Embodying female dissent in Sanditon: The case of Esther Denham’s two bodies

IF 0.3 0 HUMANITIES, MULTIDISCIPLINARY
Boel Ulfsdotter
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引用次数: 0

Abstract

This article discusses the visual representation of Esther Denham, one of the female characters in Sanditon (2019, ITV, PBS), from the point of view of her displayed sartorial narrative, in relation to postmodern gender politics and female subjectivity. It argues that only a post-heritage adaptation of Jane Austen’s unfinished book manuscript would allow for such a narratological transposition of one of its characters into an outright Goth-inflected screen persona, characterized by outright dissent, interrogation, subversion, self-consciousness and ambiguity. The article foregrounds the crucial importance of Esther Denham’s embodied dress practice to get this message across by pointing out its necessarily diachronic screen costume rationale based on clothing items that are historically correct but which also resonate iconicity in our own time.
《桑迪顿》中女性异议的体现:以斯帖·德纳姆的两具尸体
本文从《桑迪顿》(2019,ITV, PBS)中女性角色艾斯特·德纳姆(Esther Denham)展示的服装叙事的角度,探讨了她与后现代性别政治和女性主体性的视觉表现。它认为,只有对简·奥斯汀未完成的书稿进行后遗产改编,才能让其中一个角色在叙事上发生这样的转变,成为一个完全哥特风格的银幕人物,其特点是彻底的异议、审讯、颠覆、自我意识和模棱两可。这篇文章强调了艾斯特·德纳姆(Esther Denham)的具身服装实践的重要性,通过指出其基于历史上正确但在我们自己的时代也能引起共鸣的服装项目的必要的穿时性的屏幕服装理论来传达这一信息。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Film Fashion & Consumption
Film Fashion & Consumption HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
50.00%
发文量
6
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