By H. Shachar
Movie and tv diversifications of vintage literature have held a longstanding attraction for audiences, an attraction that this ebook units out to check. With a selected concentrate on Wuthering Heights , the e-book examines variations made up of the Nineteen Thirties to the twenty-first century, supplying an realizing of the way they assist form our cultural panorama.
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Extra info for Cultural Afterlives and Screen Adaptations of Classic Literature: Wuthering Heights and Company
The informed reader, unlike Lockwood, knows that Linton is Catherine’s married name, the name that carries with it overtones of the legitimised realm of marriage. Thus, are we to read the ghost as a subversive force from the margins, or as a force that seeks the ‘legitimate’ centre? Furthermore, the comment ‘I’m come home, I’d lost my way on the moor’ carries a myriad of conflicting meanings. Her diary constructs Wuthering Heights as anything but a ‘home’, rather naming ‘the moor’ Before the Afterlife 23 as an alternative space of belonging.
The first images of the film are ironically dominated by words. Against a backdrop of a gloomy sky and landscape, the distinct silhouette of a Gothic house and a flourish of romantic music, the first titles of the film loom before our eyes in large white letters: ‘Samuel Goldwyn presents “Wuthering Heights”’. When the film opens with the title in quotation marks, we are alerted to the quoting of the novel as an appeal to its authority as a ‘canonical’ text and literary inheritance; an appeal that participates in constructing the novel as canonical.
It is via Lockwood that we are introduced to her 20 Cultural Afterlives and Screen Adaptations of Classic Literature room when he is forced to spend the night at Wuthering Heights. One of the first objects he observes in the room is ‘a large oak case’ (Brontë, 1998, p. 15), which is an old-fashioned box-bed. He notices that the: ledge, where I placed my candle, had a few mildewed books piled up in one corner; and it was covered with writing scratched on the paint. This writing, however, was nothing but a name repeated in all kinds of characters, large and small – Catherine Earnshaw, here and there varied to Catherine Heathcliff and then again to Catherine Linton.