This article examines Elaine Feinstein's 1984 television dramatisation of Edith Holden's The Country Diary of an Edwardian Lady in light of debates about tensions between progressive narratives, and mise-en-scnes, in heritage film. I argue that evocations of an Edwardian pastoral idyll relate to late twentieth-century uncertainties about the nostalgic functions of Edwardian women for the 1980s. By analysing the representation of Holden's London years, I observe that tensions between narrative and spectacle produce two subject positions for Holden: flneuse and Victorian fallen woman. The gradual pre-eminence of the latter signals the limits of artistic and sexual autonomy for Edwardian women.
- fallen woman
- Edwardian heritage film