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In its incipient moments, the 2006 Jane Eyre promises a film every bit as true to the novel's "drama, colour, and madness" as Santer claims. I will speak first about the adaptation's "patchwork, purloined" aesthetic and the ways in which it belies the film's putative originality and exclusive allegiance to the novel. These revisitations, considered in light of writings on postmodern art and its engagement with nineteenth-century texts, destabilize the notions of originality and fidelity, questioning their tenability in a twenty-first-century context. As I will argue, this aesthetic eclecticism and ideological ambivalence mark the 2006 adaptation as a characteristically postmodern production, demonstrating as they do a need to revisit, revive, and revamp Jane Eyre's often contradictory past lives in order to reconstitute the novel in the present. It is therefore interesting to observe the ways in which the 2006 Jane Eyre belies its producer's claims to originality and fidelity, exhibiting not only a patchwork aesthetic purloined from its cinematic predecessors but a strangely ambivalent portrayal of the novel's ideological universe: a mixture of nostalgia and revisionism that seems less a faithful return to the text than a negotiation between the desire for such a return and its impossibility in a present-day context. Santer's claims are, of course, to be expected from the BBC/Masterpiece Theatre cohort, whose "studiously neutral adaptations" (Stewart 195) typically eschew the liberal touch of Hollywood and would disavow any connection to earlier popularizations of the novel. Certainly, the image of the screenwriter "mining" the novel, paired with the suggestion that the film will be well-received by "long-term fans of the book," suggest a cinematic production derived exclusively from Bronte's text, bypassing generations of ham-fisted, reductive, or otherwise inadequate attempts to put the novel to screen. The claim to originality is an interesting one, as it suggests an anxiety, on the part of the producer, to position the film as distinct from Jane Eyre's long tradition of cinematic adaptations (of which there have been, on average, more than two per decade since 1910 ). The miniseries (or film, if watched in a single sitting) advertises itself as a lush revivification-a "making new"-of Bronte's somewhat dog-eared text producer Diederick Santer describes screenwriter Sandy Welch "min" the novel "for every ounce of passion, drama, colour, and madness available" and expresses confidence that "Sandy's original take on the story will be enjoyed as much by long-term fans of the book as by those who have never read it" ("Jane Eyre: About the Show").
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In 2006, the BBC produced a four-part adaptation of Charlotte Bronte's Jane Eyre.