Jane Austen’s worldwide popularity is not least due to the remaking of her novels for the visual media. Of the fifty-odd Austen related productions since 1938, forty-three of them adapt her novels to the various screens of cinema, television, computer and tablet. However, her attraction for film-makers is undoubtedly promoted by her own qualities. As a novelist, Jane Austen has been particularly recognized for her ironic voice, which dominates all her stories and gives the readers a peculiar perspective on her world. Do film-makers want this, and if so, how do they transmit her attitude of amused distance? In the present book, Marie N. Sørbø investigates the function and targets of irony in two novels and seven films. Irony and Idyll is the first book-length study of Austen’s irony since 1952, and the only comparative analysis of all the available screen adaptations of Pride and Prejudice and Mansfield Park. On the bicentenary of their publication, these novels continue to influence modern culture.