Academic literature on the topic 'Jane Campion'

Critics who disliked Jane Campion's The Portrait of a Lady (1996) suggest she was wasting her talents on a high-budget adaptation in order to reach a mass audience. Yet Campion does not adapt Henry James's novel so much as interpret it. By boldly dramatizing the unconscious sexual desires that riddle James's melodramatic novel, Campion exposes the spaces where traditional gender ideology fails, loosening the gender codes upon which the pleasure of melodrama rests. The result is a feminist narrative that is attractive to the mainstream but also capable of leading the audience to consider social systems in place beyond the theater.

This essay considers the role that Jane Campion’s Top of the Lake (BBC/SundanceTV, 2013) and Top of the Lake: China Girl (BBC/SundanceTV, 2017) play in the post-network television landscape. Situating the series among the globalized genre of serialized post-network crime shows that feature female detectives, this essay argues that Campion reworks the genre’s fascination with victimized women from her auteurist and Antipodean perspective. While the characterization and actions of the female detective resonate with other programs’ protagonists, Campion challenges dominant discourses of victimized women by intervening in the global circulation of women’s bodies on television. By drawing on Zoë Sofia’s work on female bodies and container technologies, this essay argues that Campion’s use of pregnant victims and her exploration of a female detective’s history as a survivor of sexual assault allow her to interrogate the typical treatment of female corpses within crime television. Through circuitous investigations that leave enough narrative space for detours like the settling of Paradise, where women transform shipping containers into domestic spaces for struggling women, Campion provides a countermodel to crime television focused on forensic progress through a case. Campion similarly takes the container of serialized crime drama that circulates the globe in a post-network television landscape and creates space for women’s stories from the Antipodes. Pausing the narrative to indict the treatment of female victims, Campion also unearths the melodramatic underpinnings of serialized crime dramas that resonate with her own filmography.

Artykuł jest próbą zdefiniowania zjawiska w światowym kinie współczesnym, które wykorzystując nowe sposoby komunikacji w obrębie sztuk wizualnych i ich haptyczności, stara się rekreować nastroje i wrażliwości konotowane z kulturą minionych czasów. Fortepian Jane Campion, jako świadectwo zaangażowanej lektury przede wszystkim poezji Emily Dickinson, ale też Wichrowych Wzgórz Emily Brontë, staje się tu przykładem fabuły z jednej strony nasyconej perspektywami, motywami i sytuacjami zaczerpniętymi z tych utworów, z drugiej wykorzystuje stylistyczną multisensoryczność kina, by w przedstawionych bohaterach i przedmiotach ich otaczających odtwarzać dynamikę relacji i nastroje znane z przekazów o kulturze połowy XIX wieku. Dzięki temu staje się auraptacją (adaptacją auratyczną; ang. auraptation – auratic adaptation), adaptacją aury wyczytanej spomiędzy literackich świadectw epoki, przeniesieniem w dzisiejsze czasy i właściwe im media niepowstałej w wieku XIX opowieści.

Mestrado em Estudos Ingleses
Na minha dissertação, “Formas do Inacabado ou a Improbabilidade da Plenitude na obra de Jane Campion”, optei por não me debruçar sobre cada um dos filmes da realizadora Neozelandesa, de uma forma cronológica ou exaustiva, mas sim por analisar a sua maioria de acordo com as escolhas temáticas evidenciadas, e por me referir a alguns apenas em relação a uma qualquer dimensão específica explorada mais profundamente num outro espaço, mas de interesse com vista à consecução dos objectivos propostos. Preside a este trabalho a convicção de que Campion representa um desafio para o nosso tempo, na medida em que a complexidade dos seus filmes questiona as noções comummente aceites de verdade, significado, normalidade, realidade, poder e cinema. Defendo, assim, que a sua rebeldia perante a imposição de regulamentar significados contraria uma tendência generalizada no sentido da supressão da diferença e da alteridade. O desafio de Campion deriva da forma como impregna os seus filmes de formas plurais do inacabado, tanto na escolha dos contos que conta, como na criação dos seus personagens ou ainda na resolução das suas narrativas, particularmente, no que concerne o final dos seus filmes. Defendo que tal suspensão não é senão o reflexo da sugestão de Campion de que a plenitude, o Todo, na vida, e, nomeadamente na vida de uma mulher, é altamente improvável. Abordo o lugar de Jane Campion no contexto do debate feminista contemporâneo, articulando a representação preferencial da autora de experiências femininas muito singulares, com a sua escolha intencional de frequentemente menosprezar, e mesmo ridicularizar num tom amargo, as posições ideológicas patriarcais, movimentando-se para além dos limites de representação e significados convencionais, sabotando a racionalidade. Concluo a presente dissertação concentrando-me na forma como o ‘incompleteness’ em Campion contribuíu para elevar a cineasta ao estatuto de auteur.
In my dissertation, “A Sense of Incompleteness or The Improbability of Wholeness in Jane Campion’s Work”, I chose not to focus on each of Jane Campion’s films in a chronological or exhaustive way, but rather to look at most of them, according to the director’s choice of content, and at some only in relation to a specific dimension explored deeper elsewhere, of interest to the purpose of the dissertation. My claim throughout this work is that Jane Campion presents a challenge to our time, in that the complexity of her films defies commonsense notions of truth, meaning, normality, reality, power and the film experience. I suggest that her defiance of the desire to regulate meaning disputes a general tendency to the suppression of difference / alterity. Campion’s challenge derives from her unique way of delivering viewers a pervasive sense of incompleteness, either in her choice of tales to tell, her construction of characters or the unfolding of the narratives told, particularly her endings. I argue that such incompletenesses are but the reflection of Campion’s suggestion that wholeness in life, and particularly, in women’s life, either in the past or nowadays, is highly improbable. I discuss Jane Campion’s place within the context of feminist politics, articulating her preferential representation of specific female experiences, with her intentional choice to often undermine, even bitterly ridicule, patriarchal ideological positions, working beyond the boundaries of conventional representation and meaning and sabotaging the rationality of consciousness, whilst alluding to the director’s resistance to easy labelling. I conclude the work by concentrating on how Campion’s incompleteness has contributed to promote her to the level of auteur.

L'étude des ressorts de l'intertextualité et de l'intermédialité dans l'œuvre de Jane Campion met en relief les enjeux d'un métacinéma postmoderne, tout d'abord à travers la question de l'adaptation. Illustrant le processus de novellisation, le roman Holy Smoke (1999) se clôt avec une mise en abyme fictionnelle qui, en proposant une fin alternative au roman au carrefour entre fiction policière et pastiche de texte biblique, place la question de l'écriture au centre de l'œuvre. Dans In the Cut [2001], les multiples citations littéraires du récit constituent des points névralgiques qui remettent régulièrement en question le devenir de l'œuvre et de l'héroïne. Enfin, dans An Angel at my Table [1991], le leitmotiv du cheminement et les fuites répétées d'une insaisissable protagoniste, combinés à l'utilisation d'une caméra aérienne dans le prologue et l'épilogue filmiques, se rapportent à une dimension réflexive du projet biographique. Dans le droit prolongement de ces dispositifs métatextuels, la mise en abyme des modes d'expression artistique permet à la fiction campionienne de faire retour sur elle-même. Le flash de dessin animé illustre la force de l'hypotypose en déployant des micro-fictions enchâssées, tandis que l'utilisation du tableau comme instrument métatextuel, l'allusion au conte ou encore la mise en scène du geste créatif transcendant donnent au film les moyens de se sonder lui-même. Pour finir, dans une démarche typiquement lacanienne qui distingue irrémédiablement le réel de sa représentation symbolique, Campion place sur un même plan fiction et documentaire. L'insert du documentaire botanique, du reportage sur les sectes ou des images d'archives dans la fiction dessinent des formes spécifiques de rencontres médiatiques, à travers lesquelles peuvent être identifiées l'anamorphose, la métalepse ou l'homologie intermédiales. Dans ce jeu permanent avec la frontière, l'iconographie fictionnelle emprunte les codes de représentation du réel comme avec Peel [1982], le biopic réalistico-magique, Passionless Moments [1984], le pastiche de documentaire, ou encore l'imitation d'images d'archives associées à des motifs surréalistes dans le travelogue de Portrait of a Lady. Dans cette confrontation des images documentaires et fictionnelles, le film engage à nouveau une réflexion métafilmique où le réel se donne comme l'impossible horizon de toute représentation
The study of intertextuality and intermediality in Jane Campion’s artistic creations casts light upon the mechanism of postmodern metacinema, an issue that is raised first through the question of adaptation. Holy Smoke (1999) ends with a mise en abyme through which the writing process is put at the core of the novel. With In the Cut [2001], the literary quotations are landmarks that regularly put into question the destiny and destination of the heroïn and of the fiction. Finally, in An Angel at my Table [1991], the recurrent images of Janet’s itinerary and the use of aerian tracking shots can be viewed as autoreferential devices. The embedding of other artistic genres within the movie also allows the fiction to comment on itself. The cartoon sequences bring about the essence of hypotyposis. The use of paintings as referential material, the allusions to fairy tales and the shooting of transcending creative moments give to the movie the tools to speak about itself. Lastly, in a typically lacanian approach, Campion puts fictions and documentaries on the same level when contrasted to the real. The botanical documentary footage, the report on sects or the archives shed light upon specific types of intermediality : the anamorphosis, the metalepsis and the homological structure. Moreover, the fiction borrows the codes of representation to the informational genres with the magical-realistic biopic, the imitation of the documentary footage or archives sometimes combined with surrealistic developments. In contrasting the fictional and the informational, the movie leads to a metafilmic reflection, in which the Real stands for the unreachable horizon of any form of representation

This dissertation is the first comprehensive study of the complex style and formal operations of the television work of New Zealand auteur Jane Campion (1954-). The principal argument of this thesis is that the ongoing scholarly positioning of Campion’s television work as “cinematic television” needs to be reconsidered to include an Antipodean broadcasting framework, given the director’s Southeast Asian, New Zealand and Australian (SEANZA) television preoccupations. Exploring Campion’s televisual critiques of culture between these territories, this thesis aims to reconfigure the director’s broadcast career according to region. Although I diverge from narrow and highly personal readings of Campion’s work generated by feminist and psychoanalytic scholars, my argument is in fact located within the same interpretive neighborhood. I see Campion’s engagements with transnational cultural flows as often “framing” her distinct critiques of regional feminist discourses, incorporating accessible neo-Marxist interpretations of political and cultural hegemony within the deep trans-Tasman “lake” connecting the SEANZA region. Individual chapters of this thesis re-evaluate Campion’s work in step with televisual development. An episode of Dancing Daze (1986), telefilms Two Friends (1986) and An Angel at My Table (1990), and the Top of the Lake series (2013-2017) are examined to show Campion’s trans/inter/national intellect, pedagogy and philosophy as intrinsic to the SEANZA broadcasting landscape. By specifying Campion’s geographical coordinates in this way, I will outline how the director has been one of the first truly Antipodean auteurs to produce and construct sound and images for the transnational broadcast market that organise and redistribute SEANZA space and time.

This thesis is a study of female authorship that examines the feature films of Jane Campion in order to determine how her preoccupation with the cinematic articulation of 'female experience' is expressed in her films-whether female experience can be aestheticised, and to discover whether her gender can be discerned through the films of a woman director. The exploration of these ideas entails a review of the feminist thinking, methodologies and epistemologies that are relevant to cinema, and that examine relevant theoretical positions within feminism and theories of cinematic authorship. The key lens employed here for theorising Campion's cinema is that of postmodern-feminism. As an approach, this allows an understanding of difference rather than 'Otherness', and an enquiry into gender that is neither essentialist nor constructionist, but facilitates critical thinking about both positions. The central argument of this thesis is that Campion's film practice functions as an investigation into gender difference, how women and men live together in the world-experience that world, and are engendered as female through historic, psychological and cultural experiences. This thesis therefore argues that Campion's aesthetic and perspective is not only feminist, but also, female, and feminine, and her work a cinematic articulation of female experience.

This essay concerns the traditional view of the function of music in film. It’s a study of the existing theories within the research area of modern film music and their applicability on film music in general. Is the function of film music always the same or is it depending on the film itself? The objects of my studies are The Piano, a film written and directed by Jane Campion, and the soundtrack composed by Michael Nyman. The central issue is to determine whether the main characters muteness has an impact on the music’s significance and if so, in which way? The purpose of this essay is foremost to broaden the traditional view of film music as being added to, instead of being a part of, a film as a whole. The intention is also to give film music and all its composers the acknowledgement of being a part of a unique art form.

Esta tese de mestrado aborda a adaptação da obra de Henry James para cinema.O estudo de caso centra-se na obra da cineasta Jane Campion e de modo particular nas obras "The Portrait of a Lady" e "The Piano".

Esta tese de mestrado aborda a adaptação da obra de Henry James para cinema.O estudo de caso centra-se na obra da cineasta Jane Campion e de modo particular nas obras "The Portrait of a Lady" e "The Piano".

This Diploma thesis is focused on the complete analysis of the company Jan Becher - Karlovarská Becherovka, a.s. in the context of the history, present and future potential. The main objective is to independently analyze and assess the current position on the market of bitter herbal drinks, find out where could be a gap and demand for the new product. The aim would be to suggest directions for Becherovka, and its majority owner Pernod Ricard, based on market research. In conclusion, this thesis will introduce the marketing mix and strategy for the new product.

Sodium cooled fast breeder reactors constitute the second stage of India’s three-stage nuclear energy programme, for effective utilization of the country’s limited reserves of natural uranium and exploitation of its large reserves of thorium. The Fast Breeder Test Reactor (FBTR) at Indira Gandhi Centre for Atomic Research (IGCAR), Kalpakkam, is a sodium cooled, loop type fast reactor. Its main aim is to provide experience in fast reactor operation and large scale sodium handling and to serve as a test bed for irradiation of fast reactor fuels and materials. FBTR was built on the lines of the French Rapsodie-Fortissimo reactor, with modifications to make it a generating plant. FBTR heat transport system consists of two primary sodium loops, two secondary sodium loops and one common tertiary steam and water circuit. The steam water system mainly consists of a once-through steam generator, which produces super heated steam at a pressure of 125 bars and temperature of 480° C, feed water system and condensate system. The steam produced is supplied to a condensing turbine coupled to an alternator. The reactor achieved first criticality in Oct 85 with a small core of 22 fuel subassemblies (SA) having a unique carbide fuel rich in Pu. This fuel (called MK-I) was developed and made in India and has a composition of 70% PuC-30% UC. The steam generator was put in service in Jan.1993 and turbine generator was synchronized to the grid in July 1997. In the light of the excellent performance of the carbide fuel, which has endured a burn-up of 155 GWd/t without any clad failure, the core has been gradually expanded by the addition of mark II (55% PuC-45% UC) and MOX (44% PuO2−56% UO2) fuel SA to compensate for the burn-up reactivity loss, and the reactor power has been progressively raised from 10.6 MWt to a maximum of 17.4 MWt. Over the years, several safety related experiments have been conducted. These include natural convection tests and experiments to validate the Failed Fuel Detection System. The challenges faced include a major fuel handling incident, primary sodium leak and reactivity transients. Two major modifications were carried out — one on the Steam Generator Leak Detection System and the other in the steam-water circuit. These helped in improving the campaign availability from less than 50% to more than 90%. The main component limiting the life of reactor is the grid plate supporting the core. The fast flux at the grid plate was measured using Np foils. The residual life of the grid plate has been estimated as 11 effective full power years. The paper presents operating experience of the reactor, performance of the carbide fuel, safety related experiments done in the reactor, various challenges faced, various modifications carried out to improve system reliability and availability and residual life assessment of the reactor.

The present article aims to explore some assumptions about how complexity operates more flexible approaches to urbanism. To this end, were analyzed theoretical productions and contemporary design strategies that eschew very deterministic and generalizing logics, thus admitting the possibility of characterizing cities as a system far-from-equilibrium. After characterizing such condition, some properties inherent to the complex nature of cities were defined, without very clear outlines. An indication – or arrangement - that makes possible to understand some alternatives of acting in the city, not in an imperative way, but recognizing its indeterminacies as project tools. They are: Interactions, which operate and engender dynamics, establishing constructive relations of new realities; Becoming, as an expression of the creative force, the possibilities of multiple and mutual fecundations; and Entropy, which reveals our ability to recognize the possibilities of a system facing off unpredictability and new arrangements. Keywords: Complexity, Urban Design, Cities. O urbanista italiano Bernardo Secchi (1934-2014), em diversas ocasiões, enfatiza sua preocupação com a simplificação do funcionamento urbano própria do Movimento Moderno e levanta a necessidade sobre um novo olhar para a cidade contemporânea que, ao mesmo tempo, opera maiores níveis de abstração e de precisão (SECCHI, 2006). As questões que orientam essa pesquisa estão relacionadas às contribuições das teorias sobre Complexidade, que, assim como para as ciências exatas e biológicas, apresentam para o campo das sociais um importante ferramental para a revisão de paradigmas deterministas e que enriquece as concepções de fenômenos considerados caóticos ou aleatórios. Buscamos investigar com quais pressupostos a Complexidade opera, analisando abordagens mais flexíveis, produções teóricas e estratégias projetuais contemporâneas que escampam das lógicas muito deterministas e generalizantes, admitindo assim a possibilidade de caracterizar as cidades como um sistema que não tende ao equilíbrio. A noção de equilíbrio e a imagem da cidade-máquina e do planejamento controlador, desviaram o debate sobre as questões críticas essenciais e ajudou a manter a ilusão de um falso controle sobre a morfologia urbana e suas dinâmicas. A imagem de uma “boa” cidade – equilibrada – era, nessa ilusão, aquela que se apresentava homogênea, onde todas suas variações e diversidades pudessem ser controladas através, por exemplo, do zoneamento e da hipercodificação, ideia também refutada por Jane Jacobs em 1961. Com isso, a percepção de que o Planejamento Urbano deveria trabalhar buscando uma cidade estável e funcional começou a sobrecarregar não só sua teoria e prática, mas também a noção de que as cidades eram compreensíveis através de analogias com a ciência reducionista e as tecnologias industriais do passado. Após os anos 70, quando os objetivos do Planejamento Urbano passaram a ser refutados e as incertezas sobre as possíveis transformações teóricas e práticas que deveriam ser propostas para pensar as cidades, o mundo mudou (BATTY, 2012). O químico Ilya Prigogine, ao propor sua tese sobre estruturas dissipativas e auto-organização de sistemas longe do equilíbrio, indica os problemas relacionados ao reducionismo, abrindo possibilidades para novos níveis de descrição e análise de diversos fenômenos do universo, chama a responsabilidade da física para além de comportamentos analisados em ambientes perfeitamente controlados, estáveis e previsíveis. Anuncia assim uma “nova ciência” capaz de interpretar os comportamentos evolutivos que escorregam entre as “malhas da rede científica” e leva em conta as incertezas e diversidades da natureza e seus eventos complexos, por vezes considerados, aos olhos deterministas, transitórios e sem importância. Interessa então entender concepções teóricas que permitem possibilidades menos duras, fechadas e estáticas de percepção dos espaços e suas dinâmicas. Para tal, é preciso considerar que, em sistemas longe do equilíbrio como as cidades, sua evolução apresenta comportamentos e estados variados, de previsibilidade limitada. Como Prigogine insiste em dizer, nada mais natural, uma vez que estamos falando de um mundo real onde a “natureza apresenta-nos, de fato, a imagem da criação, da imprevisível novidade. Nosso universo seguiu um caminho de ramificações sucessivas: poderia ter seguido outros” (PRIGOGINE, 1996). Dada a impossibilidade de controlar seus desdobramentos, nos é disponível entender tal sistema através de seus “eventos e qualidades – transições de fase – resultantes de fluxos de matéria e energia que passam por eles. ” (BRISSAC, 2010). Para a análise das estratégias projetuais proposta nessa pesquisa, viu-se a necessidade de definir algumas propriedades que oferecessem bases comparativas, reconhecer indícios pela qual algo prova pertencer a categorias não estabelecidas aqui. Tal definição não pretendem ter um contorno muito claro com função de predicados para esses projetos, muito menos uma lista fechada, mas uma indicação, um certo agenciamento/ agrupamento ou um reconhecimento de como “ se relacionar com a matéria - através de suas próprias tendências e não pela imposição de uma forma preestabelecida. ” (BRISSAC, 2010). Considerando as características atribuídas aos sistemas complexos, definimos as seguintes propriedades: Interações, que operam, engendram – e são engendradas por – dinâmicas, influencias, perturbações, disputas e articulações, estabelecem relações construtivas de novas realidades, são linhas de forças que agem como combustível para trajetórias não-lineares de futuros incertos, trata-se, portanto de estratégias que entendam o projeto como síntese resultante das interações de múltiplos fatores, internos e externo; Devir, o "jorro efetivo de novidade imprevisível” (PRIGOGINE, 2009), de força criativa, o que está em vias de ser (vínculo com o futuro incerto), estratégias que, de uma forma ou de outra, tem como pressupostos a função de palco (que também faz parte do espetáculo) para possibilidades de fecundações múltiplas e mutuas, da força “comunicativa e contagiosa” – colocada por Deleuze e Guattari – que, sem códigos precedentes, constrói; e Entropia, a medida da probabilidade da ocorrência de eventos e da nossa habilidade em reconhecer possibilidades de determinado sistema face à imprevisibilidade de interações e novos arranjos resultantes, estratégias que assumem o carácter evolutivo das cidades, de configurações de “ajustes soltos” (ALLEN, 1999), menos codificada – ou de codificações muito abstratas – mas que de certa maneira apresentam condições para assimilar eventos, transformando-se, que assumem como premissa a tensão entre ordem e desordem e seu “ caráter provisório, instável e de sobreposições contínuas” (MEYER, 2003). Palavras-chave: Complexidade, Projeto Urbano, Cidades.