Includes bibliographical references (p. 309-320), filmography (p. 305-307), and index.
Contents:
Introduction: an antipodean filmmaker in an international context / Alistair Fox and Hilary Radner -- Subjectivities and the construction of identity in Jane Campion's films. "In extremis": Jane Campion and the woman's film / Hilary Radner -- Her-land: Jane Campion's cinema, or another poetic of the inner sense / Muriel Andrin -- The Campions indulge in The audition / Harriet Margolis -- Campion-Keitel connections, a.k.a. "We are the piano" / Chris Holmlund -- Jane Campion and her sources. "I can really see myself in her story": Jane Campion's adaptation of Janet Frame's Autobiography / Lawrence Jones -- Puritanism and the erotics of transgression: the New Zealand influence in Jane Campion's thematic imaginary / Alistair Fox -- Portraits of a woman: Jane Campion and Henry James / Irène Bessière -- Jane Campion: adaptation, signature, autobiography / Kathleen A. McHugh -- Jane Campion's "Geographies". Jane Campion and the international theme: from The portrait of a lady to An angel at my table / Jean Bessière -- The suburb in Jane Campion's films / Rochelle Simmons -- From antipodean cinema to international art cinema / Raphaëlle Moine -- Viewers respond to Jane Campion. "Comme une invitation au voyage": French reception of Jane Campion, An angel at my table, and The piano / Simon Sigley -- "The piano is mine. It's mine." My (free association with) Jane Campion, or, the child in the spectator / Sue Gillett -- Jane Campion and the moral occult / Ann Hardy -- On viewing Jane Campion as an antipodean / Annabel Cooper.
Series:
Contemporary approaches to film and television series
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.