Introduction

Notes

Introduction

1. See, ‘The Cannes Film Festival Begins, but Are There Enough Women Directors In it?’ Metro (14 May 2014) accessed at: http://metro. co.uk/2014/05/14/the-cannes-film-festival-begins-but-are-there-enough- women-directors-in-it-4726722/; and Melissa Silverstein, ‘Cannes Watch: A Call to Action on Behalf of Female Filmmakers’, Forbes (14 May 2014) accessed at: http://www.forbes.com/sites/melissasilverstein/2014/05/14/ cannes-watch-a-call-to-action-on-behalf-of-female-filmmakers/ 2. For an analysis of this trend in the 1990s, see Laurie Ouellette, ‘Reel Women: Feminism and Narrative Pleasure in New Women’s Cinema’, The Independent (April 1995), 28–34. For indications of this trend in the 1980s see Michelle Citron, ‘Women’s Film Production: Going Mainstream’, in E. Deidre Pribram, ed. Female Spectators: Looking at Film and Television (London: Verso, 1988). 3. It may be worth noting that Hollinger leaves out Orlando, which may be a reflection of her criticism of the film with which I engage in Chapter 1. 4. Data taken from boxofficemojo.com 5. McRobbie speaks to this idea of individual female success as representa- tive of postfeminism’s taking feminism ‘into account’ in her article on postfeminism (see previous note) by referencing the right-wing UK press’s endorsement of the ambitious ‘TV Blonde’ type (see page 31). The excep- tional successful female is easily co-opted by neo-conservative rhetorics of individualism that suggest that feminism is not necessary because ‘success’ for women is a matter of choice. 6. See Karen Hohne and Helen Wussow, eds., A Dialogue of Voices: Feminist Literary Theory and Bakhtin (Minneapolis: Minnesota University Press, 1994). Conversation also evokes Edward Said’s ‘contrapuntal’ readings of culture and history: Edward W. Said, Culture and Imperialism (London: Vintage, 1993), xxix. 7. Even in this electronic and digital age, we experience conversations as shared ‘space’ – we describe someone as being ‘on’ the phone, ‘on’ being a spatial term. Even chat rooms or instant messaging require computer space which is then compartmentalized into further spaces through the varying programs for chatting (or conversing) online. The word ‘room’ in chat room, again, understands conversation as happening in a space. Instant messaging has its own visual space in a separate window that shows both the name or tag of the user of the computer at hand but also the name of the other person in the conversation. That person may physically be in a whole other country, but on the computer screen the two people in conversation appear by name in the same visual space.

148 Notes 149

1 Envisioning Judith Shakespeare: Collaboration and the Woman Author

1. See Alexandra Twin, ‘Bravo Sofia! Now What?’, CNNMoney, 26 February 2004, accessed at: http://money.cnn.com/2004/02/24/news/oscars_ women/. 2. See Manohla Dargis, ‘How Oscar Found Ms. Right’, New York Times, 10 March 2010, accessed at: http://www.nytimes.com/2010/03/14/ movies/14dargis.html?_r=0. 3. The skyscrapers of the city in the shot make it clear that the scene is in contemporary London, and in the introduction to the published script Sally Potter writes, ‘The novel ends in 1928, but in order to keep faith with Virginia Woolf’s use of real time in ending the novel (with the story finishing just as she puts down her pen to finish her book), the film had to end when it was completed – 1992.’ Sally Potter, Orlando (London: Faber and Faber, 1994), xiii. 4. Sally Potter, Orlando, 62. The complete lyrics to the song are as follows: I am coming! I am coming!/I am coming through!/Coming across the divide to you/In this moment of unity/I’m feeling only an ecstasy/To be here, to be now/At last I am free-/Yes-at last, at last/To be free of the past/ And of a future that beckons me./I am coming! I am coming!/Here I am!/ Neither a woman nor a man-/We are joined, we are one/With a human face/We are joined, we are one/With a human face/I am on earth/And I am in outer space/I’m being born and I am dying. 5. Other film studies work on women filmmakers include the following: Pam Cook, ‘Approaching the Work of Dorothy Arzner’, in Feminism and Film Theory, edited by Constance Penley (London: BFI,1988); E. Ann Kaplan, Women and Film: Both Sides of the Camera (London: Methuen, 1983); Charlotte Brunsdon, ed., Films For Women (London: BFI, 1986); B. Ruby Rich Chick Flicks, Theories and Memories of the Feminist Film Movement (Durham, NC: Duke University Press, 1998). 6. My emphasis here is on English language filmmakers of North America, the UK and Australia. 7. See Andrew Sarris’s, The American Cinema: Directors and Direction 1929–1968 (New York: Dutton, 1968). 8. See The Women’s Film Pioneer Project: https://wfpp.cdrs.columbia.edu. 9. Jane M. Gaines testifies to my first two points: ‘Some efforts were made by feminists, beginning in the 1970s, to restore to critical importance the work of such silent-film directors as Alice Guy-Blaché and Germain Dulac and such sound-era pioneers as Ida Lupino and Dorothy Arzner. Then the pipeline of discoveries seemed to dry up and, like other feminist scholars, I assumed that there had been only a handful of women working in the U.S. and European film industries – a few in the silent era before 1927 and a few more in the sound era.’ Jaine M. Gaines, ‘Of Cabbages and Authors’, in A Feminist Reader in Early Cinema, edited by Jennifer M. Bean and Diane Negra (Durham, NC: Duke University Press, 2002), 89. 150 Notes

10. Potter has spoken about how the reputation of The Gold Diggers was used against her when she sought funding for Orlando. See, Lizzie Franckie, ‘A Director Comes in from the Cold: With the Making of Orlando, Sally Potter Has Thrown Off Her Sombre Reputation’, The Guardian: Features (11 March 1993). 11. Antje Ascheid discusses some of these films in the context of a larger view of femininity and heritage films. See ‘Safe Rebellions: Romantic Emancipation in the “Woman’s Heritage Film”’, Scope: An Online Journal of Film Studies, 4 (February 2006), (1 September 2007) accessed: at http:// www.scope.nottingham.ac.uk/article.php?issue=4&id=124 12. A parallel can also be made between Woolf’s playing around with bio- graphy as genre and Potter’s playing around with the conventions of heritage cinema. 13. See also Hollinger and Winterhalter (2001: 252). 14. The BBC television adaptation of Pride and Prejudice aired in the United States in January 1996. 15. In addition to Corrigan, Higson, Collins, Cartmell (‘Becoming Jane’), and Haiduc also link Mansfield Park and Shakespeare in Love. 16. Haiduc also sees the opening images as a ‘figurative landscape’ (59). 17. See Shea for example.

2 Adapt or Die: The Dangers of Women’s Authorship

1. Recently, commentators have been making the point that a woman has never been given the chance to direct a high-profile, potentially high- grossing superhero film, including Bigelow who is known for her skills as an action director. See Susan Wloszczyna, ‘Dear Hollywood: Hiring Women Directors Could Rescue the Superhero Movie. Love, Half the Human Race’, RogerEbert.com, 8 July 2013, accessed at: http://www.rogerebert. com/balder-and-dash/who-says-a-woman-cant-direct-a-superhero-film- hollywood-so-far. 2. See Miller (1985) for example. 3. As Andreas Huyssen points out in ‘Mapping the Postmodern’, ‘Isn’t the “death of the subject/author” position tied by mere reversal to the very ideology that invariably glorifies the artist as genius, whether for marketing purposes or out of conviction and habit?’; Andreas Huyssen, ‘Mapping the Postmodern’, New German Critique, no. 33 (Fall 1984): 44. 4. In order: Kiri Blakeley, Forbes, Baz Bamigobye, Daily Mail; Jane Ridley, New York Daily News. 5. Duncan Petrie, Screening Scotland (London: BFI, 2000), 216. 6. Williams (2002); Brooks (2002); Ebert (2003); Mitchell (2002). 7. For an analysis of Morvern Callar as Art film and Scottish film, see John Caughie, ‘Morvern Callar, Art Cinema and the “Monstrous Archive”’, Scottish Studies Review, vol. 8, (2007) no. 1: 101–115. Notes 151

3 Authorizing the Mother: Sisterhoods in America

1. ‘Sisterhood’ as a term related to and inflected by feminist politics is usu- ally dated to the publication of Robin Morgan’s anthology Sisterhood Is Powerful (New York: Vintage Books 1973), which includes the anecdote about a pamphlet written by Kathie Sarachild that included the phrases ‘Traditional Womanhood is Dead!’ and ‘Sisterhood is Powerful!’, which was distributed at an anti-Vietnam rally in 1968. 2. For more on how postfeminist constructions of sisterhood reduce politics to affect see Anu Koivunen, ‘Confessions of a Free Woman: Telling Feminist Stories in Postfeminist Media Culture’, Journal of Aesthetics and Culture, vol. 1 (2009) accessed at: http://www.aestheticsandculture.net/ index.php/jac/article/view/4644 3. All ranking and financial data is taken from boxofficemojo.com, accessed at: http://www.boxofficemojo.com/movies/?id=littlewomen.htm 4. See Helene A. Shugart, ‘Isn’t It Ironic?: The Intersection of Third-Wave Feminism and Generation X’, Women’s Studies in Communication, vol. 24, no. 2 (2001): 131–168. 5. See Elsa Barkley Brown, ‘African-American Women’s Quilting: A Framework for Conceptualizing and Teaching African-American Women’s History’, Signs: Journal of Women in Culture and Society, vol. 14, no. 4 (Summer 1989): 921–929 and Cheryl B. Torsney, ‘The Critical Quilt: Alternative Authority in Feminist Criticism’, In Contemporary Literary Theory, edited by G. Douglas Atkins (Basingstoke: Macmillan, 1989). 6. For comprehensive analysis of how the novel incorporates traditions of quiltmaking see Chouard. 7. Working on a women’s studies type of project inevitably evokes the perennial debates about Humanities degrees as worthless for the job mar- ket, but it does not discount the effect of the historical context. 8. See Lucie Arbutnot and Gail Seneca, ‘Pre-text and Text in Gentlemen Prefer Blondes’, in Issues in Feminist Film Criticism, edited by Patricia Erens (Bloomington: Indiana University Press, 1990). 9. See Bernie Cook, Thelma and Louise Live! The Cultural Afterlife of an American Film (Austin: University of Texas Press, 2007). 10. The Orange Prize became the Bailey’ Women’s Prize for Fiction in 2013. 11. See ‘Fight Club Draws Techies for Bloody Underground Beatdown’, USA Today (29 May 2006). In the afterward to the 2004 edition of the novel, Palahniuk suggests that it was written in response to women’s novels: ‘…bookstores were full of books like The Joy Luck Club and The Divine Secrets of the Ya-Ya Sisterhood and How to Make an American Quilt. These were all novels that presented a social model for women to be together. But there was no novel that presented a new social model for men to share their lives’ (Palahniuk 214). It is worth noting that though the other two novels were published six years before Fight Club. Divine Secrets of the Ya-Ya Sisterhood was published in the same year as Palahniuk’s novel, 1996. 152 Notes

12. The original website no longer seems to exist in the same form. Currently, the author’s website rebeccawellsbooks.com hosts discussion boards and Ya Ya groups, but much of it is dormant.

4 Postfeminist Austen: by Women, for Women, about Women

1. Hess and her husband Jared are known for the ‘nerdy-boy’ films they co- wrote and he directed: Napoleon Dynamite (2004), Nacho Libre (2006), and Gentlemen Broncos (2009) 2. It is a slightly awkward moment when the interviewer asks if they are worried that the film might come in for some of the same criticisms the Twilight films did for being conservative and ‘heteronormative’ and it becomes clear that his guests do not quite know what he means. J.J. Field, who plays the Darcy-esque character in the film says ‘what was that term you used – heterosexualtivity? – why can’t there be some who make those kind of films and others who make other kinds. All different kinds of movies are great’. To be fair to him, the interviewer lobbed the term in without any explanation, and during a press junket the filmmakers and actors are obviously trying to convey that the film should be seen on its own merits. Meyer and Hess do seem to get it later when Meyer points out that the main character Jane reaches a point of accepting her singleness before the film gives her ‘the cherry on the top’ happy ending, and Hess points out that there are indications that a whole gay party-scene is going on in the background of the façade of Austenland. 3. For an overview of the main debates see Looser (1995). 4. Jones’ article is clearly meant to refute the feminist literary critical tradition of Austen studies begun by Margaret Kirkham and followed by Audrey Bilger and others. 5. For more on heritage films and postfeminism see Ascheid. 6. See Lauren Hendersons’, Jane Austen’s Guide to Dating (London: Headline Book Publishing, 2005). 7. In one of the several self-consciously postmodern moments of the film, after the poster’s head falls forward, the film cuts to the television where Darcy stops walking with a look of horror and surprise. This moment in the television serial is when he happens upon Elizabeth Bennet and her aunt and uncle touring the grounds of his estate.

Conclusion: The Secret Life of Bees and Authorial Subversion

1. See Martha M. Lauzen, ‘It’s a Man’s (Celluloid) World’, accessed at: http:// womenintvfilm.sdsu.edu/files/2013_It’s_a_Man’s_World_Report.pdf. Bibliography

Alexander, George, Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema (New York: Harlem Moon, 2003). Andrew, Geoff, Lynne Ramsey interviews, The Guardian (28 October 2002) accessed at: http://www.theguardian.com/film/2002/oct/28/features. Aragay, Mireia, ‘Possessing Jane Austen: Fidelity, Authorship, and Patricia Rozema’s Mansfield Park (1999)’, Literature/Film Quarterly, vol. 31, no. 3 (2003): 177–185. Ascheid, Antje, ‘Safe Rebellions: Romantic Emancipation in the “Woman’s Heritage Film”’, Scope: An Online Journal of Film Studies, vol. 4 (February 2006) (online journal). Barker, Deborah, ‘The Southern-Fried Chick Flick: Postfeminism Goes to the Movies’, in Chick Flicks: Contemporary Women at the Movies, edited by Suzanne Ferriss and Mallory Young (New York: Routledge, 2008): 93–118. Bean, Jennifer M. and Diane Negra, eds. A Feminist Reader in Early Cinema (Durham: Duke University Press, 2002). Benson-Allot, Caetlin, ‘Undoing Violence: Politics, Genre, and Duration in Kathryn Bigelow’s Cinema’, Film Quarterly, vol. 64, no. 2 (Winter 2010): 33–43. Berardinelli, James, ‘The Darker Side of Jane Austen: Patricia Rozema Talks about Mansfield Park’, www. reelviews.net (15 November 1999) accessed at: http://www.reelviews.net/comment/111599.html. Berlant, Lauren, The Female Complaint: The Unfinished Business of Sentimentality in American Culture (Durham: Duke University Press, 2008), Kindle edition. Bolton, Lucy, ‘Remembering Flesh: Movern Callar as an Irigarayan Alice’, Modern French Identities, vol. 79 (2010): 199–223. Bordwell, David, ‘The Art Cinema as Mode of Film Practice,’ in Film Theory and Criticism: Introductory Readings, edited by Leo Braudy and Marshall Cohen (Oxford: Oxford University Press, 1999): 172–179. Bowlby, Rachel, Feminist Destinations and Further Essays on Virginia Woolf (Edinburgh: Edinburg University Press, 1997). Bradshaw, Peter, ‘Mansfield Park’, The Guardian: Film (31 March 2000) accessed at: http://www.guardian.co.uk/film/2000/mar/31/culture.peter bradshaw1. Brooker, Will, ‘Rescuing Strange Days: Fan Reaction to a Critical and Commercial Failure’, in The Cinema of Kathryn Bigelow: Hollywood Transgressor edited by Deborah Jermyn and Sean Redmond (London: Wallflower Press, 2003): 198–219. Brooks, Xan, ‘Morvern Callar’, Sight & Sound, vol. 12, no. 11 (November 2002). Brunsdon, Charlotte, ed., Films For Women (London: BFI, 1986).

153 154 Bibliography

Burke, Seán, Authorship: From Plato to the Postmodern: A Reader (Edinburgh: Edinburgh University Press, 1995). Camilleri, Ricky ‘Stephanie Meyer and Jerusha Hess Discuss Austenland’, huff postlive.com (13th August 2013) accessed at: http://live.huffingtonpost. com/r/segment/stephenie-meyer-jerusha-hess-jj-feild-on-austenland/51ffc9 8978c90a12cb0007df. Cartmell, Deborah, ‘Becoming Jane in Screen Adaptations of Austen’s Fiction’, in The Writer on Film: Screening Literary Authorship, edited by Judith Buchanan (Basingstoke: Palgrave Macmillan, 2013): 155–164. Cartmell, Deborah, I.Q. Hunter, Heidi Kaye, and Imelda Whelehan, eds, Sisterhoods: Across the Literature/Media Divide (London: Pluto Press, 1998). Cash, Floris Barnett, ‘Kinship and Quilting: An Examination of an African- American Tradition’, The Journal of Negro History, vol. 80, no. 1 (Winter 1995): 30–41. Caughie, John, ‘Morvern Callar, Art Cinema and the “Monstrous Archive”’, Scottish Studies Review, vol. 8, no. 1 (2007): 101–115. Chamberlain, Lori, ‘Gender and the Metaphorics of Translation’, in Rethinking Translation: Discourse, Subjectivity, Ideology, edited by Lawrence Venuti (London: Routledge, 1992): 57–72. Chocano, Carina ‘Fettered by a Faux Stereotype’, Los Angeles Times (13 November 2005) accessed at: http://articles.latimes.com/2005/nov/13/ entertainment/ca-dvdchickflick13. Chouard, Géraldine, ‘Patchwork, or the “Pile-Up of Possibles”’, in How to Make an American Quilt’, Mosaic: A Journal for the Comparative Study of Literature, vo. 36, no. 2 (June 2003): 53–74. Cobb, Shelley, ‘Adaptation, Fidelity and Gendered Discourses’, Adaptation (Oxford Journals), Special Edition on Feminism and Adaptation, edited by Imelda Whelehan, vol. 4, no. 1 (March 2011): 28–37. Cobb, Shelley ‘Film Authorship and Adaptation’, in Companion to Literature, Film and Adaptation, edited by Deborah Cartmell (London: Wiley Blackwell, September 2012): 105–121. Collins, Jim, Bring on the Books for Everybody: How Literary Culture Became Popular Culture (Durham: Duke University Press, 2010). Cook, Pam. ‘Approaching the Work of Dorothy Arzner’, in Feminism and Film Theory, edited by Constance Penley (New York: Routledge, 1998): 46–56. Corrigan, Timothy, ‘Which Shakespeare to Love? Film, Fidelity and the Per- formance of Literature’, in High-Pop: Making Culture into Popular Entertainment, edited by Jim Collins (Malden: Blackwell Publishers, 2002): 155–181. Dargis, Manohla, ‘Action!’, New York Times, 21 June 2009, Film. accessed at: http://www.nytimes.com/2009/06/21/movies/21darg.html?pagewanted= all&_r=0. DeBona, Guerica, Film Adaptation in the Hollywood Studio Era (Chicago: University of Illinois Press, 2010). Del Sorbo, Agata Smoluch, ‘Feminist Filmmaking and the Cinema of Patricia Rozema’, in The Gendered Screen: Canadian Women Filmmakers, edited by Brenda Austin-Smith and George Melnyk (Waterloo: Wilfrid Laurier University Press, 2010): 127–140. Bibliography 155

Deutelbaum, Marshall, ‘How to (Re)’, Make an American Quilt, Literature/Film Quarterly, vol. 32, no. 4 (2004): 305–309. Dobie, Madeleine, ‘Gender and the Heritage Genre: Popular Feminism Turns to History,’ in Jane Austen and Co.: Remaking the Past in Contemporary Culture, edited by Suzanne R. Pucci and James Thompson (Albany: State University of New York Press, 2003): 247–260. Donohue, Walter, ‘Against Crawling Realism: Sally Potter on Orlando’, in Women and Film: A Sight and Sound Reader, edited by Pam Cook and Phillip Dodd (London: Scarlet Press, 1993): 10–13. Dowell, Pat, ‘Demystifying Traditional Notions of Gender: An Interview with Sally Potter’, Cineaste (1 January 1993). Eagleton, Mary, Figuring the Woman Author in Contemporary Fiction (Basingstoke: Palgrave Macmillan, 2005). Ebert, Roger, ‘How to Make an American Quilt’, rogerebert.com (6 October 1995) accessed at: http://www.rogerebert.com/reviews/how-to-make-an- american-quilt-1995. Ebert, Roger, ‘Morvern Callar (2003)’, www.rogerebert.com (1 January 2003) accessed at: http://www.rogerebert.com/reviews/morvern-callar-2003 Ebert, Roger, ‘The Jane Austen Book Club’, rogerebert.com (20 September 2007) accessed at: http://www.rogerebert.com/reviews/jane-austen-book- club-2007. Faludi, Susan, Backlash: The Undeclared War Against Women (London: Vintage Random House, 1992). Fetterley, Judith. Little Women: Alcott’s Civil War, Feminist Studies, vol. 5, no. 2 (Summer, 1979): 369–383. Florence, Penny, ‘A Conversation with Sally Potter’, Screen, vol. 34, no. 3 (Autumn 1993): 282. Foucault, Michel, ‘What Is an Author?’, in The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch (London: W.W. Norton & Co., 2010): 1622–1635. Fowler, Karen Jay, The Jane Austen Book Club (London: Penguin Books, 2005). Franckie, Lizzie, ‘What Are You Girls Going To Do?’, Sight and Sound, vol. 5, no. 4 (1995): 2809. Franklin, Miles, My Brilliant Career (London: Virago Press, 2002). Fraser, Kennedy, ‘Portrait of a Director’, in Jane Campion Interviews, edited by Virginia Wright Wexman (Jackson: University Press of Mississippi, 1999): 192–200. Frizell, Nell, ‘Why Were so Many Female Artists Airbrushed from History? Annie Kevans, Who First Painted Well-Known Men as Boys, Is Now Portraying Women Who Should Have Been Famous’, The Guardian: Culture (19 May 2014) accessed at: http://www.theguardian.com/artand design/2014/may/19/why-female-artists-airbrushed-history-annie-kevans. Garrett, Roberta, Postmodern Chick Flicks: The Return of the Woman’s Film (Palgrave Macmillan, 2007). Gay, Penny, ‘Sense and Sensibility in a Postfeminist World: Sisterhood Is Still Powerful’, in Jane Austen on Screen, edited by Gina Macdonald and Andrew Macdonald (Cambridge: Cambridge University Press, 2003): 90–110. 156 Bibliography

Geraghty, Christine, Now a Major Motion Picture: Film Adaptations of Literature and Drama (Plymouth: Rowman and Littlefield Publishers, Ltd, 2008). Gibson, Pamela Church, ‘Otherness, Transgression and the Postcolonial Perspective: Patricia Rozema’s Mansfield Park’, in Janespotting and Beyond: British Heritage Retrovisions Since the Mid-1990s, edited by Eckart Voigts- Virchow (Nar Dr. Gunter, 2004): 51–64. Gilbert, Sandra M. and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination (New Haven: Yale University Press, 1979). Gill, Rosalind, ‘Supersexualize Me! Advertising and Midriffs’, in Mainstreaming Sex: The Sexualisation of Western Culture, edited by Feona Attwood (London: I.B. Tauris, 2009): 93–110. Gillis, Stacy and Rebecca Munford, ‘Genealogies and Generations: The Politics and Praxis of Third Wave Feminism’, Women’s History Review, 13, no. 2 (2004): 165–181. Golombisky, Kim, ‘Mothers, Daughters, and Female Identity’, How to Make an American Quilt’, Western Journal of Communication, vol. 65, no. 1 (2001): 65–88. Haiduc, Sonia, ‘“Here Is the Story of My Career…” The Woman Writer on Film’, in The Writer on Film: Screening Literary Authorship, edited by Judith Buchanan (Basingstoke: Palgrave Macmillan, 2013): 50–63. Hale, Shannon, Austenland (London: Bloomsbury, 2013). Herlevi, Patty-Lynne, ‘Mansfield Park: A Conversation with Patricia Rozema’, nitrateonline.com (11 February 2000) accessed at: http://www.nitrateon line.com/2000/fmansfield.html. Higson, Andrew, ‘Brit-Lit Biopics, 1990–2010’, in The Writer on Film: Screening Literary Authorship, edited by Judith Buchanan (Basingstoke: Palgrave Macmillan, 2013): 106–120. Holden, Stephen, ‘Spicing Austen’s 1806 with Dashes of 1999’, New York Times: Film Review (18 November 1999). Hollinger, Karen, ‘From Female Friends to Literary Ladies: The Contemporary Women’s Film’, in Genre and Contemporary Hollywood, edited by Steve Neale (London: BFI, 2002). Hollinger, Karen and Teresa Winterhalter, ‘A Feminist Romance: Adapting Little Women to the Screen’, Tulsa Studies in Women’s Literature, vol. 18, no. 12 (Autumn 1999): 173–192. Hollinger, Karen and Teresa Winterhalter, ‘Orlando’s Sister, Or Sally Potter Does Virginia Woolf in a Voice of Her Own’, Style, vol. 35 (Summer 2001). hooks, bell, Feminist Theory: From Margin to Center (Boston: South End Press, 1984). Humm, Maggie, Feminism and Film (Edinburgh University Press: Edinburgh, 1997). Hutcheon, Linda, A Theory of Adaptation (London: Routledge, 2007). James, Caryn, ‘Marriage, Betrayal and Turning Points’, New York Times: Movies (6 October 1995). Jermyn, Deborah, ‘Cherchez la femme: The Weight of Water and the Search for Bigelow in “a Bigelow film”’, in The Cinema of Kathryn Bigelow: Hollywood Bibliography 157

Transgressor, edited by Deborah Jermyn and Sean Redmond (London: Wallflower Press, 2003): 125–143. Johnson, Claudia, Jane Austen: Women, Politics and the Novel (Chicago: Chicago University Press, 1988). Johnson, Liza, ‘Perverse Angle, Feminist Film, Queer Film, Shame’, Signs: Journal of Women in Culture and Society, vol. 30, no. 1 (2004): 1361–1383. Johnston, Claire, ‘Women’s Cinema as Counter Cinema’, in Feminist Film Theory: A Reader, edited by Sue Thornham (Edinburgh: Edinburgh University Press, 1999). Jones, Vivien, ‘Post-feminist Austen’, Critical Quarterly, vol. 52 (2011): 65–87. Kantrowitz, Barbara, ‘Making an Austen Heroine More Like Austen’, New York Times: Film (31 October 1999) accessed at: http://www.nytimes.com/1999/ 10/31/movies/film-making-an-austen-heroine-more-like-austen.html. Kaplan, Deborah, ‘Mass Marketing Jane Austen: Men, Women, and Courtship in Two Film Adaptations’, in Jane Austen in Hollywood, edited by Linda Troost and Sayre Greenfield (Lexington: The University Press of Kentucky, 1998): 177–187. Kaplan, E. Ann, Women and Film: Both Sides of the Camera (Routledge: London, 1983). Karlyn, Kathleen Rowe, Unruly Girls, Unrepentant Mothers: Redefining Feminism on Screen (Austin: University of Texas Press, 2011). Kelley, Margot Anne, ‘Sisters’ Choices: Quilting Aethestics in Contemporary African American Women’s Fiction’, in Quilt Culture: Tracing the Pattern, edited by Cheryl B. Torsney and Judy Elsley (Columbia: University of Missouri Press, 1994): 49–67. Kidd, Sue Monk, The Secret Life of Bees (London: Headline Publishing, 2004). Kirkham, Margaret, Jane Austen, Feminism and Fiction (Brighton: Harvester Press, Ltd., 1983). Kuhn, Annette, Women’s Pictures (London: Routeledge & Kegan Paul, Ltd. 1982). Laird, Holly, Women Coauthors (Chicago: University of Illinois Press, 2000). Lakoff, George and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 1980). Landay, Lori, Madcaps, Screwballs & Con Women: The Female Trickster in American Culture (Philadelphia: University of Pennsylvania Press, 1998). Lane, Christina, Feminist Hollywood: From Born in Flames to Point Break (Detroit: Wayne State University Press, 2000). Lane, Christina, ‘Just Another Girl Outside the Neo-Indie’ in Contemporary American Independent Film: From Margins to the Mainstream, edited by Chris Holmlund and Justine Wyatt (London: Routledge, 2005): 193–210. Leavis, Q.D., Fiction and the Reading Public (London: Chatto and Windus, 1978). Lee, Hermione, Virginia Woolf (London: Vintage, 1997). Looser, Devoney, ‘Feminist Implications of the Silver Screen Austen’, in Jane Austen in Hollywood, edited by Linda Troost and Sayre Greenfield (Lexington: The University Press of Kentucky, 1998): 159–176. 158 Bibliography

Looser, Devoney, ‘Introduction’, in Jane Austen and Discourses of Feminism, edited by Devoney Looser (New York: St. Martins Press, 1995): 6–19. Lyden, Jaki, ‘Filming the Jane Austen Club’, npr.org, 22 September 2007, accessed at: http://www.npr.org/templates/story/story.php?storyId=14623527. Lynch, Deidre, ‘Introduction: Sharing with Our Neighbors’, in Janeites: Austen’s Disciples and Devotees, edited by Deidre Lynch (Princeton: Princeton University Press, 2000): 3–24. Marcus, Jane, ‘Art and Anger: Elizabeth Robins and Virginia Woolf’, in Art and Anger: Reading Like a Woman (Columbus: Ohio State University Press, 1988). Marcus, Jane, ‘The Multiple Muses of Virginia Woolf’, The Women’s Review of Books (1 January 1994). Masood, Paula, ‘Street Girls with No Future? Black Women Coming of Age in the City’, in Contemporary Black American Cinema: Race, Gender and Sexuality at the Moviess, edited by Mia Mask (London: Routledge, 2012): 232–250. McDermid, Val, Northanger Abbey (London: The Borough Press, 2014). McHugh, Kathleen, Jane Campion, Contemporary Film Directors Series (Urbana: University of Illinois, 2007). McRobbie, Angela, ‘Postfeminism and Popular Culture: Bridget Jones and The New Gender Regime’, in Interrogating Postfeminism: Gender and The Politics of Popular Culture, edited by Yvonne Tasker and Diane Negra (Durham: Duke University Press, 2007): 27–39. McRobbie, Angela, The Aftermath of Feminism: Gender, Culture and Social Change (London: Sage Publications, 2009). Mcelya, Micki, Clinging to the Mammy: The Faithful Slave in Twentieth-Century America (Boston: Harvard University Press, 2007). Meltzer, François, Hot Property: The Stakes and Claims of Literary Originality (Chicago: University of Chicago Press, 1994). Miller, Nancy, ‘Changing the Subject: Authorship, Writing and the Reader’, in Feminist Studies/Critical Studies, edited by Teresa de Lauretis (London: The Macmillan Press, 1985): 102–120. Mitchell, Elvis, ‘Following the Dream without Waking’, The New York Times (20 December 2002). Modleski, Tania, Loving With a Vengeance, 2nd edition (London: Routledge, 2007). Monaghan, David, ‘In Defense of Patricia Rozema’s Mansfield Park’, Persuasion: The Jane Austen Journal, no. 28 (2006) accessed at: http://www.jasna.org/ persuasions/printed/number28/monaghan.pdf. Moore, Susanna, In the Cut (London: Penguin, 2003). Morace, Robert, ‘The Devolutionary Jekyll and Post-devolutionary Hyde of the Two Morvern Callars’, Critique: Studies in Contemporary Fiction, vol. 53, no. 2 (2012). Moussa, Hiba ‘Mansfield Park and Film: An Interview with Patricia Rozema’, Literature/Film Quarterly, vol. 32, no. 4 (2004). Negra, Diane, What A Girl Wants: Fantasizing the Reclamation of Self in Postfeminism (London: Routledge, 2008). Otto, Whiteny, How to Make an American Quilt (New York: Random House, 1991). Bibliography 159

Ouditt, Sharon, ‘Orlando: Coming across the divide’, in Adaptations: From Text to Screen, Screen to Text, edited by Deborah Cartmell and Imelda (Whelehan, London: Routledge, 1999): 146–156. Palahniuk, Chuck, Fight Club (London: Vintage Books, 1997). Park, Ida May, ‘The Motion Picture Director’, Careers for Women, Cambridge, MA: Riverside Press, 1920, 335–337. Perry, Michelle P., ‘Kathryn Bigelow Discusses Role of “seductive violence” in her films’, The Tech, March 16 (1990). Projansky, Sarah, Watching Rape: Film and Television in Postfeminist Culture (New York: New York University Press, 2001). Pulver, Andrew, ‘Jane Campion: Life Isn’t a Career’, The Guardian: Film (12 May 2014) accessed at: http://www.theguardian.com/film/2014/may/12/ jane-campion-interview-cannes-the-piano. Rich, B. Ruby, Chick Flicks: Theories and Memories of the Feminist Film Movement (Durham: Duke University Press, 1998). Rich, Katey, ‘Interview: Secret Life of Bees Director Gina Prince-Bythwood’, cinemablend.com (14 October 2008) accessed at: http://www.cinema blend.com/new/Interview-Secret-Life-Of-Bees-Director-Gina-Prince- Bythewood-10512.html. Ridout, Alice, ‘The Feminist Politics of Nostalgia’, Adaptation, vol. 4, no. 1 (2010). Sanders, Hannah, ‘Living a Charmed Life: The Magic of Postfeminist Sisterhood’, in Interrogating Postfemnism: Gender and the Politics of Popular Culture, edited by Yvonne Tasker and Diane Negra (Durham: Duke Univeristy Press, 2007): 73–99. Sarris, Andrew, The American Cinema: Directors and Directions, 1929–1968 (New York: Da Capo Press, 1996). Scholz, Anne-Marie, From Fidelity to History: Film Adaptations as Cultural Events in the Twentieth Century (New York: Berghan Books, 2013). Schwartz, David, ‘A Pinewood Dialogue with Patricia Rozema’, Museum of the Moving Image (9 November 1999) accessed at: http://www.movingimage source.us/files/dialogues/2/96168_programs_transcript_html_217.htm Shea, Alison, ‘“I’m a Wild Beast”: Patricia Rozema’s Forward Fanny’, Persuasions: The Jane Austen Journal, no. 28 (2006) accessed at: http://www. jasna.org/persuasions/printed/number28/shea.pdf. Showalter, Elaine. A Literature of Their Own: British Women Novelists from Brontë to Lessing (Princeton: Princeton University Press, 1977). Showalter, Elaine, Inventing Herself: Claiming a Feminist Intellectual Heritage (London: Picador, 2002). Showalter, Elaine, Sister’s Choice: Tradition and Change in American Women’s Writing (Oxford: Oxford University Press, 1994). Shreve, Anita, The Weight of Water (London: Abacus, 1998). Siegel, Tatiana, ‘No Men Allowed: How Sony Pictures Classics Is Wooing Women Only to Autenland’, The Hollywood Reporter (17 July 2013) accessed at: http://www.hollywoodreporter.com/news/austenland-how-sony- pictures-classics-586093. 160 Bibliography

Silver, Brenda R., Virginia Woolf Icon (Chicago: University of Chicago Press, 1999). Silverman, Kaja, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988). Silverstein, Melissa (a), ‘A Conversation with Patricia Rozema, Director of Kit Kittredge’, Women & Hollywood: News and Commentary about Hollywood from a Feminist Perspective (2 July 2008), accessed at: http://womenand hollywood.blogspot.co.uk/2008/07/interview-with-patricia-rozema-director. html. Silverstein, Melissa (b), ‘Interview with Callie Khouri, Director of Mad Money’, Huffington Post: Entertainment (17 January 2008) accessed at: http://www.huffingtonpost.com/melissa-silverstein/interview-with-callie- kho_b_82032.html. Silverstein, Melissa, ‘Interview with Sally Potter’, Women and Hollywood, Indiewire.com (13 September 2012) accessed at: http://blogs.indiewire. com/womenandhollywood/tiff-interview-with-sally-potter-writer-and- director-of-ginger-and-rosa. Sklar, Robert, ‘A Novel Approach to Movie-Making: Reinventing The Portrait of a Lady’, The Chronicle of Higher Education vol. 43, no. 23 (1997): B7. Spencer, Liese, ‘How to Make an American Quilt’, Sight and Sound, vol. 6, no. 6 (1996): 44–45. Stables, Kate, ‘The Secret Life of Bees’, Sight and Sound, vol, 19, no.1 (2009): 83. Stam, Robert, Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (Baltimore: Johns Hopkins University Press, 1989). Stam, Robert, ‘Introduction: The Theory and Practice of Adaptation’, in Literature and Film: A Guide to the Theory and Practice of Adaptation, edited by Robert Stam and Alessandro Raengo (Oxford: Blackwell, 2004): 1–52. Steenkamp, Elzette, ‘Janeites for New Millenium: The Modernization of Jane Austen on Film’, Transnational Literature, vol. 1, no. 2 (May 2009): 1–9. Tannen, Ricki Stefanie, The Female Trickster: The Mask That Reveals (London: Routledge, 2007), Kindle edition. Tasker, Yvonne, Working Girls: Gender and Sexuality in Popular Cinema (London: Routledge, 1998). Tasker, Yvonne, ‘Vision and Visibility: Women Filmmakers, Contemporary Authorship and Feminist Film Studies’, in Reclaiming the Archive: Feminism and Film History, edited by Vicki Callahan (Detroit: Wayne State University Press, 2010): 213–130. Tasker, Yvonne and Diane Negra, ‘In Focus: Postfeminism and Contemporary Media Studies’, Cinema Journal, vol. 44, no. 2 (2005): 107–110. Tasker, Yvonne and Diane Negra, ‘Introduction: Feminist Politics and Postfeminist Culture’, in Interrogating Postfeminism: Gender and the Politics of Popular Culture, edited by Yvonne Tasker and Diane Negra (Durham, Duke University Press, 2007): 213–230. Thornham, Sue, ‘Stating to Feel Like a Chick: Re-visioning Romance in In the Cut’, Feminist Media Studies, vol. 7, no. 1 (2007): 33–46. Bibliography 161

Thornham, Sue, What if I Had Been the Hero?: Investigating Women’s Cinema (London: British Film Institute, 2012). Travis, Trysh, ‘Divine Secrets of the Cultural Studies Sisterhood: Women Reading Rebecca Wells’, American Literary History, vol. 15, no. 1 (Spring 2003):134–161. Vidal, Belén, ‘Playing in a Minor Key: The Literary Past through the Feminist Imagination’, in Books in Motion: Adaptation, Intertextuality, Authorship, edited by Mireia Aragay (Amsterdam: Rodopi, 2005): 263–286. Voiret, Martine, ‘Books to Movies: Gender and Desire in Jane Austen’s Adaptations’, in Jane Austen and Co.: Remaking the Past in Contemporary Culture, edited by Suzanne R. Pucci and James Thompson (Albany: State University of New York Press, 2003): 229–243. Warner, Alan, Morvern Callar (London: Vintage, 1996). Watkins, Susan, ‘Sex Change and Media Change: From Woolf’s to Potter’s Orlando’, Mosaic: A Journal for the Interdisciplinary Study of Literature, 31, no. 3 (September 1998): 41–60. Wells, Rebecca, Divine Secrets of the Ya-Ya Sisterhood (London: Harper Collins, 2002). Williams, Linda Ruth, ‘Escape Artist’, Sight & Sound, vol. 12, no. 10 (October 2002). Winch, Alison, Girlfriends and Postfeminist Sisterhood (Basingstoke: Palgrave Macmillan, 2013). Wiseman, Eva, ‘Jane Campion: This Much I Know’, The Observer: Culture: Film (6 July 2013) accessed at: http://www.theguardian.com/film/2013/jul/06/ jane-campion-this-much-i-know Woolf, Virginia, A Room of One’s Own. (New York: Harcourt Brace & Co., 1929). Woolf, Virginia, ‘Professions for Women’, In Virginia Woolf: Women & Writing, intro. and edited by.Michèle Barrett (London: The Women’s Press Limited, 1979). Zacharek, Stephanie, ‘Morvern Callar’, Salon.com (20 December 2002) accessed at: http://www.salon.com/2002/12/20/morvern_2/. Zwerdling, Alex, Virginia Woolf and the Real World (Berkeley: University of California Press, 1986). Index

Academy Awards, see awards and authority, 1, 2, 13, 14, 15, 16, adaptation studies, 1, 4, 12, 81 17, 20, 26, 29, 38, 43–4, 46–7, Aisha (Ojha, 2010), 117 61, 68, 78, 144, 146, 147 A League of Their Own (Marshall, and black women, 18, 56, 97–8, 1994), 7, 21, 85 112, 138, 139–41, 144, 145–6 A Modern Pride and Prejudice (Mae, and genius, 2, 55–7, 67, 68, 137, 2011), 117 150 (n3) Angel in the House, 26, 32, 33, 34, 59 identification, 17, 18, 20, 29, Alcott, Louisa May, see Little Women 31–2, 35, 46, 115, 144–5, 146 Andrew, Geoff, 67 co-authorship see also Andrus, Mark, 105 collaboration, 13–4 Angelou, Maya, 93, 97–8, 104 masculine/male authorship, 1, 2, Annual Celluloid Ceiling Report, 3, 5, 12–13, 17, 20, 22, 24 19, 80, 140, 152(n1) the writer, 2, 4, 14, 15, 20, 24, 25, Aragay, Mireia, 37, 150(n), 152(n) 27, 30, 32, 34, 35, 36, 37, 40, Armstrong, Gillian, 15, 17, 81, 83–4, 42–3, 46, 47, 48, 56, 59, 64, 68, 88, 90 69, 74–5, 83, 91, 97, 98, 104, Arzner, Dorothy, 3, 93 109, 123, 137, 141, 143, 146 Ascheid, Antje, 88 women filmmakers, 1–9, 15, 16, Authority, 14 17, 18, 19–20, 21–2, 24, 25, 27, and authorship, see authorship 32, 35, 36, 37, 38, 41, 43, 45, and Jane Austen, 115, 126, 129, 47, 48, 49–51, 52, 62–3, 73, 134–7 74, 80–1, 84, 92, 93, 102, 103, and literature, 4, 41, 56 104, 105, 107, 112, 115, 116–7, and masculinity, 20, 22, 52, 56–7, 136–7, 139, 140–1, 145, 146 73, 74 Austen, Jane, 10, 17, 18, 20, 22, and women, 56, 71 37–41, 41–8, 83–4, 113–121, auteur/auteurism, 1–2, 5, 10, 12, 16, 121–5, 125–9, 129–132, 132–4, 20, 22, 25, 48, 55, 56, 57, 65, 134–8, 152(n) 73, 91, 147 Austenland (Hess, 2013), 13, 18, 114, authorship 117, 118, 124, 125, 129–32, and adaptation, 4, 12–14, 15, 20, 132–4, 134–8 22, 25, 35, 37–8, 43–8, 52, 62, awards, 2, 137, 140 64, 67, 70, 78, 82, 84, 92–3, Academy Awards, 21, 49, 63, 105, 112, 137–138, 147 105 and agency, 1–2, 4, 15, 16, 17, 18, Black Entertrainment Television, 32, 35, 37, 39, 40, 51, 57, 62, 140 73, 75, 82, 84, 86, 88–9, 90, 92, Black Reel, 140 97, 109, 111, 112, 118, 135–6, Humanitas Prize, 140 137, 138, 141, 143, 146–7 Independent Spirit, 140

162 Index 163

NAACP Image, 140 Chouard, Géraldine, 95, 151(n) Palme d’Or, 3, 22, 49 Clueless (Heckerling, 1995), 6, 38, 83, 117, 129 Backlash: The Undeclared War Against collaboration see also conversation, Women (Faludi, 1992), 8–9, 21, 13–14, 17, 19–20, 22, 27, 63, 77, 30–1, 120 81, 84 Bancroft, Anne, 93 Collins, Jim, 38, 41, 42 Barker, Deborah, 108 conversation see also collaboration, Barron, Stephanie, 118 10–14, 17, 20, 22, 27, 31–2, 38, Bean, Jennifer, 35 41, 48, 60, 80, 146, 147 Benson-Allot, Caetlin 53 Cook, Pam, 3, 149(n) Berlant, Lauren, 80, 94, 96, 104, Coppola, Sofia, 3, 21, 22 106, 110, 145 Corrigan, Timothy, 1, 36–7, 40, 57, Bigelow, Kathryn, 3, 7, 10, 17, 21, 150(n) 49–50, 52–3, 62–3, 81, 150(n) Cukor, George, 83 Black Nativity (Lemmons, 2013), 139 Bodyguard, The ( Jackson, 1992), 7, 21 Dargis, Manohla, 53, 54, 149(n) Bolton, Lucy, 66, 67, 72 Dash, Julie, 139 Bordwell, David, 72 DeBona, Guerica, 12, 13 Bowlby, Rachel, 24, 25 Del Sorbo, Agata, 46 Bradshaw, Peter, 40 Deutelbaum, Marshall, 94 Bride and Prejudice (Chada, 2004), dialogism, 10–11, 12 117 Divine Secrets of the Ya-Ya Sisterhood Bridget Jones’s Diary (Maguire, 2001), (Khouri, 2002), 7, 17, 80–1, 117 90–2, 105–9, 143, 145, 151(n) Bridget Jones’s Diary: The Edge of Divine Secrets of the Ya-Ya Sisterhood Reason (Kidron, 2004), 117 (Wells, 1996), 91, 106–7, 151(n) Brooker, Will, 53 Dobie, Madeleine, 123 Brooks, Xan, 66 Dowell, Pat, 34 Bruckheimer, Bonnie, 105 Do-yeon, Jeon, 3 Brundsdon, Charlotte, 3 Dune, Cheryl, 139 Burke, Sean, 15 Burstyn, Ellen, 93 Eagleton, Mary, 1 Ebert, Roger, 53, 101, 116, 150(n) Cadillac Records (Martin, 2008), 139 Emma (Austen, 1815) 38, 117 Campion, Jane, 3, 10, 17, 19, 21–2, Emma (McGrath, 1996), 39, 44, 117 45, 49–50, 52, 74, 77, 81 Cartmell, Deborah, 31, 43, 150(n) Faludi, Susan, 8, 21, 30, 120 Cash, Floris Barnett, 98 Father of the Bride (Shyer, 1991), 21 Caughie, John, 63, 150(n) Feminine Mystique, The (Friedan, Caveman’s Valentine, The (Lemmons, 1963), 96, 109 2001), 139 feminism Chamberlain, Lori, 14 and academia, see feminist chick flicks, 7–8, 9, 21, 74, 82, 90–1, criticism 108, 115–17, 136 backlash against, 8, 9, 21, 30–1, chick lit, 120–1, 136 100, 120 Chocano, Carina, 115, 116 and generations, 2, 24, 27, 30–2 164 Index

feminism – continued How to Make an American Quilt feminist filmmaking, 3, 5–7, 9, 11, (Moorehouse, 1995), 7, 9, 17, 14, 27, 28 80–2, 90–112, 143, 145 feminist criticism, 8, 11, 14, How to Make an American Quilt 29–30, 32, 90, 95, 121 (Otto, 1991), 91, 94–8, 106–8, feminist literary studies, 2, 14, 151(n) 22, 24, 29, 43, 56, 95, 118–20, Humm, Maggie, 34–5 123, 124, 125, 136, 137, Hutcheon, Linda, 12, 14 152(n4) feminist film studies, 1, 3, 4, 6, In Her Shoes (Hanson, 2005), 115, 7, 19, 20, 24, 81, 88, 103, 120, 116 137, 149(n9) In the Cut (Campion, 2003), 17, 51, Fetterley, Judith, 88 52, 74–8, 142 fidelity, 4, 10, 14, 17, 22, 27–8, 31, In the Cut (Moore, 2003), 75–8 43–4, 48, 51, 52, 81, 91 Fight Club (Palahniuk, 1996), 105, James, Caryn, 93 151(n) James, Henry, 22, 39, 45 First Wives Club, The (Wilson, 1996), Jane Austen Book Club, The (Swicord, 91 2007), 18, 114–17, 118, 124–5, Firth, Colin, 129–30, 134 125–9, 133–4, 134–7 Foucault, Michel, 68–9 Jane Austen Mysteries (Barron, 1996 –), Fowler, Karen Jay, 118 118 Franklin, Miles, 15 Janeite, 115–16, 128 Fried Green Tomatoes (Avnet, 1991), Jermyn, Deborah, 53–5, 56, 58, 62–3 7, 21, 80, 91 Johnson, Claudia, 136 Johnson, Liza, 66, 67, 72 Garrett, Roberta, 7 Johnson, Mark, 11 Gay, Penny, 119 Johnston, Claire, 3, 4, 24, 92, 93 Geraghty, Christine, 10 Jones, Vivien, 120–1, 123, 152(n) Ghost (Zucker, 1990), 7, 21 Joy Luck Club, The (Wang, 1993), Gibson, Pamela Church, 40 91, 140 Gilbert, Sandra, 24, 59, 123 Just Like Heaven (Waters, 2005), 8 Gill, Rosalind, 114, 131–2 Gillis, Stacy, 30–1 Kaplan, Deborah, 119 Gold Diggers, The (Potter, 1983), Karlyn, Kathleen Rowe, 82–3, 89, 27 100 Golombisky, Kim, 101 Kelley, Margot Anne, 98 Gubar, Susan, 24, 59, 123 Khouri, Callie, 50, 82, 105 Kidd, Sue Monk, 18, 141, 142, 144, Haiduc, Sonia, 20, 40, 89, 150(n) 146 Hale, Shannon, 118 Kirkham, Margaret, 43, 123, 152 Hess, Jerusha, 117, 130, 152(n) Kuhn, Annette, 3, 5, 6–7, 24, 35 Higson, Andrew, 40 Holden, Stephen, 40 Laird, Holly, 13–14, 47 Hollinger, Karen, 6, 7, 28, 32, 83, Lakoff, George, 11 84, 85, 148(n) Landay, Lori, 69, 71, 73 hooks, bell, 79 Lane, Christina, 7, 21 Index 165

Leavis, Q.D., 130 Morace, Robert, 70–1 Lee, Hermione, 26 Morton, Samantha, 63, 65 Legally Blonde (Luketic, 2001), 83 Morvern Callar (Ramsay, 2002), 17, Leigh, Mike, 65 51–2, 63–7, 67–74, 77, 142, 146, Lemmons, Kasi, 139 150(n) Little Women (Alcott, 1868/9), 82–9, Morvern Callar (Warner, 1996), 63–4, 90 68–72 Little Women (Armstrong, 1994), 6, mothers/motherhood, 17, 24–6, 9, 17, 42, 80–2, 82–92, 105 29–30, 32 34, 50 72–3, 82–6, Loach, Ken, 65 87–8, 92, 93, 96, 99–100, Looser, Devoney, 118–20 106–10, 144 Lost in Austen (Zeff, 2008), 113–14, mother-daughter, 17, 24, 26, 29, 133 32, 91, 92, 100–1, 106, 108, Lowry, Hunt, 105 111–12 Luce, Claire Boothe, 107 and black women, 143–5 Lynch, Deirdre, 115–16, 128 Mrs. Dalloway (Gorris, 1997), 6 Munford, Rebecca, 30–1 Mansfield Park (Austen, 1814), 20, 43 My Brilliant Career (Armstrong, Mansfield Park (Rozema, 1999), 6, 1979), 15 17, 20, 36–41, 41–7, 81, 84, 86, My Brilliant Career (Franklin, 1901), 129, 150(n) 15 Marcus, Jane, 28 Martin, Darnell, 7, 139 Negra, Diane, 9–10, 79, 118, 120, marriage, 37, 40, 53, 59, 63, 91, 95, 124, 127 96, 98–9, 100, 102, 104–5, 112, neoliberalism, 114, 126, 133, 138 128 Napoleon Dynamite (Hess, 2004), matriarchal/matrilineal, see also 130 mother-daughter, 23–4, 26, 27, Northanger Abbey (McDermid, 2014), 29, 86, 87, 143 118 Masood, Paula, 139–40 Now and Then (Glatter, 1995), 85 McDermid, Val, 118 McElya, Micki, 144 Orlando (Potter, 1992), 6, 9, 17, McHugh, Kathleen, 22, 74 20–2, 22–7, 27–32, 32–6, 37, McRobbie, Angela, 8–9, 120–3, 43, 51, 71, 74, 81, 84, 148(n), 127–8, 131–2, 148(n) 149(n), 150(n) Mean Girls (Waters, 2004), 83 Orlando (Woolf, 1928), 6, 20, 30, Meltzer, François, 13 32–6, 149(n), 150(n) Meyers, Stephanie, 117 Otto, Whitney, 91 Midler, Bette, 105 Ouditt, Sharon, 33 Miller, Nancy, 3–4, 68, 78, 150(n) Miss Congeniality (Donald Petrie, Palahniuk, Chuck, 105, 151 2000), 108 Palme d’Or, see awards Mitchell, Elvis, 66 patriarchy/patriarchal, 13, 19, 20, Modleski, Tania, 120 29, 34, 36, 46, 74–5, 76, 77, 78, Monaghan, David, 40 86, 87, 90, 99, 100, 123, 142 Moore, Susanna, 75 paternity/paternal, 20 Moorhouse, Jocelyn, 50 Park, Ida May, 19 166 Index

Persuasion (Austen, 1818), 125, 138 Sanders, Hannah, 79 Persuasion (Mitchell, 1995), 38 Sarris, Andrew, 136, 149 Portrait of a Lady, The (Campion, Scents and Sensibility (Brough, 2011), 1997), 6, 22, 39, 45 117 postfeminism, 8–10 Scholtz, Anne-Marie, 39, 45, 90 and black women, 134 Scream (Craven, 1996), 83, 100 and lesbian women, 134 Secret Life of Bees, The postfeminist media, 18, 21, 39, (Prince-Bythewood, 2008), 17, 79, 81, 82, 114, 116, 117, 118, 18, 139–47 119, 124, 133, 152(n5) Sense and Sensibility (Lee, 1995), 6, postfeminist context, 2, 6–10, 16, 38, 39, 44, 83, 90 18, 27, 50, 91, 114, 131, 147 sexuality postfeminist politics, 18, 80, 82, heteronormative/heterosexual, 90, 95, 100, 114–15, 118, 119, 46, 51, 58, 79, 82, 90, 95, 100, 120–5, 127, 128, 129, 133, 103–4, 105, 117, 118, 125, 132, 134, 135–6, 138, 146, 148(n5), 134, 152(n2) 151(n3) lesbian, 17, 46, 95, 127, 132, 134 and subjectivity, 15, 79, 109, 114, Showalter, Elaine, 24, 29–30, 94 129, 130, 131–2, 146 Shreve, Anita, 52 and whiteness, 10, 79, 81, 82, 87, Silver, Brenda, 29 109, 112, 134, 138, 140 Silverman, Kaja, 4, 16, 77 Potter, Sally, 3, 6, 9, 17, 19–22, Silverstein, Melissa, 19, 148(n) 22–7, 27–32, 32–6, 37, 43, 47–8, sisterhood, 9, 17, 29, 31, 79–82, 85, 149(n), 150(n) 86, 88–9, 92–3, 94, 96, 97, 104, Practical Magic (Dunne, 1998), 91 105, 106, 108, 109, 110, 112, Pretty Woman (Marshall, 1990), 7, 21 128, 142, 143, 151(n1), 151(n2) Pride and Prejudice (Austen, 1813), Sklar, Robert, 160 113, 114, 133–4 Sleeping With the Enemy (Ruben, Pride and Prejudice (BBC, 1995), 38, 1991), 7 39, 130 Sleepless in Seattle (Ephron, 1993), 7 Pride and Prejudice (Black, 2003), 117 Spencer, Liese, 93 Prince-Bythewood, Gina, 18, 139, Stables, Kate, 145 140, 143–6 Stam, Robert, 4, 10–12 Prison Song (Martin, 2001), 139 Steenkamp, Elzette, 119 Projansky, Sarah, 82 Swicord, Robin, 83–5, 88, 90, 116 P.S. I Love You (LaGravenese, 2007), 8 Pulver, Andrew, 88 Talk To Me (Lemmons, 2008), 139 Tannen, Ricki Stefanie, 69–71 Ramsay, Lynne, 63–5, 70, 73, 146 Tasker, Yvonne, 9–10, 51, 79–80, 85, Ratcatcher (Ramsay, 1999), 65 108, 118 Rich, B. Ruby, 5, 149(n) Thelma and Louise (Scott, 1991), 7, Ridout, Alice, 134 39, 105 romance, 8, 40, 51, 74, 82, 88, 90, Thompson, Emma, 90 91, 95, 96, 106, 115, 118, 125, Thornham, Sue, 3, 15, 55, 57–9, 60, 130, 132, 136 62, 69, 73–4, 77 Rozema, Patricia, 17, 19–22, 28, Titanic (Cameron, 1997), 83, 100 36–41, 41–48, 144–5 To the Lighthouse (Woolf, 1927), 74–5 Index 167

Travis, Trysh, 105–6 Weinstein, Harvey, 39 trickster, 69–71 Wells, Rebecca, 105, 152(n) Williams, Linda Ruth, 65, 73 Vanity Fair (Nair, 2004), 6 Winch, Alison, 79 Vidal, Belén, 22, 37, 42 Wings of the Dove, The (Softley, Voiret, Martine, 119 1997), 39 Women, The (Clare Luce Booth, Waiting to Exhale (Whitaker, 1995), 1936), 107 91, 140–1 woman’s/women’s film, 6–7, 8, 18, Warner, Alan, 63–4 80, 82, 93, 106 Washington Square (Holland, 2011), women filmmakers, see authorship 6, 39 Woolf, Virginia, 2, 9, 17, 19, 20, 22, Watkins, Susan, 28 24–7, 28–32, 32–6, 41, 47–8, 59, Weight of Water, The (Bigelow, 2000), 74, 84, 149(n), 150(n) 17, 51, 52, 52–5, 56–9, 59–61, Wuthering Heights (Arnold, 2011), 6 61–3, 67–70, 76–7, 142 Weight of Water, The (Shreve, 1998), Zacharek, Stephanie, 161 52, 55, 59–62 Zwerdling, Alex, 30