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Adaptation 2008 1(1):58-62; doi:10.1093/adaptation/apm004
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© The Author 2008. Published by Oxford University Press All rights reserved. For permissions, please email: journals.permissions@oxfordjournals.org

Becoming literary, becoming historical: the scale of female authorship in Becoming Jane

Richard Burt

University of Florida

The first 150 words of the full text of this article appear below.

Becoming Jane. Dir. Julian Jarrold. Perf. Anne Hathaway, James McAvoy, and Julie Walters, 2007.

The biopic Becoming Jane (Director Julian Jarrold, 2007), based on Jon Spence’s Becoming Jane Austen (2003), might seem at first glance to be yet another pre-fab knock-off of John Madden’s Shakespeare in Love (1998), much like Moliere (Director Laurent Tirard, 2006). (The DVD cover for the UK DVD edition of Tirard’s film gleefully proclaims it "Shakespeare in Love, French style"). To be sure, just as the plot of Shakespeare in Love mirrors that of Shakespeare’s Romeo and Juliet, so the plot of Becoming Jane apparently mirrors that of Austen’s Pride and Prejudice; moreover, both films begin with the solitary writer at the beginning of his or her career in the process of writing, and both films end with the writer winding up as a romantic loser. The similarities end there, however. Like . . . [Full Text of this Article]


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