By Shelley Cobb (auth.)
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Additional resources for Adaptation, Authorship, and Contemporary Women Filmmakers
The main difference between the two is that the first close-up begins with the camera positioned to the side of Orlando. We only see his profile and, behind him the oak tree that fills the frame, until he turns to make the direct address into the camera. There are several close-ups of Swinton throughout the film, often when she directly addresses the camera, but only the close-ups at the beginning and the end have the repetitive use of the oak tree. The Oak Tree in the novel is the poem Orlando has been writing all his/her life.
The significance of Fanny becoming an author is not just that it is a part of Rozema’s changes to ‘update’ Austen’s work or that, as a character, she fits into Rozema’s oeuvre. It is that she embodies both Austen and Rozema as women authors, and that they bring authority to each other through a process of identification and disidentification, creating a double construction of the female authorial subject: I tried to look at the book, read it as many times as possible, read as much around it as possible, as in this sort of debate about its intent and its style and its subtext.
Consequently, the James adaptation trend in the years between Emma (Douglast McGrath, 1996) and Mansfield Park served to reinforce the idea of Austen adaptations as popular and accessible. In the fourth chapter of this book, I consider more closely the notion of Jane Austen’s authorship as uniquely popular and accessible, and the ways that postfeminist media culture uses her iconicity to articulate the contradictory pressures on women’s agency in the twenty-first century. The important thing to note about Mansfield Park is that most of the reviews and the subsequent critical analyses agree that it is not like the films of the ‘Austen boom’.
Adaptation, Authorship, and Contemporary Women Filmmakers by Shelley Cobb (auth.)