유산영화(Heritage Film)의 정치학: 『하워즈 엔드』의 영화적 각색
The Politics of the Heritage Film: Howards End and its Cinematic Adaptation
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The term ‘heritage film’ refers to a genre of British cinema that emerged in the late 20th century, featuring literary sources, sumptuous production design, and a repertory cast. It reached its apogee in the 1980s and 90s with Merchant-Ivory Productions, which established a remarkable style of their own by presenting a series of stately period-costume pieces. The heritage film elicited a great deal of criticism. It was denounced as part of the ‘heritage industry’ that attempted to capitalize on the past as marketable commodity. Therefore, the genre was deemed essentially regressive, implicitly colluding with Thatcherism, the prevailing ideology of the day. Some critics, however, sought to reappraise the complex layers of its cinematic texts by and large in terms of gender or class politics. They noted potential subversiveness of the films beneath their genteel facades, suggesting that this seemingly conservative genre could serve as a social critique. In this context, Howards End, one of the best Merchant-Ivory collaborations, serves as a touchstone for the controversies over the heritage film. Based on E. M. Forster’s novel of 1910, the film presents a panoramic portrait of Edwardian England. The screenplay of Ruth Jhabvala, alert to the radical edge of the original text, extracts the essentials and reworks them into screen in an assuring manner, bringing up to date the key concerns addressed by the novel. Also brilliant are Jenny Beavan’s costume, Luciana Arrighi’s art direction, and the ensemble acting of first-rate British actors, which are all finely coordinated by James Ivory’s masterful directing. The result is a film of rare quality, incisive, tasteful, and highly relevant to the present day. In sum, Howards End is far from yet another cultural product of retrovision. Rather it stands as a telling comment on the reactionary politics of Reagan-Thatcher years, indicating the extent to which the heritage film can present a critical inquiry into contemporary existence.
Abstract
The term ‘heritage film’ refers to a genre of British cinema that emerged in the late 20th century, featuring literary sources, sumptuous production design, and a repertory cast. It reached its apogee in the 1980s and 90s with Merchant-Ivory Productions, which established a remarkable style of their own by presenting a series of stately period-costume pieces. The heritage film elicited a great deal of criticism. It was denounced as part of the ‘heritage industry’ that attempted to capitalize on the past as marketable commodity. Therefore, the genre was deemed essentially regressive, implicitly colluding with Thatcherism, the prevailing ideology of the day. Some critics, however, sought to reappraise the complex layers of its cinematic texts by and large in terms of gender or class politics. They noted potential subversiveness of the films beneath their genteel facades, suggesting that this seemingly conservative genre could serve as a social critique. In this context, Howards End, one of the best Merchant-Ivory collaborations, serves as a touchstone for the controversies over the heritage film. Based on E. M. Forster’s novel of 1910, the film presents a panoramic portrait of Edwardian England. The screenplay of Ruth Jhabvala, alert to the radical edge of the original text, extracts the essentials and reworks them into screen in an assuring manner, bringing up to date the key concerns addressed by the novel. Also brilliant are Jenny Beavan’s costume, Luciana Arrighi’s art direction, and the ensemble acting of first-rate British actors, which are all finely coordinated by James Ivory’s masterful directing. The result is a film of rare quality, incisive, tasteful, and highly relevant to the present day. In sum, Howards End is far from yet another cultural product of retrovision. Rather it stands as a telling comment on the reactionary politics of Reagan-Thatcher years, indicating the extent to which the heritage film can present a critical inquiry into contemporary existence.
참고문헌 (24)
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