ABSTRACT
This is a sentiment with which Claire Beauchamp Randall, the protagonist of STARZ's television series Outlander in 2014, might heartily agree. Outlander is multi-layered and, in effect, a twenty-first-century depiction of a mid-twentieth-century woman's view of the Highlands in 1743. Outlander explores Claire's point of view, allowing her to control the lens and thus the viewer's eye. The juxtaposition and conflation of strains of her life in the twentieth century and her life in the eighteenth-century functions to disrupt the narrative storyline further. The audience becomes privy to Claire's thoughts and memories, but those snippets of other temporal moments blur the line between what is diegetic and what is extradiegetic. Outlander, then, in its presentation of the eighteenth-century Highlands viewed through twentieth-century eyes, is perfectly positioned to support and highlight a female subjectivity such as the one this television series constructs for us. Outlander offers options for examining the feminist implications of the series for several seasons to come.
