Abstract
ABSTRACT This article follows adaptations of Marilyn Monroe’s musical number “Diamonds are a Girl’s Best Friend” in Gentlemen Prefer Blondes (1953), to reveal whether or not the adaptations allow us a critical discourse of empowerment. Most often adaptations entangle themselves in Monroe’s image, but some drift away in order to focus on their own visions. In the end, the key to empowering adaptations seems to be Monroe herself. The article suggests the tighter adaptations clasp to an imagined (and false) persona of Monroe, the further their narratives seem to drift from empowerment.
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