Welcome to Sanditon is a modern multiplatform adaptation of Jane Austen's unfinished novel "Sanditon".
Welcome to Sanditon relocates the action from the English seaside to a California beach town, and replaces the novel's protagonist with The Lizzie Bennet Diaries's Gigi Darcy.\ \ Gigi has come to Sanditon, CA to run a beta demo of the Pemberley Digital Domino application. The residents of Sanditon have all been invited to join in the test, and discover how this "life-revealing" app performs.\ \ Viewers were given the chance to play a resident of the town, through response videos and social media role-playing, creating a virtual community that still thrives today.
Runtime: 5 minutes
Welcome to Sanditon - Jane Austen in popular culture - Netflix
The author Jane Austen, as well as her works, have been represented in popular culture in a variety of forms. Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose social commentary and masterly use of both free indirect speech and irony eventually made her one of the most influential and honoured novelists in English literature. In popular culture, Austen's novels and her personal life have been adapted into book illustration (starting in 1833), dramatizations (starting in 1895), Hollywood film (starting in 1940), television (starting in 1938), and professional theatre (starting in 1901), with adaptations varying greatly in their faithfulness to the original. Books and scripts that use the general storyline of Austen's novels but change or otherwise modernise the story also became popular at the end of the 20th century. For example, Clueless (1995), Amy Heckerling's updated version of Emma, which takes place in Beverly Hills, became a cultural phenomenon and spawned its own television series, and furthermore near the beginning of the 21st century, nearly two centuries after her death, her works still inform popular culture and cosplay.
Welcome to Sanditon - Japan - Netflix
Austen was unknown in Japan until the Meiji Restoration of 1867 opened Japan up to Western influence, and even then Austen was largely ignored. Japanese translators preferred adventure stories from the West, which fitted in better with the stories of samurai, which were the most popular novels in Meiji Japan. The Greek/Irish scholar Lafcadio Hearn, who became the first Western scholar to teach in Japan, warned his Japanese students in his lectures that they would not like Austen, as the sort of violence which was normal in samurai stories was completely absent in Austen's novels. The first Japanese critic to draw attention to Austen was the influential writer Natsume Sōseki who in his 1907 book A Theory of Literature wrote that: “Anyone who is unable to appreciate Austen will be unable to understand the beauty of realism.” Sōseki, who was fluent in English, lived in London from 1900 to 1903, where he first discovered Austen, who he regarded as having achieved his ideal of sokuten kyoshi (literally “follow Heaven, forsake the self”-a writer should follow his/her instincts and write stories that have no traces of their own personality in them). At the time of his death in 1916, Sōseki was writing a novel Meian (Light and Darkness), which reset Pride and Prejudice in Taishō era Japan. Unlike Pride and Prejudice, the couple Tsuda and O-Nobu are already married at the beginning of the novel, and Sōseki traced how pride and prejudice was pushing their marriage apart rather than be an obstacle to be overcome as Mr. Darcy courted Elizabeth Bennet in Austen's story. Sōseki followed Austen in using everyday life and apparently banal conversations to trace how the mutual pride of Tsuda and O-Nobu push them apart despite the fact that they both love each other. Austen was first translated into Japanese in 1926 when Nogami Toyoichirō and his wife Nogami Yaeko translated Pride and Prejudice. Nogami Yaeko liked Austen so much that she published a novel in 1928, Machiko, set in Taishō era Japan, that featured the heroine Machiko who was inspired by Elizabeth Bennet. Machiko also features a radical named Seki who resembles Wickham who castigates the social order imposed by the kokutai and whom Machiko almost marries until she learns that he impregnated her friend Yoneko whom he was seeing at the same time that he was courting her. The hero of the book is Kawai, an archeologist and the wealthy heir to the Kawai Financial Group, who makes a determined pursuit of Machiko despite her repeated rejections of him on both social and political grounds, and finally proves himself worthy of her by giving up his fortune to help out the impoverished and striking workers at a factory his family owes. Unlike Pride and Prejudice where the war with France only exists in the background, Machiko deals directly with turmoil of Taishō era Japan where strikes were frequent, much of the younger intelligentsia were questioning the kokutai and admired the Russian Revolution, and the police waged a vigorous campaign against those accused of “thought crimes”. In 1925, the Imperial Diet passed the Peace Preservation Law, which made the very act of thinking about “altering the kokutai” a crime; the specific thoughts that were made illegal were republicanism, pacifism, and advocating the end of private property. Those found by the police to be thinking these forbidden thoughts served lengthy prison sentences and were subjected to Tenkō (“changing direction”), a process of brain-washing where left-wing activists were brain-washed to worship the Emperor as a living god. In Machiko, which was published at a time when censorship was much less stricter in Japan is set in the midst of these struggles as Machiko and her fellow activists are constantly having to avoid the police. At same time, Nogami attacked the double standard of male radicals who preached justice for the masses, but refused to treat women as equals, seeing the duty of female radicals just to be their obliging bedmates, and nothing more. In Pride and Prejudice, Wickham marries Lydia Bennet, which makes him part of the family so Elizabeth Bennet has to be civil to him, while in Machiko, Machiko repudiates Seki outright, saying his dishonesty and his contempt for women makes him unworthy of her. Austen went out of favor in Japan during the militarist period in the early Showa era (1931-1945) when a xenophobic, ultra-nationalist mood prevailed, and the government discouraged people from reading foreign books. But during the period of the American occupation (1945-52), almost every Austen book was translated into Japanese except Mansfield Park (which was not translated until 1978), and Austen started to be widely taught in Japanese high schools. The translation of Sense and Sensibility in 1947, followed by a translation of Pride and Prejudice in 1950 were published by the prestigious publishing house Iwanami Shoten, and both books sold very well. The success of the Iwanami versions of Sense and Sensibility and Pride and Prejudice was the moment that Austen became respectable in Japan. In 1963, the critic Yamamoto Kenkichi, in his essay “The Smile of Pride and Prejudice” that proved to be influential, criticized Japanese literature for being overtly solemn and praised Austen for her “natural ease”, which led him to conclude: “Collins, Wickham, Mrs. Bennet, Lady Catherine, how she turns her laughter on these minor characters. They are observed with some malice, certainly, but in a pleasant, mischievous, irreverent manner which ultimately accords salvation to even these fools”. Austen has been regarded as a major writer in Japan since the 1950s, and in 2007, the Jane Austen Society of Japan was founded to provide a space for Japanese Janeites. In 2015-2016, manga versions of Pride and Prejudice, Emma, and Sense and Sensibility were published in Japan. A Japanese writer very much influenced by Austen was Yumiko Kurahashi. In her 1971 novel Yume no ukihashi (The Bridge of Dreams), the heroine Keiko is a graduate student working on a thesis concerning Austen's books, an interest that paralleled the author's as Yume no ukihashi is in many ways a resetting of an Austen novel in modern Japan. However, the climax of the novel where Keiko learns that parents of her boyfriend Kōichi and her parents have been engaged in a four-sided sexual relationship for many years, and Kōichi might very well be her brother, is unlike of the denouements of any of Austen's books. The Japanese scholar Ebine Hiroshi described Yume no ukihashi as a fusion between an Austen novel and the fascination with breaking sexual taboos like incest which often characterizes Japanese literature. Even after learning that Kōichi is quite possibly her brother, Keiko cannot give him up as their souls have crossed the “bridge of dreams” to “the other side of the world” where they have been fused together, which leads her despite being married to another man to engage a ménage à quatre with Kōichi and his wife; the novel ends with Keiko meeting Kōichi in Kyoto while her husband calls her to say he is spending the night with Kōichi's wife. Hiroshi wrote in Yume no ukihashi Kurahashi created a heroine, Keiko, who is a many ways an Austen heroine with her quiet nature and calm dignity that hides a passionate, romantic side while at the same time the book was concerned with the mystical “other side”, a supernatural world of power, mystery and dread that can only be glimpsed which co-exists alongside our world, a uniquely Japanese concern that would have been alien to Austen.
Welcome to Sanditon - References - Netflix