Licentious Spleen Turned into Melodramatic Technicolor: A Film Version of The Sun Also Rises
DOI:
https://doi.org/10.18485/bells.2017.9.4Keywords:
Ernest Hemingway, The Sun Also Rises, film adaptation, trauma, Motion Picture Production Code, gender role reversal, sexual behaviourAbstract
The paper discusses a paradigm shift in representing trauma in Modernist fiction, starting from the issue of a large-scale gender role reversal, where assertive women often dominate over passive, submissive men. It goes on to inquire into the possible reasons why The Sun Also Rises was not filmed until 1957: certain traits of behaviour in Hemingway’s characters were far from suitable for the Motion Picture Production Code until its gradual loosening allowed many of the novel’s moral features to be presented in theatres, although major changes still took place. They include: transforming the first-person narrative into a quasiomniscient third-person perspective, toning down Jake Barnes’s bitterness and disillusionment, focusing more prominently on the insatiable Brett Ashley and her lovers, and virtually eliminating the anti-Semitic bias against Robert Cohn.
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