‘Fictions can change. It's only the facts that trap us’: Images of female sexuality from Oranges to Velvet

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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.