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"This is not Dickens" : fidelity, nostalgia, and adaption

Author: Kristin Spooner
Publisher: Columbia, Mo. : University of Missouri-Columbia, 2006.
Dissertation: M.A. University of Missouri-Columbia 2006
Edition/Format:   Thesis/dissertation : Document : Thesis/dissertation : eBook   Computer File : English
Summary:
In this project, I examine the responses of filmgoers to three adaptations of Victorian novels: Joe Wright's Pride & Prejudice (2005), Roman Polanski's Oliver Twist (2005), and Alfonso Cuarón's Great Expectations (1998). I explore the ways in which fidelity discourse manifests itself in the reviews of both professional film critics and the "citizen critics" who post reviews on the Internet Movie Database. Despite  Read more...
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Details

Genre/Form: Electronic dissertations
Electronic books
Academic theses
Film adaptations
Named Person: Charles Dickens; Roman Polanski; Joe Wright; Alfonso Cuarón; Alfonso Cuarón; Charles Dickens; Roman Polanski; Joe Wright
Material Type: Document, Thesis/dissertation, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Kristin Spooner
OCLC Number: 145741051
Notes: The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file.
Title from title screen of research.pdf file viewed on (June 27, 2007).
Details: Mode of access: World Wide Web.
Responsibility: by Kristin Spooner.

Abstract:

In this project, I examine the responses of filmgoers to three adaptations of Victorian novels: Joe Wright's Pride & Prejudice (2005), Roman Polanski's Oliver Twist (2005), and Alfonso Cuarón's Great Expectations (1998). I explore the ways in which fidelity discourse manifests itself in the reviews of both professional film critics and the "citizen critics" who post reviews on the Internet Movie Database. Despite adaptation scholars' designation of fidelity discourse as analytically unproductive, I argue that fidelity discourse can be a constructive evaluative method, particularly amongst citizen critics. I also contend that contemporary filmgoers' nostalgia for the Victorian past feeds much of the fidelity discourse evident in these reviews. Viewers of Victorian novel film adaptations often rely on fidelity criteria in their evaluations because they expect the films to develop their visual conceptualizations of the Victorian era; thus, the reviews are frequently determined by how successfully the films meet those expectations.

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