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Essay / Research Paper Abstract
A 10 page paper which compares and contrasts Jane Austen’s 1811 novel with Ang Lee’s 1995 film (with an Academy Award winning screenplay by Emma Thompson) in terms of characters, setting, and style. Bibliography lists 5 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGjasense.rtf
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Unformatted sample text from the term paper:
Austens first novel, Sense and Sensibility, originally published in 1811, marked acclaimed actress Emma Thompsons introduction to screenplay adaptation. Thompson, a graduate of the prestigious Cambridge University with
a degree in English, worked on and off for five years on her screenplay, which was a labor of love for the Austen aficionado. Sense and Sensibility lent itself
especially well to celluloid because the plot is relatively simple and centers on the disinheritance of Mrs. Henry Dashwood and her three daughters, and how the rigid socioeconomic British class
structure complicates the womens lives and loves. Thompson realized that while the aristocratic and largely agrarian setting bore little resemblance to the sophisticated and predominantly urban world of
1995, audiences (particularly women) would nevertheless be able to relate to the elder Dashwood sisters emotional trials and tribulations. Elinor Dashwood, the eldest of the three siblings, was a
paragon of good sense while the younger Marianne was a child of nature or sensibility. As conceived of by Austen and presented in Thompsons screenplay and emphasized by Taiwanese
director Ang Lees sensitive direction, "The Dashwood sisters... embody... conflicting value systems" (Paddock PG). Although screenwriter Thompson (who also portrayed Elinor Dashwood) and director Lee were steadfastly committed to
presenting a screen adaptation that was faithful to the novel, and with a few variations in terms of characters, setting and style, they were. In her novels, Jane Austen "uses
character to create a spectrum of morals, values and ethics" (Duncan 6). Sense and Sensibility is no exception. Although both the novel and the film center on the
characters of Elinor and Marianne, they may represent the opposite ends of the sense/sensibility ethical spectrum, but the supporting characters reflect these ranges as well, and their interaction and serve
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