Margaret Reynolds and Jonathan Noakes (eds), Jeanette Winterson: The Essential Guide, London: Vintage, 2003, p. 12.
Notes
Margaret Reynolds and Jonathan Noakes (eds), Jeanette Winterson: The Essential Guide, London: Vintage, 2003, p. 12.
2Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ in Sue Thornham (ed.), Feminist Film Theory: A Reader, Edinburgh University Press, 1999, pp. 58–69.
3For example, Lorraine Gamman and Margaret Marshment, The Female Gaze: Women as Viewers of Popular Culture, London: The Women's Press, 1988.
4Hereafter, Oranges.
5Brian McHale, Postmodernist Fiction, London: Routledge, 2001.
6Jeanette Winterson, Art Objects: Essays on Ecstasy and Effrontery, London: Vintage, 1995 pp.176–7..
8Reynolds and Noakes, p. 12.
7In the novel, the character's name is Jeanette; I have used the name from the television production– Jess–as this is thepaper's main focus.
9Peter Thomson and Glendyr Sacks (eds), The Cambridge Companion to Brecht, Cambridge University Press, 1994, p. 189.
13Jeanette Winterson, Oranges are not the Only Fruit: The Script, London: Pandora Press, pp. xiv–xv.
10Peter Thomson and Glendyr Sacks (eds), The Cambridge Companion to Brecht, Cambridge University Press, 1994, p. 189.
11Jeanette Winterson, Oranges are not the Only Fruit: The Script, London: Pandora Press, 1990, p. viii.
12Jeanette Winterson, Oranges are not the Only Fruit: The Script, London: Pandora Press, 1990, p. viii.
14Jeanette Winterson, Oranges are not the Only Fruit: The Script, London: Pandora Press, 1990, p. xvi.
15For example, Anne Ross Muir, ‘The Status of Working Women in Film and Television’, in Gamman and Marshment, pp. 143–52.
16Margaret Marshment and Julia Hallam, ‘From String of Knots to Orange Box: Lesbianism on Prime Time’, in Diane Hane and Belinda Budge (eds), The Good, the Bad and the Gorgeous, London: Pandora Press, 1994, pp. 143–4.
17Marshment and Hallam, ‘Framing experience: case studies in the reception of Oranges are Not the Only Fruit’, Screen 36: 1, 1995, p. 11.
18For example, Hilary Hinds, ‘Oranges Are Not the Only Fruit: Reaching Audiences Other Lesbian Texts Cannot Reach’, in Sally Munt (ed.), New Lesbian Criticism, Hemel Hempstead: Harvester, 1992, pp. 153–72.
19Jeanette Winterson, Oranges are not the Only Fruit, London: Vintage, 2001, p. 3.
20 Oranges, pp. 6–7.
21Sarah Waters, Tipping the Velvet, London: Virago Press, 1999, pp. 3–4.
22Angela McRobbie, ‘Post-feminism and Popular Culture’, Feminist Media Studies 4: 3, 2004, pp. 255–64.
24Jayne Caudwell, ‘Tipping The Velvet: Straight[Forward] Voyeruism? Problematising the Viewing of Lesbianism’, Leisure Media and Visual Culture 83, 2004, p. 237.
23Jayne Caudwell, ‘Tipping The Velvet: Straight[Forward] Voyeruism? Problematising the Viewing of Lesbianism’, Leisure Media and Visual Culture 83, 2004, p. 235.
25Tipping the Velvet, p. 120.
26Judith Butler, Gender Trouble, New York and London: Routledge, 1990.