Adaptable bridget generic intertextuality and postfeminism in bridget jones's diary

Authorship in Film Adaptation

Volumn , Issue , 2008, Pages 281-304

  Cobb, Shelley ^a  

^a NONE

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EID: 84896194101     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (35)

1. AndreBazin argued against the simplistic assessment of faithfulness in "Adaptation, or the Cinema as Digest.
2. Julia Kristeva, "Word, Dialogue, Novel," in The Kristeva Reader, ed. Toril Moi (Oxford: Basil Blackwell, 1986), 37.
3. Robert Stam, "The Dialogics of Adaptation," in Film Adaptation, ed. James Naremore (New Brunswick, NJ: Rutgers University Press, 2000), 64.
4. Robert Stam, Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (Baltimore: Johns Hopkins University Press, 1989), 19.
5. Alexa Baracaia, "Forget Bridget Jones, single women are happier," The Evening Standard, London, December 22, 2003, 19.
6. The various public remarks made about Bridget by "average" women, academic feminists, and other cultural commentators create a discourse within our postfeminist (Western) culture that situates Bridget as representative of that culture as it is articulated through the single, heterosexual, middle-class (white) female.
7. Gaby Wood, "A Bridget Just Far Enough," The Observer, March 4, 2001, http://film.guardian.co.uk/print/0,3858,4145710-3181,00.html (accessed June 3, 2004).
8. Sharon Maguire, interview, Total Film, May 2001, no. 52.
9. Meg Ryan, "Zellweger and Co. Bring 'Bridget Jones' to Life," The Scene, The Online Observer, April 19, 2001, www.nd.edu/~observer/04192001/ Scene/0.html (accessed November 7, 2003).
10. Vanessa Thorpe, "Private diarist (vg)," The Observer, April 8, 2001.
11. The stars operate as signifiers of the scriptwriters' authorial function whether or not FirThand Grant were cast before, during, or after Davies's and Curtis's respective tenures on the script. On Hugh Grant's role in the recent cycle of successful British romantic comedies, see Andrew Spicer, "The Rewards of Diffidence: Hugh Grant and the Revival of English Romantic Comedy," in The Trouble WiThMen: Masculinities in European and Hollywood Cinema, ed. Phil Powers, Ann Davies, and Bruce Babington (London: Wallflower Press, 2005).
12. Helen Fielding, interview by Alan Waldman, WGA.ORG Exclusive, February 2002, www.wga.org/pr/awards/2002/helen-fielding.html (accessed November 7, 2003).
13. Of course, these are the stereotypical characteristics. It has been posited, as I have already noted, that gay men are another significant audience and readership.
14. Germaine Greer, The Whole Woman (London: Transworld Publishers, 1999), 314.
15. See Edward Wyatt, "Chick Lit Is the Romance Novel's Newest Homewrecker." New York Times, August 17, 2003, www.nytimes .com/2004/08/17/books/17romance.html (accessed August 24, 2004).
16. Cecilia Salber, "Bridget Jones and Mark Darcy: Art Imitating Art . . . Imitating Art," Persuasions On-Line 22, no. 1 (2003), www.jasna.org/poll04/salber.html (accessed November 7, 2003).
17. Tania Modleski, Loving WiTha Vengeance (London: Routledge, 1990), 36.
18. Helen Fielding, Bridget Jones's Diary (London: Picador, 1996), 246.
19. Frank Krutnik, "Love Lies: Romantic Fabrication in Contemporary Romantic Comedy," in Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s, ed. Peter William Evans and Celestino Deleyto (Edinburgh: Edinburgh University Press, 1998), 29.
20. Peter William Evans and Celestino Deleyto, eds., Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s (Edinburgh: Edinburgh University Press, 1998), 8.
21. Jane Austen, Pride and Prejudice (London: Planet Three, 2003), 16.
22. See, for example, " 'Piracy Is Our Only Option': Postfeminist Intervention in Sense and Sensibility," in Jane Austin in Hollywood, ed.
23. Linda Troost and Sayre Greenfield (Lexington: University Press of Kentucky, 1998).
24. Books to Movies: Gender and Desire in Jane Austen's Adaptations," in Jane Austin and Co.: Remaking the Past in Contemporary Culture, ed. Suzanne R. Pucci and James Thompson (Albany: SUNY Press, 2003).
25. Fielding, interview, www.wga.org.
26. Jasper Gerard, "Double Act," The Times, February 6, 1999.
27. Richard Curtis, interview, Total Film, May 2001, no. 52.
28. Kathleen Rowe, The Unruly Woman: Gender and the Genres of Laughter (Austin: University of Texas Press, 1995), 96.
29. Reading Guide, "Bridget Jones's Diary by Helen Fielding," Penguin Group USA, www.penguinputnam.com/static/rguides/us/bridget-jones-diary. html (accessed November 7, 2003).
30. Bob Graham, "Zellweger put on the pounds and the accent for Bridget Jones," San Francisco Chronicle, April 4, 2001, http://seattlelpi.nwsource. com/movies/17235-zellweger04.shtm (accessed November 7, 2003).
31. Evelyn Gough, "Bridget Jones's Diary," The Northern Rivers Echo, August 2, 2001, http://echonews.com/730/movie-reviews.html (accessed November 7, 2003).
32. Stephanie Zacharek, "Bridget Jones's Diary: A smarted up, tarted up take on a book about a girl who unapologetically enjoys sex," Salon.com, April 13, 2001, http://dir.salon.com/ent/movies/review/2001/04/13/bridget- jones/index.html (accessed November 7, 2003).
33. Rebecca Ekmark, "Bridget Jones's Diary," Desert Isle Reviews, All About Romance, 1999, www.likesbooks.com/becca41.html (accessed November 7, 2003), emphasis mine.
34. Katherine Viner, "The Personal Is Still Political," in On the Move: Feminism for the Next Generation, ed. Natasha Walter (London: Virago Press, 1999), 24.
35. Ellen Hale, "Zellweger's Bridget Is 'Bang on' Bits, if a Bit Posh," USA Today, April 12, 2001, www.usatoday.com/life/movies/2001-04-12- bridget-jones-lit-appeal .htm (accessed 7, 2003).