The essay examines Joe Wright’s film adaptation (2005) of Jane Austen's Pride & Prejudice by focusing on the principles of variation and repetition that inform the filmic fabric in its narrative, visual, and musical components. What makes the film different from previous transpositions of Austen’s masterpiece is its extraordinary playfulness. An often-neglected aspect of Austen’s text, the entertaining quality of the story is rendered on the screen through the recurrence of images and themes used to open and close scenes—giving a dreamy touch to the film— and through a series of changes affecting characters and their relationships. The latter variations to Austen’s novel also bear “markers of modernity”: they are especially intended to update the story for a contemporary audience, and they offer an original and at times postmodern version of Pride and Prejudice.
"Variations on a Theme: Openings, Closings, and Returns in 'Pride & Prejudice'"
ANTINUCCI, Raffaella
2012-01-01
Abstract
The essay examines Joe Wright’s film adaptation (2005) of Jane Austen's Pride & Prejudice by focusing on the principles of variation and repetition that inform the filmic fabric in its narrative, visual, and musical components. What makes the film different from previous transpositions of Austen’s masterpiece is its extraordinary playfulness. An often-neglected aspect of Austen’s text, the entertaining quality of the story is rendered on the screen through the recurrence of images and themes used to open and close scenes—giving a dreamy touch to the film— and through a series of changes affecting characters and their relationships. The latter variations to Austen’s novel also bear “markers of modernity”: they are especially intended to update the story for a contemporary audience, and they offer an original and at times postmodern version of Pride and Prejudice.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
