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An effective transposition of an Austen novel can be enjoyed by a reader (or viewer) who is familiar with neither the source text nor Austens own historical and cultural contextas long as the adapter reshapes the Austen material in a way that is both comprehensible to and entertaining for this specific new audience.
Considering these adaptations on their own terms can thus be challenging for Austen scholars.
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The investigation is carried out within Arjun Appadurai’s framework of global cultural flows and proposes that: (1) through the appropriation of Austen’s novel and its various adaptations, Black was able to connect to global mediascapes; (2) the director’s attempt to make a Latter-day – but then also a Christian – comedy located the film within global ideoscapes; and (3) his efforts to introduce a multi-ethnic context and to tailor this production to the currently fashionable chick flick genre lent the film important dimensions within ideologically positioned ethnoscapes.These cross-cultural adaptations depend, of course, on the capacity of Austens central themes and characters to be transposed compellingly into other languages and cultures, as well as other media.In other words, such adaptations implicitly rely on the perceived universality of Austens primary concerns.In fact, as Nicholas Mirzoeff proposes, visual culture has become the foremost postmodern space for cultural interaction and transaction; it thus offers the most dynamic global platform for the constitution, negotiation and contestation of the plurality of meanings and cultures, since for him, visual culture “is now the locus of cultural and historical change.” Sperling develops Mirzoeff’s proposition further by arguing that the study of visual culture, therefore, should acknowledge that the visual has emerged as a site of trans-cultural space, where cultural transactions and subsequent transformations take place.American Visual Studies, she proposes, should consider the transformative power that images have on a global scale, as well as the fact that images function trans-culturally, within a multiplicity of cultures and interpretations.