Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004)
Résumé
After having examined how Charles Dickens’s Oliver Twist is fundamentally structured by an interplay of norms and transgressions, I propose to look at two recent filmic adaptations, which fully appropriate the ambivalence of their source text: the 2003 queer adaptation Twist and the 2004 South African film Boy Called Twist. My paper not only takes into account the aesthetics of these two films but also looks at their contexts of production, showing how the ambivalent ideology of Dickens's novel can take on new meanings and be adapted for new purposes.
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