Notes

Introduction: Neo-Victorian Television: British Television Imagines the Nineteenth Century

1. Such as for example Sarah Waters’s Tipping the Velvet (1998), Affi nity (2002a) and Fingersmith (2002b), or A.S. Byatt’s Possession (1991), a detective and love story set against an academic background, paralleled by the love story of the two Victorian poets whose connection they are trying to uncover (adapted by Neil LaBute in 2002), which is similarly concerned with the discovery and construction of alternative truths, of knowing the past beyond the accounts of official history. A similar theme of hidden histories also drives her earlier collection of two short stories, titled Angels and Insects (1995), the first part of which was also made into a film (Philip Haas 1995). Concerns with alter- native histories also form the basis of Michel Faber’s The Crimson Petal and the White (2002). Charles Palliser’s The Quincunx (1992), written in a style reminiscent of both and Wilkie Collins, but with the ben- efit of hindsight and a lack of Victorian constraints regarding its sometimes candid subject matter, similarly strives to uncover an alternative and less tidy Victorian age, full of mysteries, and real in the explicit, and almost tactile way in which it paints visions of the squalor and the depth of human despair and poverty into which it delves. 2. As Caughie has pointed out, ‘films continually returned not simply to the past but to a very particular past: to the period in the first few decades of this century ... in which Britain began to detect the fault lines of its Imperial destiny. On television, drama cultivated the charms, the manners, and the costumes of the nineteenth century novel’ (2000, p. 211). 3. For example: (Wall to Wall, 1999), (Wall to Wall, 2001), The Edwardian Country House (Wall to Wall, 2002), The Regency House Party (Wall to Wall, 2004). 4. For a discussion of the heritage film, see for example Higson (1993, 1996, 2003). 5. I am referring here to Thomas Elsaesser’s discussion of trauma and the notion of Nachträglichkeit as marking ‘an origin or absent cause in order to explain how one knows what one knows’ (Elsaesser 2001, p. 198). Elsaesser here speaks mainly of the Holocaust, but aspects of this notion of trauma also apply here as the Victorian age becomes an origin of modern fragmentation, both present and absent, which is continuously remade in order to allow the individual to rein- scribe themselves into history and take control of their own identity and history.

1 Period Representation in Context: The Forsyte Saga on BBC and ITV

1. Initially, ITV’s television coverage extended to only 1 million homes in 1956, compared to BBC’s television coverage of over 96 per cent of all 15 million

209 210 Notes

homes. At the end of 1955, only 30.8 per cent of all television-owning homes had been capable of receiving ITV programming, but ITV’s figures quickly increased. 2. Lez Cooke (2003) here links The Forsyte Saga with the raising of the profile of the new channel and the attraction of new viewers. I agree that the drama’s temporal and spatial situatedness is far from incidental, but it is necessary to bear in mind that the kind of ‘promotion’ which the programme may have offered is not comparable to the more aggressive promotion strategies today. 3. The ratings war over Daniel Deronda and Doctor Zhivago was followed closely by (Plunkett 2002a, b; Deans 2002). 4. Caughie (2000) notes a similar distancing and differentiating of the past in The Tenant of Wildfell Hall (BBC, 1996), where a highly composed shot is used to situate the drama ‘in a time, an ethos and a way of seeing. This precise loca- tion in time makes all the more shocking the theme of sexual and physical domestic abuse, giving us the same sense of horror which the novel gave the Victorians, and, at the same time, historicizing domestic violence’ (p. 218). 5. See for example featurettes on David Copperfi eld (Toynbee 1999) and Wives and Daughters (Smith 1999). 6. Some of the exteriors used included Croxteth Hall (James and Emily’s house in Park Lane), Faulkner Square in Liverpool (standing in for Montpelier Square, home of Soames and Irene), Lyme Park and Tabley House in Knutsford, Cheshire. 7. Although arguably not more or less authentic than its predecessor, the discus- sion around the ITV Forsyte Saga indicates a preoccupation with the notion of the ‘authentic’ that, as numerous Radio Times articles on the transformation of settings into ‘real’ period locations show, is specific to more recent period drama and can be observed in behind-the-scenes featurettes, articles and booklets that accompany many adaptations. See for example the Radio Times features on Middlemarch, Tipping the Velvet or The Way We Live Now, which all emphasise the transformation of locations into the ‘real’ past and which all underline authenticity as a (re)construction of the past (see Purves 1994; Dickson 2001; Jenkins 2001). 8. This is reflected in the use of costume; the elaborate Victorian costume of the old Forsyte aunts reflects their fussy and old-fashioned characters, and is con- trasted with the clean-cut and more modern look of Irene Forsyte’s dresses. 9. See for example Higson (1993, 1996, 2003), Wollen (1991) and Cairns (1991).

2 Victorian Fictions and Victorian Nightmares

1. I am, in this context, not trying to argue for a generic category of Dickens adaptations, yet, as I also discuss later on in this chapter, the carnivalesque and theatrical nature of Dickens’s prose, and in particular also the often bizarre and even grotesque characters, place the Dickens adaptation apart from other Victorian novel adaptations. Just as Dickens as a novelist takes a special place within Victorian fiction, so adaptations of his novels fall outside clear generic categories and often refuse to conform to the norms within which classic novel adaptations tend to operate. 2. Thus, as promotion and background material shows, television programming is much more likely to be credited to an author/scriptwriter than a director. While films are often marketed through their often famous directors, in the case of television, scriptwriters often take the place of the ‘auteur’. The reasons for this Notes 211

difference in the reception of the television adaptation are historical and linked to television’s roots in radio as well as, ultimately, literature and theatre, which both emphasise the importance and impact of the written word. 3. See for example reviews of Middlemarch by Clark (1995), Elson (1994) and Hall (1995). Hall’s New Statesman article ‘Death of the TV Author’, for example, notes the appropriateness of the form in imitating the instalments of the original text: ‘Television’s great dramatic innovation has been the series or the serial ... Trevor Preston has called the series the “television novel” and to this extent Andrew Davies is the best contemporary representative of George Eliot. The popularity of the Victorian novel, with queues forming for the latest weekly instalment of Dickens in Household Words, is much closer to Shepherd’s Bush than Bloomsbury’ (Hall 1995, p. 2). 4. Davies takes this argument further by explaining that he is wary of working on a novel without a feisty female lead since ‘women viewers want to be like them ... while men want to go to bed with them’ (cited in Hall 2000, p. 2). 5. This fascination with alternative and unofficial histories is also reflected in the reassignment of the narrator’s voice from Walter Hartright (who acts as the editor of several narratives and thus perspectives, in Collins’s novel) to Marian. The change inscribes the significance of female subjectivity absent in the literary text, which again shows a focus on alternative points of view and marginalised historical voices. 6. The adaptation attracted an approximate 23 per cent audience share. It gained critical as well as popular acclaim and featured highly on the BBC website’s Best of 2004 Awards, winning in the categories of Best Drama, Best Drama Website, Best Actress (Daniela Denby-Ashe), Best Actor (Richard Armitage) and Most Desirable Drama Star (Richard Armitage). In addition, three different scenes from the drama were voted as ‘Favourite Moments’, with Thornton’s and Margaret Hale’s train-station reunion winning in this category (BBC 2004). 7. The rose is a recurring theme in the adaptation: Henry Lennox presents Margaret with one of the yellow roses surrounding her home in Helstone. Upon her return to Helstone, Margaret finds that the new parson has cut down the roses. Meeting Thornton at the station at the end of the last episode of the adaptation, she is presented with another rose, which Thornton was able to find in the undergrowth. 8. Locations which were used included Edinburgh, Keighley and . Dalton Mill in Keighley was used for the outside of the Thornton Mill, and Helmshore Textile Museum in Rossendale for shots of the interiors. The Hale house interior was a set. The house was built at Ealing Studios, including two floors and the staircase. The Great Exhibition was filmed at Alexandra Palace in north London (information from www..co.uk/drama/northandsouth/ soundtrack_location.shtml).

3 Murder Rooms and Servants: Original Drama as Metadaptation

1. Indeed, as Peter Ridgway Watt and Joseph Green point out in their work on parodies and pastiches of Sherlock Holmes, ‘several writers have suggested that, since Sherlock Holmes was then at the peak of his powers, he might well have investigated the Ripper murders. However, it was not until 1966 that the 212 Notes

first such Holmes pastiche appeared: Ellery Queen’s novel A Study in Terror (republished in England as Sherlock Holmes Versus Jack the Ripper)’ (2003, p. 90). 2. The murderer is possibly Dr Thomas Neill Cream, also known as the Lambeth Poisoner, a serial killer who poisoned his victims. There are unsubstantiated claims that he was Jack the Ripper, which are based on the eyewitness account of his executioner James Billington, who claims that his last words prior to his hanging were ‘I am Jack the ...’. There is no further evidence to link Dr Thomas Neill Cream to Jack the Ripper, as there are no further eyewitness accounts to substantiate the claim. Cream was also in prison at the time of the last three Ripper murders in 1888 (Bloomfield 2005, pp. 50–8). 3. See for example Lycett (2007). 4. The known facts include, for example, Doyle’s impoverished upbringing, his alcoholic and increasingly mentally unstable father, his tense and unhappy domestic situation, and his early years at Edinburgh medical school and encounter with Joseph Bell, a teacher who increasingly becomes a father- figure and close confidant to Doyle. 5. See here for example the debate at the ‘History on Television’ conference at the in 2005 (Whittaker 2005, Nelson 2005). 6. Cardwell here gives the example of Hugh Grant’s performance as Anthony Campion in Sirens (WMG, 1994), which took on an unintended significance through recent gossip about his private life (2002, pp. 89–90). 7. Christopher Fulford (Jarvis) had a role in (BBC, 2002–11), Orla Brady (Flora) in Pure Wickedness (BBC, 1999), another Lucy Gannon drama, and Joe Absolom (George Cosmo) is best known through his role as Matthew in EastEnders (BBC, 1985–). 8. Tim Whitby was one of the directors for (Granada, 1997–2003). 9. Hettie MacDonald directed In a Land of Plenty (BBC, Sterling Pictures, 2001) and Beautiful Thing (Channel Four Films, World Productions, 1996).

4 Real Victorians to Victorian Realities: Factual Television Programming and the Nineteenth Century

1. The first series was What the Romans Did for Us (BBC, 2000), which then trig- gered a series of spin-offs, including What the Victorians Did for Us, but also similar series about the Stuarts, the Ancients and the Tudors. 2. He was awarded an Honorary Fellowship of the Royal Photographic Society in 2007. 3. The Victorian Garden draws on the aesthetics of the heritage film in order to provoke emotions of nostalgia and loss but then ventures to fill in the blanks and to address not the history of the grand house but rather a kind of history that is still with us in a more ordinary and mundane way, but because of that perhaps a more persuasive and powerful way. Heritage becomes part of everyday life. Looking behind the façade of the country house here highlights a need to substantiate and legitimise heritage imagery, but it does not do so at the cost of the image itself which, rather than under- mined, is strengthened as authentic, if incomplete. 4. David Lammy was UK Minister for Culture 2005–7 and Tessa Jowell was Secretary of State for Culture, Media and Sport 2001–7. Notes 213

5. Views on this practice vary. Thus, despite the predominantly negative response from historians, Taylor Downing for example discusses reconstruc- tion and re-enactment as a freeing up of history on television from ‘the tyranny of the archive image’ (Downing 2004, p. 14). 6. See here also again Charlotte Brunsdon’s work on quality and the classic novel adaptation (Brunsdon 1997). 7. Ackroyd creates another parallel by stressing the similarities between the process of writing and that of making the programme and indicates an affinity between Dickens as a person and as an artist and the medium of tel- evision: ‘[It] seemed made for television in one sense – he was a writer who depended upon images, upon gestures, upon expressions and in his own life as well as in his art he was a highly theatrical creature, so there is no reason why it should not convey itself on television as well as in print’ (The Making of UtRD, 2003). 8. Although in recent years fictional elements have more self-consciously entered documentary practice, neither category is of course new, and story documentaries, which incorporated documentary material within a (fic- tional) storyline that allowed viewers to identify and empathise with char- acters, existed as early as the 1930s. 9. Referenced for example by Faye Weldon in her letter to John Glavin in Dickens on Screen: ‘all that murky smog and grotesquerie, everyone over-act- ing and full of self-congratulation from the PR department to the producers to the set designers to the cast’ (cited in Glavin 2003, p. 2). 10. See for example The 1940s House (Wall to Wall for , 2001), The Edwardian Country House (Wall to Wall for Channel 4, 2002) or The Regency House Party (Wall to Wall for Channel 4, 2004). 11. In particular in light of the recent fascination with World War I and the 1920s and with the more recent history of the 1950s and 1960s on televi- sion and in wider popular culture (including fashion and lifestyle), this tension of distance and closeness has to be seen as significant in explaining this shift from the nineteenth century towards the early to mid-twentieth century. 12. Incidentally, and despite the fact that he has also emphatically argued against reality history as factual history programming, this is part of Simon Schama’s criteria for the making of television history, for which he identifies four components necessary for making history engaging as well as instruc- tive: ‘immediacy’, ‘empathy’, ‘moral engagement’ and ‘poetic connection’ (see Champion 2003, pp. 159–66 and Schama 2004, p. 9). 13. For more work around this topic, see for example Kavka (2012), Hill (2005), Holmes and Jermyn (2004), Bonner (2003), Kilborn (2003), Friedman (2002), Dovey (2000), Corner (2000).

Conclusion: Victorian Facts, Victorian Fictions

1. These definitions of the term realism are not to be confused with the term’s usage to characterise artistic movements, in particular the artistic current of the nineteenth century, but also as the way other radical or alternatively con- servative artistic movements have described themselves (Jakobson 2002, pp. 39 and 41). 214 Notes

2. As producer Nigel Stafford-Clark (2005) notes, ‘The BBC was keen to explore fresh approaches to classic adaptation ... A twice-weekly half-hour television serial felt like returning it to its natural state’ (BBC 2005a). 3. See for example BBC (2005b). 4. The historical split between fact and fiction, history and memory, is also particularly relevant for postmodern critical approaches. Thus, Linda Hutcheon, in ‘“The Pasttime of Past Time”: Fiction, History, Historiographic Metafiction’, notes that before the rise of Ranke’s ‘scientific history’, literature and history were considered branches of the same tree of learning. The sepa- ration resulted in the distinct disciplines that exist today. Hutcheon argues that it is ‘this very separation of the literary and the historical that is now being challenged in the theory and art of what we seem to want to label as postmodernism’ (1996, p. 474). Bibliography

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The 1900 House (1999) TV. Wall to Wall. The 1940s House (2001) TV. Wall to Wall. Angels and Insects (1995) FILM. Samuel Goldwyn. Auf Wiedersehen Pet (1983–2004) TV. BBC / Ziji Productions. Beautiful Thing (1996) TV. Channel Four Films, World Productions. The Best of Men (2012) TV. BBC. Big Brother (2000–) Bazal / Brighter Pictures / Endemol / Channel 4. Bleak House (2005) TV. BBC / WGBH Boston / Deep Indigo Productions. Bram Stoker’s Dracula (1992) FILM. Directed by Francis Ford Coppola. USA: American Zoetrope, Columbia Pictures Corporation, Osiris Films. Bramwell (1995–98) TV. Whitby Davison Productions. Brideshead Revisited (1981) TV. Granada. Charles Darwin and the Tree of Life (2013) TV. BBC. The Children (2008) TV. ITV. Clocking Off (2000–3) TV. BBC. Cold Feet (1997, 1998–2003) TV. Granada Television. Coronation Street (1960–) TV. Granada. The Crimson Petal and the White (2011) TV. BBC / Origin Pictures / Cité Amérique. Dallas (1978–91) TV. Lorimar Television. Daniel Deronda (2002) TV. BBC. Doctor Zhivago (2002) TV. Granada / WGBH Boston / E-Vision / Epsilon TV Production. Downton Abbey (2010–) TV. Carnival Film and Television, Masterpiece Theatre. Dynasty (1981–89) TV. Aaron Spelling Productions. EastEnders (1985–) TV. BBC. The Edwardian Country House (2002) TV. Wall to Wall. Far from the Madding Crowd (1998) TV. Granada / WGBH Boston. Fingersmith (2005) TV. Sally Head Productions for BBC. The Forsyte Saga (1967) TV. BBC / MGM Television. The Forsyte Saga (2002) TV. Granada Television / WGBH Boston. Foyle’s War (2002–) TV. Greenlit Productions, Paddock Productions. Frankie (2013) TV. BBC. Fred Dibnah’s Victorian Heroes (2001) TV. BBC. Gardeners’ World (1969–) TV. BBC. George Eliot: A Scandalous Life (2002) TV. BBC / Opus Arte. 226 Television Programmes and Films Cited 227

Hidden Killers of the Victorian Home (2013) TV. BBC4. Hope & Glory (1999) TV. BBC. The Hound of the Baskervilles (1983) TV FILM. Mapleton. I’m a Celebrity ... Get Me Out of Here! (2002–). TV. Granada / LWT / ITV Studios. In a Land of Plenty (2001) TV. BBC / Sterling Pictures. Inspector Morse (1987–2000) TV. Zenith Productions / Central Independent. Jewel in the Crown (1984) TV. Granada. Kirstie’s Vintage Home (2012) TV. Channel 4. Lads’ Army (2002–6) TV. Twenty Twenty Television. (2008) TV. BBC / WGBH Boston. Local Heroes (1991–2000) TV. Yorkshire Television / BBC. The Making of ‘Uncovering the Real Dickens’ (2003) TV. BBC. Micawber (2001–2) TV. Carlton / LWT / Yorkshire Television. Middlemarch (1994) TV. BBC. Murder on the Victorian Railway (2013) TV. BBC. Murder Rooms: The Dark Beginnings of Sherlock Holmes (2000) TV. BBC / WGBH Boston. Murder Rooms: Mysteries of the Real Sherlock Holmes. Episode 1: ‘The Patient’s Eyes’ (2001) TV. BBC / WGBH Boston. Murder Rooms: Mysteries of the Real Sherlock Holmes. Episode 2: ‘The Photographer’s Chair’ (2001) TV. BBC / WGBH Boston. Murder Rooms: Mysteries of the Real Sherlock Holmes. Episode 3: ‘The Kingdom of Bones’ (2001) TV. BBC, WGBH Boston Murder Rooms: Mysteries of the Real Sherlock Holmes. Episode 4: ‘The White Knight Stratagem’ (2001) TV. BBC / WGBH Boston. North and South (2004) TV. BBC. Nosferatu (1922) FILM. Directed by F.W. Murnau. Germany: Jofa-Atelier Berlin- Johannisthal, Prana-Film GmbH. (1999) TV. Diplomat Films / HTV Ltd / United Productions / WGBH Boston. Our Mutual Friend (1998) TV. BBC. Peak Practice (1993–2002) TV. Central Independent TV. Plain Jane (2002) TV. Carlton. Possession (2002) FILM. Baltimore Spring Creek Productions / Contagious Films / Focus Features / USA Films / Warner Bros. Pride and Prejudice (1995) TV. BBC. Pure Wickedness (1999) TV. BBC. Queer As Folk (1999–2000) TV. Red. The Regency House Party (2004) TV. Wall to Wall. Servants (2003) TV. BBC. The Ship (2003) TV. BBC2. The Sign of Four (1983) TV FILM. Mapleton. 228 Television Programmes and Films Cited

Sirens (1994) FILM. British Screen Finance Ltd / Samson Productions II / Sarah Radclyffe Productions – Sirens Limited, WMG Film. Soldier, Soldier (1991–97) TV. Central Independent TV. Spooks (2002–11) TV. BBC / Kudos Film and Television. Tales from the Green Valley (2005) TV. BBC2. The Tenant of Wildfell Hall (1996) TV. BBC / Masterpiece Theatre / PBS. Tender Loving Care (1993) TV. BBC. This Life (1996–97) TV. BBC. Tipping the Velvet (2002) TV. Sally Head Productions / BBC. The Trench (2002) TV. BBC. Tristram Shandy: A Cock and Bull Story (2005) FILM. BBC Films, Baby Cow Productions, EM Media, East Midlands Media Initiative, Revolution Films, Scion Films. Uncovering the Real Dickens (2002) TV. BBC2 / Opus Arte. Upstairs Downstairs (1971–75) TV. LWT. Upstairs Downstairs (2010, 2012) TV. BBC Wales, Masterpiece. Vanity Fair (1967) TV. BBC. Vanity Fair (1998) TV. A&E Television Networks / BBC. The Victorian Farm (2009) TV. BBC2. The Victorian Farm Christmas (2009) TV. BBC2. The Victorian Kitchen Garden (1987) TV. BBC / Sveriges Television. The Victorian Pharmacy (2010) TV. BBC2. The Victorian Way of Death (2001) TV. BBC2. The Victorians: Their Story in Pictures (2009) TV. BBC. The Way We Live Now (2001) TV. BBC / Deep Indigo Productions. What the Romans Did for Us (2000) TV. BBC. What the Victorians Did for Us (2001) TV. BBC2. Who Do You Think You Are? (2004–) TV. BBC. Wife Swap (2003–9) TV. RDF for Channel 4. Wives and Daughters (1999) TV. BBC / Dune Films / WGBH Boston. The Woman in White (1997) TV. BBC / Carlton. Index

1900 House, The, 4, 5, 8–9, 11, 13, Cardwell, Sarah, 52, 54, 55, 84, 136, 41, 48, 148, 149, 175–96, 197–9, 143, 212 209 Carey, Peter, 128–9 1940s House, The, 191, 209, 213 Carroll, Rachel, 54 Cartmell, Deborah, 54 Abrams, M.H., 95 Caughie, John, 41, 62, 209, 210 Ackroyd, Peter, 160–1, 163–6, 169, Champion, Justin, 213 171, 213 Charles Darwin and the Tree of Life, 149 Affi nity, 209 Children, The, 124 Agnew, Vanessa, 183, 186 Clark, Nicholas, 211 Anderson, Benedict, 159, 195 Clayton, Jay, 128, 165 Ang, Ien, 62–3 clichés, 170–2 Angels and Insects, 209 Clocking Off, 137 antiques, 68 Cold Feet, 212 Armchair Theatre, 23 collection, 51, 76–7, 113, 162 Auf Wiedersehen Pet, 29 Collins, Wilkie, 68–83, 101, 111, 205, Austen, Jane, 2, 4–7, 60, 63, 101 209 Comolli, Jean-Louis, 112, 116 Bachelard, Gaston, 37, 39, 42 Conciatore, Jacqueline, 34 Bailin, Miriam, 18, 19 Connerton, Paul, 196, 201, 207 Barthes, Roland, 15, 107–8, 115 Cook, Alexander, 183 Baudrillard, Jean, 19, 173 Cook, Pam, 84, 97, 181, 190–1 Bazalgette, Cary, 61 Cooke, Lez, 23, 33, 210 Beautiful Thing, 212 Corner, John, 156–7, 161, 162, 175, Bell, Erin, 147, 148, 162, 163, 175 197, 213 Best of Men, The, 124 Coronation Street, 135 Big Brother, 175, 193 country house, 4, 9, 44, 49–50, 73, Biressi, Anita, 135, 177, 192 75, 103, 122, 123, 127, 129, 131, Bleak House, 33, 117, 170, 205–6, 208 133, 143, 146, 204, 212 Bloomfield, Jeffrey, 212 Cozens, Claire, 29 Boehm-Schnitker, Nadine, 10 Craig, Cairns, 210 Bonaparte, Felicia, 7 Crimson Petal and the White, The, 10, Bonner, Frances, 213 178, 209 Boyce, Charlotte, 165 Crosby, Christina, 78 Boym, Svetlana, 85 Bram Stoker’s Dracula, 75 Dallas, 62, 135 Bramwell, 103, 104, 124–6, 128 Daniel Deronda, 29, 210 Brideshead Revisited, 28, 33, 84, Darwin, Charles, 7–8, 206 Bruhm, Steven, 82 Davies, Andrew, 3, 5, 7–8, 29, 55–8, Brunsdon, Charlotte, 28, 213 60, 63–5, 99–100, 205, 211 Bryden, Inga, 41 De Groot, Jerome, 147, 152, 153, 159, Byatt, Antonia S., 209 164, 170, 175, 179, 181, 191

229 230 Index

Deans, Jason, 210 Fox, P., 23 design, 18, 43–4, 46–8, 92, 208, 213 Foyle’s War, 139 Dickens, Charles, 11, 13, 50, 54, 93, Frankie, 124 103, 117, 125, 148, 149, 159–75, Fred Dibnah’s Victorian Heroes, 148 177, 192, 197, 198–9, 205–6, 209, Frenk, Joachim, 165 210, 211, 213 Freud, Sigmund, 7, 8, 72, 81, 105, Dickensian, 117, 164–5, 170, 173–4, 122, 141 205 Friedman, James, 213 Dickens’ Women, 169 From Hell, 107 Dickens World, 172–3 Dickson, E.J., 210 Gallagher, William, 168 Dillon, Robert, 148 Galsworthy, John, 12, 14–17, 21, docudrama, 33, 112, 148–9, 168, 170 26–33, 37–8, 42 documentary, 4, 13, 33, 40, 90, 105, Gannon, Lucy, 103, 123–31, 137–8, 119, 125–6, 139–40, 148–9, 150, 144, 212 152, 156, 159–62, 166–70, 172–5, Gardeners’ World, 151 179–80, 191, 197–8, 213 Gaskell, Elizabeth, 85, 87–8, 90–1, 96, domestic spaces, 37, 41, 45 100–1, 205 Dovey, Jon, 162, 176, 213 generic, 13, 16, 51, 55–6, 58–60, 72, Downing, Taylor, 213 75, 78, 97, 104, 111, 113, 123, Downton Abbey, 103, 130, 140 125–7, 141–4, 146, 159, 198, 200, Doyle, Arthur Conan, 13, 103, 207, 210 105–21, 125, 142, 145, 154, 212 genre, 10, 11, 13, 30, 33, 35, 40, 52, Dyer, Richard, 9 58, 64, 70–1, 78, 81, 84, 91–2, Dynasty, 135 100, 104, 110–12, 121–2, 126, 129–30, 135–6, 138–47, 158, EastEnders, 135, 212 171, 174, 175, 183, 192, 197, Eaton, Rebecca, 35 203, 205 Edwardian Country House, The, 176, George Eliot: A Scandalous Life, 148 179, 209, 213 Geraghty, Christine, 54, 170, 174, 206 Eliot, George, 7, 55, 59–68, 70, 148, Giddings, Robert, 17, 27, 52, 53, 55, 211 65, 99 Elsaesser, Thomas, 209 Ginzburg, Carlo, 105 Elson, John, 211 Glavin, John, 54, 171, 213 Gothic, 50, 69, 70, 69–83, 93, 100, Faber, Michel, 209 101, 107, 111, 113, 121–3, 141–3, factual history, 11, 12, 13, 104, 126–7, 157–8, 204–5 140, 147–200, 203, 207, 213 Graham, Alison, 123 Far from the Madding Crowd, 169 Gray, Ann, 147, 148, 162, 175 Favret, Mary A., 6–7, 60 Green, Joseph, 106, 107, 211 fidelity, 10–12, 26, 52–4, 57–8, 80, Gruss, Susanne, 10 84–5, 91, 98–9, 102, 111, 126, Gutleben, Christian, 1, 202 141, 197, 205 film noir, 74–6 Hall, Sarah, 211 Fingersmith, 10, 209 Hall, Sheldon, 9 Flint, Kate, 112–13, 116, 119–20 Hammer Horror, 74, 100, 111 Floyd, Janet, 41 Hargreaves, Tracey, 21 Forsyte Saga, The, 12, 14–48, 54, 55, Harper, Sue, 111 63, 92, 192, 193, 199, 209, 210 Hart-Davis, Adam, 149–51, 154–9, Foucault, Michel, 2 161, 192 Index 231

Heilmann, Ann, 1, 2, 3, 172–3 James, Christine, 61 Held, Carolin, 93 Jameson, Fredric, 144 heritage, 4, 8–10, 12, 44, 46, 53, 55, Jenkins, G., 210 58, 63, 69–70, 73–7, 80, 83, 89, Jenks, Chris, 3 91, 93, 97–9, 103–4, 111, 122, Jermyn, Deborah, 213 124, 129–33, 142–3, 147–8, 153, Jewel in the Crown, The, 28 170, 173, 184, 194–5, 199, 203–5, Johnson, Catherine, 23, 28 208, 209, 212 Joyce, Simon, 2 Hewison, Robert, 9 Hidden Killers of the Victorian Home, 149 Kaplan, Cora, 1, 2, 45 Higson, Andrew, 8, 9, 84, 85, 209, 210 Kavka, Misha, 13, 71, 72, 78, Hill, Annette, 191, 213 177, 213 Hillier, Bevis, 68 Kaye, Heidi, 54 Himmelfarb, Gertrude, 8, 202 Keightley, Emily, 114–15 Hirsch, Marianne, 180 Kerr, Paul, 52 Holdsworth, Amy, 147, 180 Kilborn, Richard, 213 Holmes, Sherlock, 13, 50, 105–23, Kirstie’s Vintage Home, 208 142, 154–5, 211, 212 Kleinecke-Bates, Iris, 151, 206 Holmes, Su, 213 Krueger, Christine L., 2, 45 Hope & Glory, 124 Kucich, John, 2, 5, 203 horror film, 74, 76, 82, 100, 111 Hound of the Baskervilles, The, 74, 112, Lads’ Army, 144–5 142 licence fee, 23, 27, 57–8 Hunter, I.Q., 54 lifestyle, 13, 17, 33, 41, 150, 153, 182, Hurley, Kelly, 70 196, 199, 203, 213 Hutcheon, Linda, 54, 171, 174, 214 Little Dorrit, 33, 169, 205 Huyssen, Andrew, 85, 147, 148 living history, 4, 150, 152, 153, 158, 175–95 I’m a Celebrity ... Get Me Out of Here!, Llewellyn, Mark, 1, 2, 3, 172–3 190 Local Heroes, 150 immediacy, 11, 13, 35, 40, 63, 64, 92, Logan, Thad, 19 99, 146, 152, 156, 158–9, 175, London Labour and the London Poor, 192, 197–9, 203, 213 116, 120 In a Land of Plenty, 212 Lycett, Andrew, 212 industrial revolution, 6, 60–1, 86, 89, 90, 93, 95, 96–7, 150–1, 195; see MacKillop, Ian, 64 also pre-industrial Making of Uncovering the Real Dickens, Inspector Morse, 143 The, 163, 166, 169, 172, 213 institution/institutional, 12, 15–16, Margolyes, Miriam, 169 21, 26, 28, 30, 32, 34, 46, 52, 151, Mason, Michael, 2, 45, 202 159, 165 Masterpiece Theatre, 35 interior spaces, 18, 19, 36–7, 41, 44–5, Mayhew, Henry, 116, 120 48, 76 McArthur, Colin, 18, 147 intertextuality, 13, 154, 40, 73, 98, McCrum, Mark, 41, 180, 182, 185, 104, 110, 112, 126, 128, 139, 187, 189, 191, 194, 195, 196 142, 198 memorabilia, 78 memory, 16, 83–98, 99, 101, 114–17, Jack the Ripper, 50, 107–8, 157–8, 121, 139–40, 147–8, 162–3, 165, 211, 212 175, 180–2, 184, 196–8, 201–3, Jakobson, Roman, 204, 213 207, 214 232 Index meta-commentary, 76, 205 Perticaroli, Gianmarco, 178, 184 metadaptation, 103, 110, 112, 141 photography, 113–16, 119–20, 148, 149, metafiction, 1, 10, 78, 81, 123–4, 214 150, 154, 157, 171, 179, 180, 212 Micawber, 103, 104 Pickering, Michael, 114–15 Middlemarch, 3, 7, 12, 53, 55–6, 58, Pidduck, Julianne, 47 59–68, 70, 71, 84–5, 88, 89, 97, Pietrzak-Franger, Monika, 107, 108 210, 211 Piper, Helen, 187 Middleton, Christopher, 124, 127, Pirie, David, 13, 68, 72, 74, 80, 100, 128, 179, 182 103, 108–12, 116–19, 121–2, 140, Monk, Claire, 9 142, 145 Mulgan, Geoff, 28 Plain Jane, 124 Mulvey, Laura, 71–2 Platt, Alison, 64 Murder on the Victorian Railway, 149 pleasure, 2, 41, 47, 61–3, 76, 138, 142, Murder Rooms, 103–23, 124, 126, 136, 158, 171, 187, 202 139–45, 169, 211 Plunkett, John, 210 Dark Beginnings of Sherlock Holmes, Pointer, Michael, 174 The, 10 Poore, Benjamin, 173 Kingdom of Bones, The, 106 Possession, 209 Mysteries of the Real Sherlock Homes, post-heritage, see heritage 11, 12, 103 pre-industrial, 45, 70, 82, 89, 90, 96 Patient’s Eyes, The, 116, 119 presenter, 149–50, 156–7, 159–61, Photographer’s Chair, The, 106, 113, 171, 176, 197 116, 118, 120–1 press pack, 124, 127 White Knight Stratagem, The, 106, 121 Pride and Prejudice, 3–4, 10, 55–8, 60, museum, 66, 152–3, 155, 159, 178–9, 63, 84, 99 183 public service, 12, 22–4, 28–30, 48, music, 25, 35, 88, 99, 115, 136–9, 52, 54, 57–8, 99, 101, 103, 126, 150, 155, 178 141, 151, 197, 207 punctum, 115 nationhood, 42 Pure Wickedness, 212 Nelson, Michael, 212 Purves, L., 61, 210 neo-Victorian, 1–2, 10–11, 56, 107, 151, 165, 205, 208 quality, 10, 15, 22–4, 28–30, 32, 34, New Historicism, 118 40, 43, 49, 53, 55, 57–9, 61, 64, Nicholas, Siân, 139–40 68–9, 71, 79, 88–90, 93, 99, North and South, 12, 58, 83–98, 100 101–2, 103, 125–7, 143–4, 163, Nosferatu, 75 169, 186–7, 196, 205, 213 nostalgia, 2, 5–6, 8, 13, 26, 39, 45, Queer As Folk, 137 59, 63, 67, 70, 81–5, 87–8, 90, Quincunx, The, 209 96–100, 190, 196, 202, 205, 212 Nunn, Heather, 135, 177, 192 Rabinowitz, Paula, 197 Nye, Russel B., 207 Rampton, James, 125 reality television, 4, 13, 33, 40–1, 135, Oliver Twist, 29 145, 148, 152, 156, 161, 175, 177, Our Mutual Friend, 93, 100, 206 191–2, 193, 199 re-enactment, 4, 155–6, 161–6, Palliser, Charles, 209 168–9, 172, 175–6, 183, 186, Peak Practice, 124, 125 192–3, 213 Peeping Tom, 120 Regency, 4–8, 44–5, 148, 201 Index 233

Regency House Party, The, 4–5, 8, 10, Uncovering the Real Dickens, 11, 13, 176, 209, 213 148, 149, 159–75, 192, 197–9 Root, Jane, 33, 135 Upstairs Downstairs, 103, 123, 125, Rousselot, Elodie, 165 130, 134

Sadoff, Dianne F., 2, 3, 5, 8, 203 Van Someren, Vivienne, 125 Samuel, Raphael, 11, 184, 206, 207 Vanity Fair, 22, 169 Sanders, Julie, 16, 54, 142 Veeser, Harold A., 118 Sargeant, Amy, 9 Victorian Farm, The, 148, 176 Scannell, Paddy, 23, 29 Victorian Farm Christmas, The, 176 scheduling, 23, 29, 139 Victorian Kitchen Garden, The, 149, Schor, Naomi, 78, 118 151–2, 154, 212 Selby, Keith, 17, 27, 52, 53, 55, 65, 99 Victorian Pharmacy, The, 149, 176 Servants, 11, 12, 13, 103–4, 123–39, Victorian Way of Death, The, 148 140, 142–6, 192, 198, 211 Victorians: Their Story in Pictures, The, 149 Ship, The, 176 voice-over, 4, 16–18, 21, 35–6, 39, Shuttleworth, Sally, 86 44, 69–70, 114, 121, 155, 157, Sign of Four, 106, 110, 112, 142 159–61, 171, 177–9, 190 simulacrum, 173 Voigts-Virchow, Eckart, 110 Sirens, 212 Smith, Rupert, 14, 15, 16, 29, 30, 32, Waters, Sarah, 49–51, 56, 210; see also 34, 45, 46, 210 Affi nity, Fingersmith, Tipping the soap opera, 13, 27, 32–3, 123, 135–6 Velvet Soldier, Soldier, 124 Watt, Peter Ridgway, 106, 107, 211 Sontag, Susan, 114 Way We Live Now, The, 210 souvenirs, 76–7 Wednesday Play, 23, 24, 26 Spigel, Lynn, 40–1, 48 Welch, Sandy, 90, 93, 100 Spooks, 112 Wensley, Chris, 53 Stewart, Garrett, 8, 45, 198, 202 What the Romans Did for Us, 212 Stewart, Susan, 38, 40, 76, 77 What the Victorians Did for Us, 11, 13, Strout, Cushing, 107 148, 149–59, 161, 164, 166, 175, Sturgis, Matthew, 41, 180, 182, 185, 192, 197, 199, 212 187, 189, 191, 194, 195, 196 Wheatley, Helen, 73, 75–6 Whelehan, Imelda, 54 Tales from the Green Valley, 176 White, Hayden, 207 temps mort, 64, 204 Whittaker, Christine, 212 Tenant of Wildfell Hall, The, 210 Who Do You Think You Are?, 180 Tender Loving Care, 124 Wife Swap, 187, 190 testimony, 159, 161–3, 166, 168–9, Williams, Kevin, 161, 176 171, 175, 179, 181, 193, 197 Williams, Sita, 16, 29–34 Thatcherism, 8, 9, 10, 32, 47, 202, 203 Wives and Daughters, 29, 49–50, 88, This Life, 123 96, 210 Tipping the Velvet, 10, 209 Wolfreys, Julian, 82 transparency, 52–3, 62, 78, 80, 82, 91, Wollen, Tana, 59, 210 95, 98, 114 Woman in White, The, 12, 58, 68–83, Trench, The, 176, 181, 190 84 –5, 88, 97, 100, 111, 113, 120, Tristram Shandy, A Cock and Bull Story, 122 110 Wynne, Catherine, 206, 207 Turnock, Rob, 23, 28 Wyvern Mystery, The, 111