The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels

The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels

David Monaghan

Language: English

Pages: 204

ISBN: 0786435062

Format: PDF / Kindle (mobi) / ePub

Jane Austen's novels are loved because they possess a comedic power that is often conveyed through the singular voice of the narrators. Film adaptations, however, have often been unsatisfactory because they lack or awkwardly render features, particularly the voice of the narrators. This work argues for a fresh approach that begins with a reading of the novels that emphasizes their auditory and visual dimensions. Building on their examination of Austen's inherently cinematic features, the authors then develop productive new readings of the films.

The Tempest (HarperPerennial Classics)

A Christmas Carol and Other Stories (Modern Library)

The Man Who Knew Too Much

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also include the card game “Speculation” played by the Bertrams and Crawfords since it metaphorically reveals the nature of the different characters around the table. 23. We could think, among many others, of Welles’s The Lady from Shanghai (1948), or Michael Powell’s Peeping-Tom (1960), not to mention the numerous adaptations of myths or fairy tales in which the mirror plays an important role, as in Jean Cocteau’s Orphée (1950) or Walt Disney’s Snow-White (1937). 24. The film, like the mirror,

introduced early with Mr. Darcy himself: Mr. Darcy soon drew the attention of the room by his fine, tall person, handsome features, noble mien; and the report which was in general circulation within five minutes after his entrance, of his having ten thousand a year. The gentlemen pronounced him to be a fine figure of a man, the ladies declared he was much handsomer than Mr. Bingley, and he was looked at in great admiration for about half the evening, till his manners gave a disgust which turned the

unforgiving temper. His disposition must be dreadful” [1, 16, 90]. “There seems something more speakingly incomprehensible in the powers, the failures, the inequalities of memory, than in any other of our intelligences,” Fanny Price is to suggest in Austen’s next novel, Mansfield Park (II, 4, 243). Memory is indeed as volatile, unpredictable and complex as eighteenth-century psychologists since Locke have contended. Few people recall the exact words spoken in a conversation, and most remember

Wentworth. A comparison of three meetings between Anne and Wentworth, the first during a concert held in the Assembly Rooms and the other two in the Musgroves’ lodgings at the White Hart, highlights the very different types of problems posed by a decadent old order and an unsophisticated new one. The Elliots, demonstrating their typical disdain for broader social obligations, attend the concert only because it provides an opportunity to enhance their own prestige by cultivating an acquaintance

discussion of this topic. 10. Booth, The Rhetoric of Fiction, 247. 11. Booth, The Rhetoric, 256. 12. Byrne, Jane Austen, 123. 13. Monaco, How To Read a Film, 186ff. 14. Quoted Gibbs, Mise-en-scène, 57. 15. Cohen, Film and Fiction, 23. 16. Gregory, A Father’s Advice, 26 17. Miller, The Secret of Style, 71. 18. Miller, The Secret, 68. 19. The film’s handling of sound is interesting: Mrs. Croft and Mrs. Musgrove’s chatter virtually disappears from the soundtrack when the camera focuses on Harville

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