Portrayal of Jo March’s Authorship in the 1933 and the 2019 Little Women Films
DOI:
https://doi.org/10.17977/um064v5i112025p1300-1309Keywords:
authorship, cultural study, feminism, film, Little WomenAbstract
Little Women by Louisa May Alcott (1868) is a widely celebrated American novel whose enduring themes of sisterhood and family have inspired numerous film adaptations. One central theme that remains relevant today is creative ambition, particularly Jo March’s authorship. Although Jo’s pursuit of authorship resonates with contemporary women who still face obstacles in fulfilling creative aspirations, this aspect is not consistently emphasized across adaptations. This article analyzes the portrayal of Jo’s authorship in two Little Women films—1933 and 2019—to examine how cultural contexts shape its representation. The study aims to (1) describe the differences in how the two films depict Jo’s authorship and (2) explain the cultural backgrounds that motivate these differences. Employing a cultural studies approach supported by feminist perspectives and authorship theory, the analysis reveals that Jo’s authorship is significantly diminished in the 1933 adaptation due to the sociocultural pressures of the Great Depression, limited feminist discourse, and Hollywood’s preference for romance-driven happy endings. Conversely, the 2019 adaptation offers a more comprehensive depiction of Jo’s creative agency, influenced by contemporary movements advocating women’s empowerment and increased attention to women’s artistic ownership. These conditions enable filmmakers to foreground Jo’s authorship as a central feminist theme.
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