The chapter attempts to highlight the “post-modern” quality of Cuaron’s adaptation in its display of formal strategies such as juxtapositions, interpolations, misattributions, that overlap and intermingle to translate “the most postmodern Victorian writer”. The filmic analysis considers thematic and stylistic patterns, and compares different modes of characterization, especially in connection with the re-negotiation of feminine and masculine types in Victorian England and in contemporary American cinema. Unlike earlier versions, Cuaron’s film proves really inventive in preserving and re-creating on the screen the symbolic and poetic power of Dickens’s language by means of visual, narrative and musical repetitions. Reification, interpolation, self-reflexivity and inter-textual playfulness are “indexes of post-modernity” that re-invent Dickens’s irony while qualifying Cuaron’s inter-semiotic translation as “heterotopian”, a text hovering between different ontological planes.
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