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Picturing James: Jane Campion and the Visualization of The Portrait of a Lady
Peacock, Barry 한국 헨리제임스 학회 2000 헨리 제임스 연구 Vol.- No.5
The question of film adaptation is a vexed nad contentious one, particulary for those novels, such as james's, in which the effect is so much dependant upon the language of the text. That the word so often used in discussions of adaptation is "fidelity", that discussion is so often conducted in terms of a films being or not being "faithful to the text", indicates how the book/film relationship is commonly perceived, especially in the case of a canonical work such as The portrait of a Lady. In Filming Literautre Neil Sinyard suggests that, rather than being seen as attempts to provide an identical experience, literary adaptations would perhaps be ebst regarded as critical reponses to and narrative commentaries on the original text. In this fashion Campion's film could be seen as critical reflection and commentary on James's text while, at the same time, developing themes and interests central to her own evolving body of work. That work is as yet quite small - three features and the Janet Frame trilogy - but is becoming one of the most interesting and impressive directorial careers of the last decade. If her version of The portrait can be criticized for its pace, for the way in which the majority of scenes are played at a similar level of high intensity, for emphasising the melodramatic, for reducing the wit and the social comedy of the novel, this, as I have tried to show, is a choice which has been consciously made. Film versions of classic novels do not seem to wear very well: acting styles, filmic methods, modes of representation, change so quickly that particular films very soon lose their contemporaneity and become mere period pieces. Very few film adaptations of canonical novels - one thinks of Lean's Great Expenctations, Visonti's Death in Venice, the literary adaptations of Stanley Kubrick - seem to have retained a signigicant critical reputation thirty or forty of fifty years after their first screening. Campion's film seems one of the more intelligent and interesting attempts to present James on the screen that has yet been seen. It takes James's concern with form and artistic execution - "the exquisite problem of the artist" - with a seriousness and a scrupulosity that can hardly be matched by other examples of those Hnery James adaptations which have, in recent years, been so much in vogue.