A comparative study of the opening scene of Pride and Prejudice; based on the book published in 1873 and the film released in 2005.
A visual presentation of a literary work such as Pride and Prejudice and especially the opening scene may lead the audience to read the novel and introduce the viewer to high culture through its popularization. If it is not the case, the visual presentation of such a
literary work at least displays cultural knowledge [...]. On the opposite, the adaptation also allows people inclined to focus on elitist culture to be introduced to popular culture via a democratized adaptation.
Jane Austen, 1873. (1994)
Joe Wright, 2005
Sommaire de l'exposé
I) The opening scene by Jane Austen
A. Visual/Imaginative presentation
B. Themes and literary devices and techniques
II) The opening scene by Joe Wright
A. Aesthetical features
B. Orality and the viewer's attention.
III) Adaptation: The combination of high culture
and low culture
A. Art vs. entertainment
B. History and culture
Extraits de l'exposé
[...] Actually themes and literary devices and techniques take part in the construction of the scene in terms of language. The depiction of the lives of the middle and upper classes and the literary genre of Pride and Prejudice imply realism. Still the depiction appears through the degrees of formality ?literary and figuratively- and Austen's depiction is voiced by the characters themselves and revealed by their behaviours. Austen's realism less implies descriptive passages. Jane Austen describes a society of propriety, amiability and civility. [...]
[...] The function of an opening scene is to inform, to interest and to invite to further reading. These three features are intrinsic and mix the content and the form of the text. In fact, the combination of information and interest creates the invitation. The informational part corresponds to the presentation of the plot, of the spatiotemporal context and of the main characters. In Pride and Prejudice, an incipit initiates the opening scene: is truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.? l.1. [...]
[...] Thus the choice of Pride and Prejudice may foremost be a financial argument rather than an ideological or artistic one. But on the other hand, the box office records and gross revenue (over £121 million worldwide) do not only result from the quality of the adaptation but also and especially from an appeal for the presentation of a simpler world -lacking in modern technology, over-consumption and surfeit of informationand a kind of nostalgia towards standards of values and manners, if not traditions. [...]
[...] Besides English society poorly considered feminine presence within the public sphere. Still the Regency period (1811-1820) produced great political, economic, social and cultural changes. Regency novels mostly depicted the lives of the upper class and emphasized class issues through a high sense of social standing between characters illustrated via manners, education and wealth. In Pride and Prejudice, Jane Austen realistically and humorously described a microcosm dominated by class-consciousness and preoccupied by social mobility in Georgian England. Pride and Prejudice is about the story of the Bennet family. [...]
[...] Language strictly draws the lines of class and allows Austen to criticize a segment of class structure. Furthermore, the language used by the Bennets in this scene constructs and initiates the aesthetic of the whole book. It conveys the sensory-emotional values which form the artistic canvass Austen ambitioned to delineate and form the background of a literary work although in artistic terms the definition of a literary writing is vague. In addition, it also presents a cultural aspect of Britain to the reader as the edition of books represented the popularisation of culture and the democratisation of knowledge. [...]
À propos de l'auteur
Stéphanie C.étudianteLittératurePride and Prejudice. Cinema vs Literature