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Victoria: the Irg L Who Would Become Queen Lindsay R
Volume 18 Article 7 May 2019 Victoria: The irG l Who Would Become Queen Lindsay R. Richwine Gettysburg College Class of 2021 Follow this and additional works at: https://cupola.gettysburg.edu/ghj Part of the History Commons Share feedback about the accessibility of this item. Richwine, Lindsay R. (2019) "Victoria: The irlG Who Would Become Queen," The Gettysburg Historical Journal: Vol. 18 , Article 7. Available at: https://cupola.gettysburg.edu/ghj/vol18/iss1/7 This open access article is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Victoria: The irG l Who Would Become Queen Abstract This research reviews the early life of Queen Victoria and through analysis of her sequestered childhood and lack of parental figures explains her reliance later in life on mentors and advisors. Additionally, the research reviews previous biographical portrayals of the Queen and refutes the claim that she was merely a receptacle for the ideas of the men around her while still acknowledging and explaining her dependence on these advisors. Keywords Queen Victoria, England, British History, Monarchy, Early Life, Women's History This article is available in The Gettysburg Historical Journal: https://cupola.gettysburg.edu/ghj/vol18/iss1/7 Victoria: The Girl Who Would Become Queen By Lindsay Richwine “I am very young and perhaps in many, though not in all things, inexperienced, but I am sure that very few have more real good-will and more real desire to do what is fit and right than I have.”1 –Queen Victoria, 1837 Queen Victoria was arguably the most influential person of the 19th century. -
Visualising Victoria: Gender, Genre and History in the Young Victoria (2009)
Visualising Victoria: Gender, Genre and History in The Young Victoria (2009) Julia Kinzler (Friedrich-Alexander-University Erlangen-Nuremberg, Germany) Abstract This article explores the ambivalent re-imagination of Queen Victoria in Jean-Marc Vallée’s The Young Victoria (2009). Due to the almost obsessive current interest in Victorian sexuality and gender roles that still seem to frame contemporary debates, this article interrogates the ambiguous depiction of gender relations in this most recent portrayal of Victoria, especially as constructed through the visual imagery of actual artworks incorporated into the film. In its self-conscious (mis)representation of Victorian (royal) history, this essay argues, The Young Victoria addresses the problems and implications of discussing the film as a royal biopic within the generic conventions of heritage cinema. Keywords: biopic, film, gender, genre, iconography, neo-Victorianism, Queen Victoria, royalty, Jean-Marc Vallée. ***** In her influential monograph Victoriana, Cora Kaplan describes the huge popularity of neo-Victorian texts and the “fascination with things Victorian” as a “British postwar vogue which shows no signs of exhaustion” (Kaplan 2007: 2). Yet, from this “rich afterlife of Victorianism” cinematic representations of the eponymous monarch are strangely absent (Johnston and Waters 2008: 8). The recovery of Queen Victoria on film in John Madden’s visualisation of the delicate John-Brown-episode in the Queen’s later life in Mrs Brown (1997) coincided with the academic revival of interest in the monarch reflected by Margaret Homans and Adrienne Munich in Remaking Queen Victoria (1997). Academia and the film industry brought the Queen back to “the centre of Victorian cultures around the globe”, where Homans and Munich believe “she always was” (Homans and Munich 1997: 1). -
Genevieve O'reilly
Genevieve O'Reilly Agents Dallas Smith Associate Agent Sarah Roberts [email protected] +44 (0) 20 3214 0800 Assistant Alexandra Rae [email protected] +44 (0) 20 3214 0800 Sophie Austin Assistant [email protected] Emma Collier [email protected] Roles Film Production Character Director Company THE DRY Gretchen Robert Connolly Pacific Standard TOLKIEN Mrs Smith Dome Karukoski Fox Searchlight Pictures THE SNOWMAN Birte Becker Tomas Alfredson Drapsmann Films ROGUE ONE: A STAR WARS Mon Mothma Gareth Edwards Lucasfilms STORY THE LEGEND OF TARZAN Tarzan's Mother David Yates Dark Horse Entertainment FORGET ME NOT Eve Lance Roehrig and Quicksilver Films Alex Holt United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company SURVIVOR Lisa James McTeigue Nu Image / Millennium Films THE YOUNG VICTORIA Lady Flora Jean-Marc Vallée JK Films Hastings RIGHT HERE, RIGHT NOW Matthew Newton STAR WARS EPISODE III Mon Mothma George Lucas Jak Australia THE MATRIX REVOLUNTIONS Officer Wirtz Andy and Larry The Burly Man Wachowski Productions THE MATRIX RELOADED Officer Wirtz Andy and Larry The Burly Man Wachowski Productions AVATAR Dash Jian Hong Kuo Exile Productions Television Production Character Director Company TIN STAR S.1, S.2 & S.3 Angela Worth Various Kudos for Amazon THE FALL - S3 Joan Kinkhead Various BBC THE SECRET Hazel Nick Murphy Hat Trick/ ITV ENDEAVOUR Annette Bryn Higgins ITV Richardson GLITCH Elishia -
Outliers – Stories from the Edge of History Faithfully Yours, Louise Lezhen
Outliers – Stories from the edge of history is produced for audio and specifically designed to be heard. Transcripts are created using human transcription as well as speech recognition software, which means there may be some errors. Outliers – Stories from the edge of history Season Two, Episode Five Faithfully yours, Louise Lezhen By Lettie Precious Louise Lezhen: Clink clank, clink clank, clearing throats, halting conversations. Silverware making more chatter with the dinner ware. Clink clank, clickity clank. Throats clearing, halting conversations full of ‘So’ clink ‘Well’ clank Mmmhh clink. Heavy sighs, polite questions, polite answers, stretches of silence, quiet. Quiet where pin drops can be heard. It is in those times, I say nothing, my voice, no longer holding the power it once had, but missing it greatly. There’s a new chill in the air, a new cold snaking its way up and down the corridors of Kensington Palace, making its presence felt for a while now. Things have changed…different now, even the birds are nervous in their songs. The sun peeks through the windows with great caution, even I, once governess to the princess walk the floors of this Palace differently, cautiously…. After years and years, holding Victoria’s hand, her little hand fitting so perfectly in mine; her little feet following so gracefully behind my footprints. Oh, the privilege I had, a power that once roared in me, no one could tell me anything. She was mine to keep, to teach, to protect…. (sigh) But things are different now, even the walls seem to protest, drawing closer together each day, encouraging the ceilings to drop too, a force that threatens to crush me at any given moment. -
Downloaded from Manchesterhive.Com at 10/02/2021 09:03:16PM Via Free Access Andrew Higson
1 5 From political power to the power of the image: contemporary ‘British’ cinema and the nation’s monarchs Andrew Higson INTRODUCTION: THE HERITAGE OF MONARCHY AND THE ROYALS ON FILM From Kenneth Branagh’s Henry V Shakespeare adaptation in 1989 to the story of the fi nal years of the former Princess of Wales, inDiana in 2013, at least twenty-six English-language feature fi lms dealt in some way with the British monarchy. 1 All of these fi lms (the dates and directors of which will be indi- cated below) retell more or less familiar stories about past and present kings and queens, princes and princesses. This is just one indication that the institution of monarchy remains one of the most enduring aspects of the British national heritage: these stories and characters, their iconic settings and their splendid mise-en-scène still play a vital role in the historical and contemporary experience and projection of British national identity and ideas of nationhood. These stories and characters are also of course endlessly recycled in the pre- sent period in other media as well as through the heritage industry. The mon- archy, its history and its present manifestation, is clearly highly marketable, whether in terms of tourism, the trade in royal memorabilia or artefacts, or images of the monarchy – in paintings, prints, fi lms, books, magazines, televi- sion programmes, on the Internet and so on. The public image of the monarchy is not consistent across the period being explored here, however, and it is worth noting that there was a waning of support for the contemporary royal family in the 1990s, not least because of how it was perceived to have treated Diana. -
The Young Victoria Production Notes
THE YOUNG VICTORIA PRODUCTION NOTES GK Films Presents THE YOUNG VICTORIA Emily Blunt Rupert Friend Paul Bettany Miranda Richardson Jim Broadbent Thomas Kretschmann Mark Strong Jesper Christensen Harriet Walter Directed by Jean-Marc Vallée Screenplay By Julian Fellowes Produced by Graham King Martin Scorsese Tim Headington Sarah Ferguson, The Duchess of York 2 SHORT SYNOPSIS The Young Victoria chronicles Queen Victoria's ascension to the throne, focusing on the early turbulent years of her reign and her legendary romance and marriage to Prince Albert. SYNOPSIS 1837. VICTORIA (17) (Emily Blunt) is the object of a royal power struggle. Her uncle, KING WILLIAM (Jim Broadbent), is dying and Victoria is in line for the throne. Everyone is vying to win her favor. However Victoria is kept from the court by her overbearing mother, THE DUCHESS OF KENT (Miranda Richardson), and her ambitious advisor, CONROY (Mark Strong). Victoria hates them both. Her only friend is her doting governess, LEHZEN (Jeanette Hain), who is seemingly as untrustworthy as the rest. Victoria’s handsome cousin, ALBERT (Rupert Friend) is invited to visit by her mother. He's also the nephew of her Uncle, KING LEOPOLD OF BELGIUM (Thomas Kretschmann). It's obvious that Albert has been coached to win her hand. At first she's annoyed as she has no intention of being married. She never wants to be controlled again. However Albert is also tired of being manipulated by his relatives. Victoria and Albert talk openly and sincerely and become friends. When he returns home she grants him permission to write to her. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
World's Story 3
First printing: April 2019 Copyright © 2018 by Angela O'Dell. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission of the publisher, except in the case of brief quotations in articles and reviews. For information write: Master Books®, P.O. Box 726, Green Forest, AR 72638 Master Books® is a division of the New Leaf Publishing Group, Inc. ISBN: 978-1-68344-096-3 ISBN: 978-1-61458-709-5 (digital) Library of Congress Number: 2019934564 Cover & Interior design by Diana Bogardus Unless otherwise noted, all Scripture is from the New King James Version of the Bible, copyright © 1982 by Thomas Nelson, Inc. Used by permission. All rights reserved. Scriptures marked (KJV) are taken from the King James Version of the Bible. Scriptures marked (NIV) are taken from the New International Version®, NIV®, copyright © 1973, 1978, 1984, 2011 by Biblica, Inc.TM Used by permission of Zondervan. All rights reserved worldwide. Scripture quotations marked (NLT) are taken from the Holy Bible, New Living Translation, copyright © 1996, 2004, 2007 by Tyndale House Foundation. Used by permission of Tyndale House Publishers, Inc., Carol Stream, Illinois 60188. All rights reserved. Printed in the United States of America Please visit our website for other great titles: www.masterbooks.com For information regarding author interviews, please contact the publicity department at (870) 438-5288. World War I soldier Introduction 4 Chapter 1 The Age of Exploration 7 Chapter 2 Coonization and Empies 21 Chapter -
The Historiography of Queen Victoria: on the Threshold of Private Psychoanalysis and Public Feminism by Rebecca Willis
The Historiography of Queen Victoria: On the Threshold of Private Psychoanalysis and Public Feminism By Rebecca Willis Queen Victoria was one of the longest rulers in history, and one of the few British women to carry a nation from near revolution to empire in the course of her lifetime. With such an impressive longevity, the Queen saw many events pass by, and experienced many important landmarks in her own life as well. Living through so much rich history, she was one of the most documented monarchs. In this paper, I will critique the historiography of Queen Victoria’s life. Too many historians use the psychohistorical method to describe her life; a feminist method is necessary for a new and more accurate historiography. Commentary, however biased or politicized, was essential to the historicizing of Queen Victoria’s life. Most biographers from the 20th and 21st centuries tend to cover her life from a psychoanalytic approach.1 Her childhood, mar- riage, children, and relationship to men are all key factors of her life. Published newspaper articles, political cartoons, portraits, and children’s books during her reign in the 19th and early 20th century depict her as a political puppet, as a stubborn, crotchety old woman, as a naive ingénue, as an attractive bride, 1 Lytton Strachey, An Eminent Illustrated Biography: Queen Victoria (London: Harcourt Brace, 1921); John Raymond, ed. Queen Victoria’s Early Letters (New York, Macmillan, 1963); Philip Guedalla, The Queen and Mr. Gladstone (New York: Doubleday, 1969); Cecil Woodham-Smith, Queen Victoria: From her Birth to the Death of the Prince Consort (New York, Alfred A. -
Victoria Daisy Goodwin
READING GROUP GUIDE Victoria Daisy Goodwin Drawing on Queen Victoria’s diaries, which she first started reading when she was a student at Cambridge University, Daisy Goodwin—creator and writer of the new PBS/Masterpiece drama Victoria and author of the bestselling novels The American Heiress and The Fortune Hunter—brings the young nineteenth-century monarch, who would go on to reign for 63 years, richly to life in this magnificent novel. Early one morning, less than a month after her eighteenth birthday, Alexandrina Victoria is roused from bed with the news that her uncle William IV has died and she is now Queen of England. The men who run the country have doubts about whether this sheltered young woman, who stands less than five feet tall, can rule the greatest nation in the world. Despite her age, however, the young queen is no puppet. She has very definite ideas about the kind of queen she wants to be, and the first thing is to choose her name. ISBN: 9781250045461 “I do not like the name Alexandrina,” she proclaims. “From now on I wish to be known only by my second name, Victoria.” Next, people say she must choose a husband. Everyone keeps telling her she’s destined to marry her first cousin, Prince Albert, but Victoria found him dull and priggish when they met three years ago. She is quite happy being queen with the help of her prime minister, Lord Melbourne, who may be old enough to be her father but is the first person to take her seriously. -
The Young Victoria April
MAGAZI THE YOUNG VICTORIA APRIL... “possibly Britain’s most beautiful cinema...” (BBC) APRIL 2009 Issue 49 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6pm Sun 4.30-6.30pm To advertise email [email protected] INTRODUCTION Gallery 4-5 April Evenings 7 Coming Soon 22 April Films at a glance 22 April Matinees 23 Dear Mrs Trellis 38-41 SEAT PRICES: Circle £8.00 Concessions £6.50 At Table £10.00 Concessions £8.50 Royal Box (seats 6) £12.00 or for the Box £66.00 All matinees £5, £6.50, £10 (box) BOX OFFICE: 01442 877759 Mon to Sat 10.30 – 6.00 Sun 4.30 – 6.30 First daffodils on the balcony. Early Spring 2009 Disabled and flat access: through the gate on High Street (right of apartments) TITLES TO WATCH OUT FOR Some of the girls and boys you see at the Box Office and Bar: Ushers: Rosie Abbott Malcolm More Julia Childs Izzi Robinson Nicola Darvell Amberly Rose Lindsey Davies Georgia Rose Holly Gilbert Becca Ross Beth Hannaway Diya Sagar Amelia Kellett Alice Spooner Charly Marchant Liam Stephenson Bethany McKay Tina Thorpe Simon Messenger Olivia Wilson Helen Miller Keymea Yazdanian Abigail, Abi F, Alexandra, Billie, Charlotte, James, from Spain Lydia, Meg, Romy, Sid, Taylor In the City of Sylvia Mon 6th April 7.30 Sally Thorpe In charge Alun Rees Chief projectionist (Original) Jon Waugh 1st assistant projectionist Martin Coffill Part-time assistant projectionist Jacquie Rose Chief Box Office & Bar Oliver Hicks Best Boy Jemma Gask Key Grip Michael Glasheen Gaffer Jane Clucas & Lynn Hendry PR/Marketing/FoH Ian Muirhead Accountant Darren Flindall, Michael Glasheen Resident creative builders Andrew Dixon, Paul Rowbottom Artists from Turkey Paul Fullagar, Alan Clooney Three Monkeys Sun 19 April 6.00 Advisors and Investors Ed Mauger Genius Demiurge Design Designers 01296 632366 Lynn Hendry Advertising 01442 877999 James Hannaway CEO 01442 877999 Betty Patterson Company Secretary and THE ORIGINAL VISIONARY of The Rex. -
Heir of the Month: May 2016
HEIR OF THE MONTH: MAY 2016 Princess Victoria of Kent How to educate a last minute heir: The Duchess of Kent and the Kensington System Jennifer Henderson Crane In 1861 Queen Victoria suffered a devastating loss that brought her to the brink of collapse. “The dreaded calamity has befallen us,” she recorded in her journal at Windsor Castle, “which seems like an awful dream, from which I cannot recover.” For those even remotely familiar with Queen Victoria, the image of the black-draped monarch is immediately evoked, a wife in perpetual mourning for the beloved husband she lost in 1861. However, the quoted line does not refer to the passing of Albert the Prince Consort, but instead to that of his paternal aunt and mother-in-law, Victoire, the Duchess of Kent, who passed away in March of the same year. Henry Bone: The duchess of Kent with her daughter, the future queen Victoria (c. 1824/25) Victoria had an at times fraught relationship with her mother, but Victoire’s death appeared to erase the past difficulties and animosities, leaving her daughter feeling like a bereft child. She opened herself fully to her grief, so much so that her obsessive hold onto mourning protocol provoked much commentary even outside of court circles. In her work, Magnificent Obsession, Helen Rappaport quotes an American diplomat lamenting that, “‘the Queen carries her sorrow at her mother’s death to an absurd extent… There are no balls this season and in lieu 1 HEIR OF THE MONTH: MAY 2016 thereof but one concert, and to this only the Ministers, and their Ladies and Chief Secretaries only are to be invited’.” Just as Victoria held varying emotions for her mother, so too have historians held variant stances on Victoire, as well as on her perceived motives and ambition.