A newly commissioned film, exploring the relationship between Charlotte Brontë and Elizabeth Gaskell, and a dressing up area are all part of the exh
ibition space, which fills what is known as the Brontë Room (named after Charlotte Brontë who stayed at the house on several occasions and would have likely slept in this room).  There is also fun to be had with an interactive dressing table, a centre piece of the display.  Through touch and sound, you are transported to a time of great excitement as Elizabeth prepares to attend the Art Treasures Exhibition held in Manchester in 1857; still recognised as the largest art exhibition ever held in the UK and possibly the world.

George White: Your upcoming project is Emily. Can you tell us anything about that; what your role is on the film and how it's going?
S.S.: Emily is coming out later this year and is a reimagining of what inspired Emily Brontë to write Wuthering Heights, which we filmed up in Yorkshire. It's not really a facsimile, more an interpretation of her life. I got to jump into the 1800s, which I absolutely loved, and we had a great time bringing this world to life. 

A priori, cette interprétation de la mystérieuse figure littéraire n’est pas forcément mauvaise. Malheureusement, l’exécution d’O’Connor l’est. Bien qu’il y ait un peu de feu sous l’expression maussade de Mackey, une grande partie de sa direction semble avoir été de faire ses yeux aussi larges que possible et de garder sa bouche toujours dans une moue sombre. Pire encore, O’Connor ancre le passage à l’âge adulte artistique d’Emily dans une romance par cœur avec un beau curé qui lui donne également des cours de français. Bien sûr, nous sommes à l’ère du style de narration «insérez ici un personnage historique qui baise», mais joue ici plus comme une mauvaise fan fiction, surtout par rapport aux profondeurs de l’émotion humaine que le chef-d’œuvre d’Emily atteint.
En plus de la seller avec un corsage vraiment banal déchirant une mauvaise romance, O’Connor jette à la fois Charlotte, et surtout Anne, avec l’eau du bain. Chaque fois que le film se présente, Charlotte est opposée artistiquement – ​​et à un moment donné, romantiquement – ​​à sa sœur. Alors qu’Anne est reléguée à environ trois ou quatre scènes, à jamais la Brontë oubliée. (Note latérale : lisez son roman Agnès Gray (sic) si jamais vous en avez l’occasion.) Leur frère Branwell s’en sort beaucoup mieux, et c’est peut-être le plus que vous verrez de lui dans un film sur les Brontës. O’Connor semble suggérer les thèmes de l’inceste trouvés dans Les Hauts de Hurlevent peut avoir une origine familiale.
Les débuts d’O’Connor sont certes ambitieux, mais avec des images extraites d’innombrables meilleurs films d’époque, une partition autoritaire d’Abel Korzeniowski et une façon dépassée de monter les femmes les unes contre les autres, je ne pouvais que penser que l’héritage d’Emily méritait mieux que cela. (Translation)

One historian came back after a couple of weeks and said that he believed it was linked to the Brontë sisters and the Branwells of Penzance. Maria Branwell left her home in Penzance in 1812 to move to Yorkshire, where she met and married Reverend Patrick Brontë, and eventually gave birth to Charlotte, Emily and Anne Brontë. The Branwell family that remained in Penzance were notable, but not for their musical interests, with the exception of Hugh Branwell (1890 – 1966) who, according to historian Peter Pool, “had a career totally unlike his ancestors, as a musician.”
Sadly, there are no records of Hugh Branwell running a musical academy, and by the time he was born, the original house on Park Corner had been split into two homes. In fact, the 1842 Tithe map of Penzance shows that the building had already been split into two homes by then. (Greg Martin)

Traditionally linked with Yorkshire, the Brontë sisters spent a lot of time in Lancashire walking from their home at Haworth across the South Pennine Moors. The picturesque hamlet of Wycoller near Colne and the secluded ruins of Wycoller Hall, dating back to the 16th century, are thought to have been frequent haunts of Charlotte and Emily Brontë, while the hall is widely believed to have been the inspiration for Ferndean Manor in Charlotte Brontë’s novel Jane Eyre. Although most famed for their novels, the literary sisters also wrote poems, the most famous of all being Emily’s unflinching ‘No Coward Soul is Mine.’
You can now retrace their steps in Lancashire by undertaking a four and a half mile (7km) Brontës in Pendle walk through the countryside frequented by the talented trio, beginning in Trawden. It takes in the beauty spot of Lumb Spout and follows the old moorland pack horse trail to the village of Wycoller and the ruins of the hall. (Claire Barre)

Gaslight (1944)
In some respects, I consider this George Cukor’s Rebecca-lite. It has several of the same beats about a haunted old house and a woman being driven mad, but for all of the increased horror movie atmosphere, it feels a lot less menacing than Hitchcock’s exquisite anxiety. Again like Rebecca (or Jane Eyre for that matter), a young woman finds herself living in a disturbing home of faded grandeur after a whirlwind marriage. (David Crow, Don Kaye)

Having had imaginary affairs with Byronic heroes, I was always attracted to those tales of loves that did not have happy endings. Whether it was Heathcliff from Wuthering Heights that I empathised with or a young Theodore Lawrence from Little Women, these men were all unsuccessful in uniting with their true loves. (Jonaki)

Vào đầu thời đại Victoria, có chị em nhà Brontë cũng sáng tác tiểu thuyết, Charlotte Brontë với Jane Eyre, Emily Brontë với Đồi gió hú, đều xuất bản năm 1847, cũng có ảnh hưởng đến tiểu thuyết lãng mạn phổ biến sau này. Mặc dù giờ đây những tác phẩm của cả Jane Austen và chị em nhà Brontë đều được tôn vinh là tác phẩm kinh điển, trở thành một cột mốc văn hóa và được công nhận có giá trị văn học, nhưng không thể phủ nhận nguồn gốc của văn học lãng mạn. (Tu An) (Translation)

Siri Hustvedt, en su último libro, habla de Cumbres borrascosas como un libro que se ha leído de las más diversas maneras. Como una obra maestra, una “mezcla de depravación vulgar y horrores antinaturales” —como dijo alguno de sus contemporáneos—, o como una novela racista —desde una visión políticamente correcta—. Algo similar pasa con la “lectura” que se hace de la reina. (Piedad Bonnett) (Translation)

“Les Hauts de Hurlevent” Amour, haine et vengeance

Monument de la littérature anglaise, Les Hauts de Hurlevent est l’unique roman d’Emily Brontë, décédée à 30 ans, qui plonge le lecteur dans un climat surnaturel où se mêlent passion amoureuse, humiliation et vengeance. À sa parution, l’œuvre effraie autant qu’elle scandalise par sa puissante exploration des affres du mal enfouis en tout un chacun.

Documentaire de Mathilde Damoisel (France, 2022, 52mn) Coproduction : ARTE France, Les Films d’Ici (Antoine Oury) (Translation)

Le Parisien (France) talks with the writer Tatiana de Rosnay who says:

« À l'intérieur de moi, c'était les Hauts de Hurlevent ». Nous sommes dans les années 1980 et Tatiana de Rosnay se balade en petit tailleur la journée, attachée de presse ou journaliste free lance, pour mieux  embrasser les nuits londoniennes. (Sandrine Bajos) (Translatiop)

Tranne quando interpreta la quasi omonima Catherine Earnshaw di Cime Tempestose in Wuthering Heights: un personaggio preesistente, creato da un’altra persona. È lei, non Kate Bush, a parlare di guerra persa, di gelosia, e implorare il suo Heathcliff di venire a scaldarla.

Se c’è un personaggio di Cime Tempestose che rassomiglia alla Kate Bush di The Kick Inside è Isabella Linton, la cognata di Catherine che subisce le angherie di suo fratello Hindley (Flaminia Zacchilli) (Translation)