Pregled bibliografske jedinice broj: 1133663
Postfeminist Blind Spots: Cultural Translation, Agency, and ‘Colour-Blind’ Casting in William Oldroyd’s Lady Macbeth (2017)
Postfeminist Blind Spots: Cultural Translation, Agency, and ‘Colour-Blind’ Casting in William Oldroyd’s Lady Macbeth (2017) // Journeys: Memory and Migration - The 2021 Association of Adaptation Studies Annual Conference
Edinburgh, Ujedinjeno Kraljevstvo, 2021. str. - (predavanje, međunarodna recenzija, ostalo, znanstveni)
CROSBI ID: 1133663 Za ispravke kontaktirajte CROSBI podršku putem web obrasca
Naslov
Postfeminist Blind Spots: Cultural Translation,
Agency, and ‘Colour-Blind’ Casting in William
Oldroyd’s Lady Macbeth (2017)
Autori
Primorac, Antonija
Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, ostalo, znanstveni
Skup
Journeys: Memory and Migration - The 2021 Association of Adaptation Studies Annual Conference
Mjesto i datum
Edinburgh, Ujedinjeno Kraljevstvo, 08.06.2021. - 11.06.2021
Vrsta sudjelovanja
Predavanje
Vrsta recenzije
Međunarodna recenzija
Ključne riječi
adaptation, agency, 'colour-blind casting', feminism, gender, integrated casting, postfeminism, postcolonial, race
Sažetak
This paper examines the relationship between gender, agency and race in William Oldroyd’s Lady Macbeth (2017), advertised as ‘powerful portrait of a beautiful, determined and merciless young woman seizing her independence in a world dominated by men’ (DVD blurb). Despite its immediate association with Shakespeare’s heroine, Lady Macbeth is an adaptation of Nikolai Leskov’s novella, Lady Macbeth of the Mtsensk District, first published in Russian in 1865. Oldroyd’s film culturally translates and re-locates Leskov’s narrative to Victorian England, re- appropriating Leskov’s use of Shakespeare’s Lady Macbeth in the process. Taking a cue from Gayatri Spivak’s seminal analysis of Jane Eyre in ‘Three Women’s Texts and a Critique of Postcolonial Reason’, the paper considers this re-location alongside the film’s radically changed ending and examines the implications of ‘colour-blind’ casting in key roles. Expanding on Christine Geraghty’s work (2020) on ‘colour-blind’ casting in recent British-made period dramas, the paper contends that Oldroyd’s reworking of Leskov’s text offers a neo-Victorian critique of the clichéd, but often overlooked, narrative arc of the white, middle- class, and implicitly imperialist, woman’s liberation from strict Victorian mores as an emancipation that has been made at the cost of the racially Othered women in the narrative.
Izvorni jezik
Engleski
Znanstvena područja
Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika), Književnost, Rodni studiji
