By Shelley Cobb (auth.)
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Additional info for Adaptation, Authorship, and Contemporary Women Filmmakers
Then the film briefly double exposes that Fanny with the fully-grown Fanny who wears a smock dress and her hair done up. She describes Queen Elizabeth I as ‘that disgrace to humanity’ for killing Mary, Queen of Scots, and concludes with a curtsey for her audience, who is now Edmund. He teasingly tells her that she ‘is awful’, and she replies, ‘all those quarrels and wars; the men good for nothing; and hardly any women at all … I often think it odd that history should be so 48 Adaptation, Authorship, and Contemporary Women Filmmakers dull; a great deal of it must be invention’.
Woolf’s words and her own work in ‘making known the writing of women whose existence had previously been obscured, covered over by the weight of the masculine canon’, inspired in feminist literary theory and criticism an ‘industry on a large scale’ invested in continuing the work of making women authors known (Bowlby, 1997: 22–23). Seminal works in this area were produced during the growth in feminist theory’s incursion into academia in the late 1970s and through the 1980s and include Elaine Showalter’s A Literature of Their Own and Sandra Gilbert’s and Susan Gubar’s The Madwoman in the Attic.
Recognition. That’s my intention, to create on screen that sense of recognition of the self, of the hidden or unspoken self, giving voice to something that’s been unspoken or suppressed in some way. Rendering visible’ (Florence, 1993: 282). What Orlando renders visible as an adaptation is women’s authorship, and Potter has given it voice and visibility. 36 Adaptation, Authorship, and Contemporary Women Filmmakers When asked in the early 1990s ‘how do you perceive, now, the particular problems women directors face in the film industry as a whole’ she responded: I’m thoroughly against complaining about it.