By Shelley Cobb (auth.)
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Extra info for Adaptation, Authorship, and Contemporary Women Filmmakers
Then the film briefly double exposes that Fanny with the fully-grown Fanny who wears a smock dress and her hair done up. She describes Queen Elizabeth I as ‘that disgrace to humanity’ for killing Mary, Queen of Scots, and concludes with a curtsey for her audience, who is now Edmund. He teasingly tells her that she ‘is awful’, and she replies, ‘all those quarrels and wars; the men good for nothing; and hardly any women at all … I often think it odd that history should be so 48 Adaptation, Authorship, and Contemporary Women Filmmakers dull; a great deal of it must be invention’.
And anyway language needs to keep refreshing itself perpetually. (Florence, 279–280) I want to suggest that female artists like Woolf and Potter, whether consciously or unconsciously, dodge the term ‘feminism’ and mute the rhetoric during times of backlash in order to keep the language from being used against them. For Potter at least, a subversion of the expectations on her to be a feminist icon coincides with her challenges to the languages of fidelity and legacy. In the Introduction to this book, I suggested a metaphor of conversation as a feminist-inflected way of thinking about adaptations and women’s authorship.
Provided you rewrite it of course. ’ He asks her how long it took her to write, and she does not respond to him but only turns her eyes to the camera, which fixates on her in close-up. The small turn of her eyes affirms a knowingness between character and audience that is a regular feature throughout the film as Orlando makes intermittent direct addresses (both verbal and non-verbal) to the camera. 3 They arrive at the English estate where Orlando began his life and narrative. She lifts her child out of the sidecar and removes the helmet, revealing the long hair and face, of the girl child.
Adaptation, Authorship, and Contemporary Women Filmmakers by Shelley Cobb (auth.)