This article considers the systems of representation in What Maisie Knew, both Henry James’s 1897 novel and Scott McGehee and David Siegel’s 2013 film adaptation. Focusing on the main significant alterations that the movie produces, this article intends to show the complex effects of eliding both the narrator’s ironic voice and mediation, and Mrs. Wix’s function as a catalyst for Maisie’s growth. Consequently, my reading questions the supposed happiness of the movie’s ending, which, instead, represents the imperative to enjoy and be happy that Slavoj Žižek describes as the pervading feature of contemporary society.

“No growth for happy kids: the circuit of representation and identification in What Maisie Knew, the novel and the movie”

Fulvia Sarnelli
2018-01-01

Abstract

This article considers the systems of representation in What Maisie Knew, both Henry James’s 1897 novel and Scott McGehee and David Siegel’s 2013 film adaptation. Focusing on the main significant alterations that the movie produces, this article intends to show the complex effects of eliding both the narrator’s ironic voice and mediation, and Mrs. Wix’s function as a catalyst for Maisie’s growth. Consequently, my reading questions the supposed happiness of the movie’s ending, which, instead, represents the imperative to enjoy and be happy that Slavoj Žižek describes as the pervading feature of contemporary society.
File in questo prodotto:
File Dimensione Formato  
No_Growth_for_happy_kids.pdf

solo utenti autorizzati

Tipologia: Documento in Post-print
Licenza: NON PUBBLICO - Accesso privato/ristretto
Dimensione 1.21 MB
Formato Adobe PDF
1.21 MB Adobe PDF   Visualizza/Apri   Richiedi una copia

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11574/243405
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
social impact