they must have realized every one of its glowing possibilities. -
British Schools Film Festival
study guide BRITFILMS british schools film festival Bride and Prejudice USA / UK, 2004 Director: Gurinder Chadha Screenplay: Gurinder Chadha, Paul Mayda Berges Camera: Santosh Sivan Music: Ann Malik Producer: Gurinder Chadha Starring: Aishwayna Rai (Lalita Bakshi), Martin Henderson (William Darcy), Naveen Andrews (Mr. Balraj), Nam- rata Shirodkar (Jaya Bakshi), Daniel Gillies (Johnny Wickham), Alexis Bledel (Giorgina Darcy), Anupam Kher (Mr. Bakshi), Nadira Babbar (Mrs. Bakshi), Indira Varma (Kiran Balraj), Nitin Ganatra (Mr. Kholi), Meghna Kothari (Maya Bakshi), Peeya Rai Chowdhary (Lacki Bakshi) Running Time: 107 mins Language: English, OV Recommended Age Group: 12 + Topics: Bollywood, British colonies, literary adaptations: Pride and Prejudice, culture clash, traditions, love, family, arranged marriage vs romantical marriage School Subjects: History, English, Social Sciences, Literature, Film „All mothers think that any single guy with big bucks must be shopping for a wife.“ Bride and Prejudice Bride and Prejudice is Gurinder Chadha‘s loose adaptation of Jane Austen‘s classic Pride and Prejudice. The film is set in present-day India in the provincial town of Amritsar. While there have been key changes to location and several names, the main protagonists are easily recognisable as the original book characters. The Bennet family has become the Bakshi family, an Indian middle-class family struggling with the limited income their family estate brings in and four lively daughters. Elizabeth Bennet is now Lalita Bakshi, her older sister Jaya instead of Jane, Lydia has become Lacki and Mary is Maya. The book’s middle daughter Kitty has been quietly dropped from this adaptation and has no equivalent. Mrs. Bakshi‘s main goal in life is to have her four daughters married off, preferably rich. -
In Gurinder Chadha's Cinema
Musical ‘Contact Zones’ in Gurinder Chadha’s Cinema Serena Guarracino UNIVERSITY OF NAPLES ‘L’ORIENTALE’ ABSTRACT This article explores strategies of cultural representation in the produc - tion of Gurinder Chadha, a British director of Sikh origin. Chadha’s work is located in what Marie Louise Pratt defines as ‘contact zones’, negotiating between US, European and Indian audiences. The result is a directing style that puts together ‘East’ and ‘West’, Bollywood and Hollywood, in an in-between space that has been radically reconfigured through hybridization. This happens in particular through her use of music and soundtrack, from the documentary I’m British but . (1990), up to the recent Bend It Like Beckham (2002) and Bride and Prejudice (2004). Here, many and diverse musical languages are put together through the representational strategies of parody and kitsch, deconstructing the idea of cul - tural identity in the very gesture that creates it. KEY WORDS Gurinder Chadha N contact zone N cut ’n’ mix N popular culture N post-feminist masquerade N South Asian diaspora There is always the possibility to transgress. (Said, 1991) A dark-skinned, blue-eyed DJ raps on the remix of a traditional Punjabi melody. Young KMD, son of diaspora, animates London clubbing nights where both South Asian and white youngsters come to dance and socialize to the sound of bhangra , a mix of Punjabi traditional songs, African- American rap and hip-hop, and disco music. The period, as we can infer from the profusion of backcombed hair and shoulder pads, is the late 1980s. Somewhere else and some time later, a whole town (Amritsar) dances and sings in celebration for a ‘marriage come to town’, a song in English set to a distinctly ‘Indian’ sound.