Adaptation, Authorship, and Contemporary Women Filmmakers - download pdf or read online

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  • March 28, 2018
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By Shelley Cobb (auth.)

ISBN-10: 1137315873

ISBN-13: 9781137315878

ISBN-10: 134932910X

ISBN-13: 9781349329106

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Extra resources for Adaptation, Authorship, and Contemporary Women Filmmakers

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We can see that she has grown up between cuts, but she still wears her hair long. Then the film briefly double exposes that Fanny with the fully-grown Fanny who wears a smock dress and her hair done up. She describes Queen Elizabeth I as ‘that disgrace to humanity’ for killing Mary, Queen of Scots, and concludes with a curtsey for her audience, who is now Edmund. He teasingly tells her that she ‘is awful’, and she replies, ‘all those quarrels and wars; the men good for nothing; and hardly any women at all … I often think it odd that history should be so 48 Adaptation, Authorship, and Contemporary Women Filmmakers dull; a great deal of it must be invention’.

M. Barrie (Collins, 2010: 141). Though Rozema’s film does not have a close-up of a writing hand like these, the images behind the opening credits function similarly to revel in the materiality of writing. 16 Only when the handwriting on the paper comes into focus does it become clear what the camera is admiring. More importantly, these images revel in the technology of cinema by using close-up shots, slow motion, lighting and sound to alter the instruments of writing on screen to appear as if something else all together, creating a ‘hybridization of the literary and the cinematic’ (Collins, 2010: 152).

I think it’s about being cleverer, more effective, and moving out of a sort of ghetto mentality and away from didacticism, and I don’t think any of those things can be bad. And anyway language needs to keep refreshing itself perpetually. (Florence, 279–280) I want to suggest that female artists like Woolf and Potter, whether consciously or unconsciously, dodge the term ‘feminism’ and mute the rhetoric during times of backlash in order to keep the language from being used against them. For Potter at least, a subversion of the expectations on her to be a feminist icon coincides with her challenges to the languages of fidelity and legacy.

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Adaptation, Authorship, and Contemporary Women Filmmakers by Shelley Cobb (auth.)

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