This paper aims at examining these innovations in a systematic way with a view to reintegrating them within a general assessment of the film’s narrative strategy. The use of fades to black (as in the scene of Henry’s confession to Margaret about his past affair with Jacky Bast) is only one example among various cases of unusual editing, which often goes against the grain of the narrative conventions of Heritage filmmaking. Another side to this adaptation which has been generally overlooked by critics is the innovation Howards End brings in terms of editing in the context of costume dramas. as focused mainly on the idealisation of period scenes and the enjoyment of nostalgic, historical reconstitution. This status has sometimes contributed to a reductive vision of the film as the embodiment of an ‘aesthetics of display,’ in Andrew Higson’s phrase, i.e. Produced in the heyday of costume dramas and awarded many prizes Howards End stands today as the epitome of Heritage aesthetics.
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