Introduction

Dow, Gillian; Hanson, Clare

doi:10.1057/9781137271747_1

Cited by 2 publications

(1 citation statement)

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“…heroine" in portrayals of her life on screen. 25 Both films raise troubling questions about adapting (and appropriating) Austen in the twenty-first century, with wider implications for the study of female authors and artists on screen. Any film, moreover, that tries to uncover the 'truth' about an author's life through their fiction raises ideological problems for the literary critic, as Deborah Cartmell has argued.…”

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confidence: 99%

Revisiting Jane Austen as a Romantic Author in Literary Biopics

Wootton

2018

Women's Writing

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This essay seeks to establish whether portrayals of Jane Austen on screen serve to reaffirm a sense of the author's neoconservative heritage, or whether an alternative and more challenging model of female authorship is visible. Does this particular, and arguably defining, moment in Austen's legacy offer new and diverse perspectives on the author and her Romantic and post-Romantic contexts? Both films raise troubling questions about adapting (and appropriating) Austen in the twenty-first century, with wider implications for the study of female authors and artists on screen. However, as I hope to demonstrate, the Austens of these biopics are neither reactionary heritage reproductions nor 'authentic' Austens. Miss Austen Regrets and, to a lesser but still evident degree, Becoming Jane are in a generative cinematic conversation with Austen's past 'lives' and the author's present popularity as well as with the narrative style, mood, and tone of her fiction. In other words, 'Austen', as the name has come to signify her literary works and the cultural stories she has become the adoptive author of, reads the biopics even as they read her. Austen's 'authorship' in the twenty-first century rests on and is transfigured by a rapidly evolving and mutually informed nexus of coreadings between text and screen. Title: Revisiting Jane Austen as a Romantic Author in Literary Biopics This essay seeks to ascertain whether portrayals of Jane Austen on screenspecifically Julian Jarrold's Becoming Jane (2007) and Jeremy Lovering's Miss Austen Regrets (2008)-are, for the most part, neoconservative iterations of a proliferating Austen industry, or whether an alternative and more challenging model of female authorship is visible. 1 Does this particular, and arguably defining, moment in Austen's legacy offer new and diverse perspectives on the author and her Romantic

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confidence: 99%