This article examines how Sharon Maguire’s romantic comedy Bridget Jones’s Diary (2001) both thematically and stylistically foregrounds the relationship between the protagonist’s voluntary and involuntary displays of emotions. It explores the use of cinematic techniques, underlining how the film speaks to our emotions, appealing both to high-level cognitive processes and low-level affective responses, and how this affects Bridget’s agency. The reading yields the conclusion that while Bridget’s body is utilized as a site of affect, the feeling of embarrassment is primarily aimed at the audience. Furthermore, since her feelings do not transform into stronger emotions of shame, Bridget’s agency remains strong.
|Tidskrift||Journal of Media, Cognition and Communication = Tidsskrift for Medier, Erkendelse og Formidling|
|Status||Published - 2014|