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‘Forget it’s between two women’: negotiating a queer Virginia Woolf in Chanya Button’s Vita & Virginia
Celebrity Studies, Pages: 1 - 15
Swansea University Author: Lisa Smithstead
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DOI (Published version): 10.1080/19392397.2024.2310305
Abstract
This article explores the gendered authorial negotiations at work in adaptations of Virginia Woolf’s works and celebrity image in screen media, focusing on a case study of Vita and Virginia (2018) directed by British filmmaker Chanya Button. The article discusses Button’s film’s textual and promotio...
| Published in: | Celebrity Studies |
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| ISSN: | 1939-2397 1939-2400 |
| Published: |
Informa UK Limited
2024
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| Online Access: |
Check full text
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| URI: | https://cronfa.swan.ac.uk/Record/cronfa66557 |
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| Abstract: |
This article explores the gendered authorial negotiations at work in adaptations of Virginia Woolf’s works and celebrity image in screen media, focusing on a case study of Vita and Virginia (2018) directed by British filmmaker Chanya Button. The article discusses Button’s film’s textual and promotional strategies, considering how it adapts both Eileen Atkins’ 1995 play of the same name and original historical correspondence between Woolf and the writer Vita Sackville-West. It draws upon critical models of literary celebrity, the celebrity biopic, and the concept of adaptation networks to argue that Button’s strategic choices in cinematography and details of mise-en-scène formulate an ‘archival’ gaze in order to forge connections between Woolf and Button as gendered authorial and celebrity personas. This creates a visual dialogue between women authors across media and time. The article suggests that Button’s processes of adaptation work to destabilise the essential queerness of the epistolary material and literary celebrity images as a result of this archival technique. This produces a representation of queer desire that distances body and mind and privileges an intellectual romance above a physical, desiring and embodied queer sexuality. This ultimately reinforces rather than reframes or reimagines a popular image of Woolf’s literary celebrity, focused instead on her status as a melancholic, suffering figure. |
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| College: |
Faculty of Humanities and Social Sciences |
| Funders: |
Swansea University |
| Start Page: |
1 |
| End Page: |
15 |