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Lecture 7

Lecture 7 - 130930.doc

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Deidre Lynch

Lecture 7 – 130930 - Film can do third person impersonal narration really well - How does film focalize? (Story being presented through a person’s perspective; POV) - Film has point of view shots – shots that make it clear that you’re seeing things through the eyes of someone in particular - This P+P adaptation had many things of looking (no particular POV) – looking at Bingley and Darcy through the eyes of Elizabeth o Adaptation begins with the scene of looking at Bingley and Darcy looking at Netherfield - Films show scenes of women looking through windows – the window becomes the visual equivalent to what we feel when we’re confined to Elizabeth in P+P o It becomes to the filmmaker of the barriers we encounter when looking at things through a character’s mind - There are many more windows in the film adaptations of P+P than in the novel - In ch. 2, Bingley returns Mr. Bennet’s call and the girls see him through a window of him wearing a blue coat and riding a black horse - Female protagonist looking out – gender division of space o Inside of house for women and outside for men o Elizabeth is an exception (she’s outside) - P+P as a kind of drama of knowing – what it means to know o Readers have a limited view on things as it is only through Elizabeth – in movie adaptations, we have a more open view as seen through other characters or the happenings around them - Fair prospect – a kind of indication of what the adaptation does that the novel doesn’t o Escapists criticizing how they make 19 century England (England’s at war with France [Napoleon]) – they make it prettier than it really was in that time - Vol. 3, ch. 1 – visit to Pemberley – Darcy owns a prospect o Manifestation of Darcy’s social power – seeing countryside around you is something that Darcy has through his social position and wealth o Other passages in the novel also back this up (like in vol. 2, ch. 8 when he sees Elizabeth playing the pianoforte and stands up for everyone to see him)  Elizabeth interprets his presence as something to freak her out – commanding • Military connotations • Threatening through Elizabeth’s view  The narrator is underlying that Darcy is a domineering presence  “full view” – not just the window view - Elizabeth occupies a world in which men have more opportunities of full views than women do o Social and geographical mobility, more for men than women o Men having greater mobility than women o Novel presents courtship as a kind of competition of men and women about who will know more about the other person first – men, as gentlemen, have the advantage (They know! They’ve been to more places! They don’t need chaperones! Etc…) - Miss Bingley says that “they run after officers” to describe the younger Bennet sisters o “running” – idea of mobility for women o A challenge to the love plot and the centrality of the love plot – you’re not supposed to be in love with all the men of the regiment o “run” leads Lydia to Elizabeth  Elizabeth goes on foot to Netherfield when Jane’s sick – people were baffled by it  She muddies her petticoat – she’s presented as a dirty girl (with all of its connotations from the very beginning of the book) o Initially, the sisters are presented as exchangeable – in Lydia’s POV, men are exchangeable - Drama of knowledge in P+P, and in particular, Elizabeth’s presentation as a studier of character o Austen presents characters who change – Evelina as a romance plot (plot of restoration – somebody’s true identity which has been obscured through bad fortune, etc. is being restored) – does not provide lots of opportunity for change o Austen sets up plots of change – Elizabeth’s change of mind - Vol. 1, ch. 11 – “Follies and nonsense, whims and inconsistencies do divert me, I own, and I laugh at them whenever I can.” o Elizabeth presenting herself as someone who’s detached from those and someone who doesn’t have to deal with those consequences  Resembles her father as he also detaches himself from all other situations  The novel shows that the detachment has costs and she can’t detain it • She diverts it to the follies of her family – she laughs as we laugh  She still seems to think the heroine of the novel is Jane – she thinks her story is more entertaining • Darcy’s proposal catches her unaware – her detachment causes her to not be able to bear such situations that causes her to not be detached • We see Darcy’s proposal coming but Elizabeth doesn’t – not a happy moment for her - Elizabeth’s proposals: Mr. Collins’ proposal is more robotic and Darcy’s proposal is more sincere o Ch. 19: “‘I am not now to learn,’ replied Collins…” – he seems very full of himself and unable to take Elizabeth’s rejection  He’s objectifying her  His speech seems more like an essay and pointing out his argument  He doesn’t really care whether it’s Elizabeth who becomes his wife  His amazing speed of changing his passion from Elizabeth to Charlotte  Dr. Gregory says that women should not fall in love first and feel gratitude of being asked for marriage – Collins seems to follow these words thinking that women should feel gratitude for being proposed by him and he thinks Elizabeth is just playing hard to get o Darcy’s proposal – vol. 2, ch. 11  Darcy’s proposal is narrated rather than direct discourse  Collins’ proposal doesn’t shake up Elizabeth’s sense of self  Darcy’s proposal, and in particular from Darcy’s letter to Elizabeth – why does Austen summarize his spoken proposal but show his letter? • Elizabeth does feel shaken up – she learns that she has not known herself – she wonders if she’s a rational speaker, if she speaks the truth from her heart, etc.  Vo
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