|
gptkbp:instance_of
|
gptkb:musical
gptkb:ballet
gptkb:graphic_novel
gptkb:opera
gptkb:video_game
gptkb:board_game
gptkb:novel
|
|
gptkbp:action
|
two acts
|
|
gptkbp:adaptation
|
gptkb:musical_adaptation
gptkb:novel_adaptations
gptkb:radio_station
gptkb:stage_adaptation
gptkb:theater
gptkb:television
gptkb:film
The House of Mirth (novel)
|
|
gptkbp:adaptation_year
|
gptkb:2000
gptkb:2003
|
|
gptkbp:adaptations
|
gptkb:film_adaptation
gptkb:stage_adaptation
gptkb:theater
gptkb:television
gptkb:film
|
|
gptkbp:adapted_into
|
gptkb:Sophie_Crumb
|
|
gptkbp:art_style
|
black and white
realistic
2 D graphics
|
|
gptkbp:artistic_influence
|
graphic storytelling.
|
|
gptkbp:author
|
gptkb:Edith_Wharton
|
|
gptkbp:awards
|
gptkb:Grammy_Award
Tony Award nominations
None (notable for its critical acclaim)
|
|
gptkbp:based_on
|
gptkb:novel
novel by Edith Wharton
|
|
gptkbp:cast
|
gptkb:John_Wood
gptkb:Kiernan_Shipka
gptkb:Lana_Condor
gptkb:Maisie_Williams
gptkb:Olivia_Cooke
gptkb:Tom_Holland
gptkb:Jared_Harris
gptkb:Richard_Armitage
gptkb:Dev_Patel
gptkb:Ross_Lynch
gptkb:Eric_Stoltz
gptkb:Michael_Gambon
gptkb:Rami_Malek
gptkb:Sophie_Turner
gptkb:Gavin_Leatherwood
gptkb:Tom_Hollander
gptkb:Celia_Imrie
gptkb:Finn_Jones
gptkb:Milo_Manheim
gptkb:Austin_North
gptkb:Richard_Mc_Cabe
gptkb:Anya_Taylor-Joy
gptkb:Caleb_Mc_Laughlin
gptkb:Camila_Carraro_Mendes
gptkb:Cara_Buono
gptkb:Daniel_Kaluuya
gptkb:Elizabeth_Mc_Govern
gptkb:James_Mc_Avoy
gptkb:Priah_Ferguson
gptkb:Sadie_Elizabeth_Sink
gptkb:Dame_Miriam_Margolyes
gptkb:Dylan_Thomas_Sprouse
gptkb:Chase_Stokes
gptkb:Daisy_Ridley
gptkb:Dan_Aykroyd
gptkb:David_Bradley
gptkb:David_Tennant
gptkb:Gaten_Matarazzo
gptkb:John_Boyega
gptkb:Ruth_Wilson
gptkb:Winona_Ryder
gptkb:David_Warner
gptkb:Emma_Watson
gptkb:Finn_Wolfhard
gptkb:Juliet_Stevenson
gptkb:Madelaine_Petsch
gptkb:Madison_Bailey
gptkb:Maya_Hawke
gptkb:Noah_Schnapp
gptkb:Charlie_Heaton
gptkb:Lily_James
gptkb:Peter_Capaldi
gptkb:Joe_Keery
gptkb:Lili_Reinhart
gptkb:Richard_Griffiths
gptkb:Rufus_Sewell
gptkb:Ben_Whishaw
gptkb:David_Hayman
gptkb:David_Harbour
gptkb:Florence_Pugh
gptkb:Matthew_Macfadyen
gptkb:Millie_Bobby_Brown
gptkb:Matthew_Goode
gptkb:Jonathan_Daviss
gptkb:Iain_Armitage
gptkb:Anna_Chancellor
gptkb:Katherine_Langford
gptkb:Natalia_Dyer
gptkb:Simon_Callow
gptkb:Cole_Sprouse
gptkb:Jacob_Tremblay
gptkb:Diana_Quick
gptkb:Noah_Centineo
gptkb:Hugh_Bonneville
gptkb:Laura_Linney
gptkb:Samantha_Bond
gptkb:Gillian_Leigh_Anderson
gptkb:John_Sessions
gptkb:Rudy_Pankow
gptkb:Rupert_Evans
gptkb:Catherine_Mc_Cormack
gptkb:David_Schofield
gptkb:Anthony_La_Paglia
|
|
gptkbp:character
|
gptkb:Gerty_Farish
gptkb:Lawrence_Selden
gptkb:Jasmine
gptkb:Miss_Bart
gptkb:Simon_Rosedale
gptkb:Judy_Trenor
gptkb:Miss_Gerty_Farish
gptkb:Miss_van_Osburgh
gptkb:Mrs._Rosedale
Mrs. Peniston
Mrs. Haffen
Mr. Bart
Mr. Rosedale
Mr. Trenor
Miss Bart's confidante
Miss Bart's rival
Miss van Osburgh's relative
Miss van Osburgh's rival
Miss van Osburgh's suitor
Mr. Bart's associate
Mr. Bart's friend
Mr. Bart's rival
Mr. Rosedale's associate
Mr. Rosedale's rival
Mr. Selden
Mr. Selden's colleague
Mr. Selden's friend
Mr. Selden's rival
Mr. Trenor's business partner
Mr. Trenor's rival
Mr. Trenor's wife
Mr. and Mrs. Haffen
Mrs. Haffen's friend
Mrs. Haffen's rival
Mrs. Peniston's niece
Mrs. Trenor
Mrs. Trenor's acquaintance
Mrs. Trenor's relative
Mrs. Trenor's rival
|
|
gptkbp:character_arc
|
tragic
|
|
gptkbp:character_development
|
gptkb:Lily_Bart
gptkb:complex
dynamic choices
Lily Bart's struggles
Lily Bart's evolution
Gerty Farish's loyalty
Mrs. Haffen's role in society
Selden's perspective on society
Simon Rosedale's ambitions
|
|
gptkbp:character_motivation
|
social acceptance
|
|
gptkbp:character_relationships
|
naivety
complicated
interpersonal conflicts
|
|
gptkbp:characters
|
gptkb:Gerty_Farish
gptkb:Lawrence_Selden
gptkb:Simon_Rosedale
Mrs. Haffen
Jasmine Bart
|
|
gptkbp:choreography
|
gptkb:Derek_Deane
gptkb:Graciela_Daniele
|
|
gptkbp:cinematography
|
gptkb:Michael_Mc_Donough
|
|
gptkbp:climax
|
Lily's downfall
|
|
gptkbp:composer
|
gptkb:David_Carlson
|
|
gptkbp:conflict
|
societal expectations
personal desires
tragic ending
internal and external
Lily's struggle for social acceptance
|
|
gptkbp:costume_design
|
gptkb:Catherine_Zuber
period costumes
|
|
gptkbp:created_by
|
gptkb:Tchaikovsky
|
|
gptkbp:critical_analysis
|
frequent
|
|
gptkbp:critical_reception
|
Mixed reviews
positive
mixed
mixed reviews
well-received
Acclaimed
|
|
gptkbp:cultural_aspect
|
American society
|
|
gptkbp:cultural_impact
|
gptkb:significant
influenced feminist literature
feminist discourse
inspired adaptations in various media
inspired discussions on gender roles
Considered a classic of American literature
Studied in academic settings
discussed in feminist literature
featured in literary courses
adaptations in various media
discussions on class
Adapted into various media forms
inspired discussions on class
analyzed in social studies
Influenced discussions on women's rights
Referenced in various literary critiques
|
|
gptkbp:demographics
|
adults
|
|
gptkbp:depicts
|
high society
|
|
gptkbp:design
|
minimalist
|
|
gptkbp:designed_by
|
gptkb:N/_A
|
|
gptkbp:developer
|
The Adventure Company
|
|
gptkbp:directed_by
|
gptkb:Michael_Greif
|
|
gptkbp:director
|
gptkb:Terence_Davies
|
|
gptkbp:element
|
societal norms
|
|
gptkbp:explores
|
gptkb:loss
gptkb:social_class
gptkb:friendship
gender roles
personal ambition
wealth and poverty
|
|
gptkbp:features
|
gptkb:betrayal
gptkb:tragedy
romantic relationships
themes of morality
|
|
gptkbp:film
|
gptkb:Gillian_Leigh_Anderson
early 20th century
|
|
gptkbp:film_awards
|
nominated for awards
|
|
gptkbp:first_performance
|
gptkb:New_York_City
|
|
gptkbp:first_released
|
The House of Mirth (novel)
|
|
gptkbp:focus
|
female protagonist
|
|
gptkbp:followed_by
|
gptkb:The_Age_of_Innocence
|
|
gptkbp:follows
|
gptkb:Lily_Bart
|
|
gptkbp:format
|
softcover
|
|
gptkbp:game_engine
|
proprietary engine
|
|
gptkbp:game_length
|
approximately 10 hours
|
|
gptkbp:game_world
|
open world
|
|
gptkbp:gameplay
|
point-and-click
|
|
gptkbp:genre
|
gptkb:Max_Richter
gptkb:strategy
gptkb:drama
gptkb:adventure
Literary fiction
literary fiction
Social criticism
social novel
|
|
gptkbp:graphics
|
hand-drawn art
|
|
gptkbp:has
|
two acts
|
|
gptkbp:has_cultural_impact
|
gptkb:film_adaptations
gptkb:literary_analysis
feminist discourse
discussions on class
|
|
gptkbp:has_duration
|
approximately 2 hours
|
|
gptkbp:historical_context
|
gptkb:Gilded_Age_America
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The House of Mirth
|
|
gptkbp:illustrator
|
gptkb:Sophie_Crumb
|
|
gptkbp:includes_songs
|
gptkb:Tchaikovsky
|
|
gptkbp:influence
|
American literature
|
|
gptkbp:influenced
|
modern writers
|
|
gptkbp:influenced_by
|
gptkb:Henry_James
gptkb:Edith_Wharton
gptkb:Gilded_Age
American society
Gilded Age literature
|
|
gptkbp:influences
|
gptkb:Realism
gptkb:feminism
Naturalism
social commentary
feminist literature
American opera
20th-century opera
|
|
gptkbp:inspiration
|
gptkb:Gilded_Age
gptkb:Edith_Wharton's_novel_of_the_same_name
real-life socialites
Wharton's own experiences
|
|
gptkbp:inspired_by
|
real-life events
|
|
gptkbp:isbn
|
978-1401200000
978-0-486-28036-0
|
|
gptkbp:language
|
English
|
|
gptkbp:length
|
2 hours
|
|
gptkbp:librettist
|
gptkb:Colin_Graham
|
|
gptkbp:lighting
|
dramatic lighting
|
|
gptkbp:literary_devices
|
irony
|
|
gptkbp:literary_movement
|
gptkb:Gilded_Age
|
|
gptkbp:literary_significance
|
high
Critique of materialism
explores class and gender
Examination of female agency
Explores the constraints of society
critique of high society
|
|
gptkbp:main_actor
|
gptkb:Gillian_Leigh_Anderson
|
|
gptkbp:main_character
|
gptkb:Lily_Bart
|
|
gptkbp:motif
|
gptkb:marriage
gptkb:loss
gptkb:deception
isolation
ambition
Wealth and poverty
|
|
gptkbp:multiplayer
|
no
|
|
gptkbp:music_by
|
gptkb:David_Shire
gptkb:Richard_Maltby_Jr.
|
|
gptkbp:music_style
|
Broadway style
|
|
gptkbp:narrative
|
omniscient
|
|
gptkbp:narrative_style
|
gptkb:Realism
third-person
interactive storytelling
Third-person omniscient
|
|
gptkbp:narrative_theme
|
gptkb:feminism
|
|
gptkbp:notable_characters
|
gptkb:Gerty_Farish
gptkb:Lawrence_Selden
gptkb:Lily_Bart
gptkb:Simon_Rosedale
Selden
Mrs. Haffen
|
|
gptkbp:notable_production
|
2010 performance
2000 premiere
2003 performance
2001 revival
2015 performance
2020 performance
2005 performance
|
|
gptkbp:notable_quote
|
" It is better to be unhappy than to be happy in a false way."
" Life is always a little more complicated than you think."
" She was a woman who had never been able to make up her mind."
" The world is a place of great beauty and great cruelty."
" The only way to get what you want is to be what you are."
|
|
gptkbp:notable_song
|
gptkb:The_House_of_Mirth
The Life of the Party
The Price of Love
|
|
gptkbp:number_of_stages
|
professional team
|
|
gptkbp:original_language
|
English
|
|
gptkbp:page_count
|
144
384
|
|
gptkbp:performance
|
gptkb:Santa_Fe_Opera
gptkb:opera
European premieres
|
|
gptkbp:performed_by
|
gptkb:Royal_Ballet
|
|
gptkbp:performed_in
|
gptkb:theater
|
|
gptkbp:platform
|
gptkb:Windows
|
|
gptkbp:plot
|
Lily Bart's struggles
Lily Bart's struggles in high society
Lily's eventual downfall
Lily's financial difficulties
Lily's romantic entanglements
|
|
gptkbp:plot_twist
|
unexpected
|
|
gptkbp:premiere_date
|
gptkb:2000
|
|
gptkbp:premiere_location
|
gptkb:Santa_Fe_Opera
|
|
gptkbp:premiered_on
|
gptkb:2000
1901
|
|
gptkbp:produced_by
|
gptkb:The_New_York_Theatre_Workshop
|
|
gptkbp:protagonist
|
gptkb:Lily_Bart
|
|
gptkbp:published
|
1905
|
|
gptkbp:published_by
|
gptkb:DC_Comics
gptkb:N/_A
|
|
gptkbp:published_in
|
gptkb:2003
|
|
gptkbp:publisher
|
gptkb:Vertigo
gptkb:Charles_Scribner's_Sons
The Adventure Company
|
|
gptkbp:puzzles
|
inventory-based puzzles
|
|
gptkbp:reader_demographic
|
varied
adults
|
|
gptkbp:recordings
|
gptkb:live_performance
gptkb:studio
|
|
gptkbp:release_date
|
gptkb:2003
October 2003
|
|
gptkbp:release_platform
|
gptkb:PC
|
|
gptkbp:release_region
|
gptkb:North_America
|
|
gptkbp:release_year
|
gptkb:N/_A
|
|
gptkbp:resolution
|
Lily's fate
|
|
gptkbp:screenplay
|
gptkb:Terence_Davies
|
|
gptkbp:sequel
|
gptkb:none
|
|
gptkbp:set_in
|
gptkb:New_York_City
|
|
gptkbp:setting
|
gptkb:New_York_City
|
|
gptkbp:setting_time
|
early 20th century
|
|
gptkbp:sound_design
|
gptkb:orchestral_music
|
|
gptkbp:soundtrack
|
gptkb:original_score
|
|
gptkbp:symbolism
|
gptkb:marriage
gptkb:society
money
The house of mirth
The social season
The New York elite
The house of lilies
|
|
gptkbp:system_requirements
|
Windows XP or later
|
|
gptkbp:target_audience
|
young adults
adventure game fans
|
|
gptkbp:thematic_element
|
class struggle
|
|
gptkbp:theme
|
gptkb:social_class
gptkb:feminism
morality
Class and social status
|
|
gptkbp:themes
|
gptkb:social_class
gptkb:Wealth
gptkb:feminism
morality
Gender roles
class and society
|
|
gptkbp:user_interface
|
point-and-click interface
|
|
gptkbp:voice_acting
|
yes
|
|
gptkbp:written_by
|
gptkb:James_E._Mc_Lure
|
|
gptkbp:bfsParent
|
gptkb:Eric_Stoltz
gptkb:The_Old_Maid
gptkb:Edith_Wharton
gptkb:Gillian_Leigh_Anderson
gptkb:The_Custom_of_the_Country
|
|
gptkbp:bfsLayer
|
5
|