Dissertations / Theses on the topic 'Jane Campion'

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.

This thesis writes back against the representation of the island in colonial discourse as a tabula rasa, easily possessed and inscribed. In colonial narratives island possession also emerges as explicitly gendered: the male castaway seeks to control the permissive, feminised territory of the island. It is this interpretation of the island, this gendered process of possession and inscription, that my thesis interrogates and subverts. My critical thesis is an analysis of Robinson Crusoe and three of its revisionary texts –– J M Coetzee’s Foe, Jane Gardam’s Crusoe’s Daughter and Julieta Campos’ The Fear of Losing Eurydice. I conduct a ‘ground-clearing’ exercise of Robinson Crusoe, critically remapping the island from a tabula rasa to an embodied construction of appetite and desire. My analysis of Foe and Crusoe’s Daughter explores how the texts’ women protagonists navigate the masculine terrain of Crusoe’s island, and how their authors negotiate an intertextual relationship with Robinson Crusoe. My analysis of The Fear of Losing Eurydice shows how Campos draws upon a discourse of desire to delegitimise linear narratives of colonial island possession. The desire for the island becomes a call uttered across multiple times and spaces, leading to Campos’ creation of the ‘archipelago of desire’; a motif which remaps Western insular cartographies to stress the relationality between the Caribbean, Asia, Europe, and Africa. I trace these cartographies of desire, charting the ways in which these novels disturb the terrain, and transgress the boundaries of Crusoe’s island. My novel, Bodeg, is set on a fictional island in the Arctic circle. Remote, desolate, bubbling with a molten undercurrent of menace, Bodeg is a volcanic island which has claimed the lives and minds of travellers. The novel follows Rebecca and her adult twins, Anna and Daniel, who visit the island. Rebecca is retracing the steps of an old love, Jake, whilst Anna seeks respite from a stale marriage. Daniel suffers from a mental health disorder that causes aural and visual hallucinations. Soon he becomes convinced the island is talking to him – that he understands Bodeg in a way nobody else can. But his sister and mother are too caught up in their own problems to notice. Rebecca’s search for answers produces only more questions. Meanwhile, Anna has become obsessively attracted to the strange, stormy Ferryman. Over the course of their trip the family find their lives intersecting with the island in ways that are both alluring yet deadly. In Bodeg they each find something they crave, not realising the island is wielding its own magnetic influence, steadily pulling them closer and closer and threatening to never let them go.

Dissertação de mestrado em Mediação Cultural e Literária (área de especialização em Estudos do Cinema e da Literatura)
Este trabalho é um estudo da representação feminina no grande ecrã, tendo em conta vários estereótipos atribuídos à mulher pelo cinema dominante, isto é, o cinema de Hollywood. Se a mulher é, frequentemente, representada em relação ao homem, como objeto de contemplação, então qual será o seu lugar na narrativa, e como espectadora? Para além da ausência feminina no grande ecrã, a mulher é também ausente como espectadora, sendo que, para que ela se identificar ou obter prazeres visuais (Laura Mulvey) da imagem que lhe é apresentada, ela tem de recorrer a processos de transformação sexual, em que ganha características masculinas, e por isso, irá adquirir uma “máscara” (Joan Rivière), para que esta proximidade ao homem seja mantida. Neste sentido, na tentativa de compreender a representação contemporânea da mulher no cinema, usei dois filmes de cada uma das seguintes realizadoras: Jane Campion, Marleen Gorris e Sally Potter. Estas realizadoras expressam, através dos seus filmes, diferentes modos da representação feminina. Enquanto Jane Campion parece levar as suas heroínas numa viagem pela descoberta da sua sexualidade, The Piano (1993) e The Portrait of a Lady (1996), Marleen Gorris, parece, pelo contrário, fazer uma reflexão sobre o papel e a importância da mulher na sociedade patriarcal, Mrs. Dalloway (1997), ou representar a liberdade feminina, longe da influência do poder dominante, e a sua resistência contra essa influência, Antonia’s Line (1995). Por fim, Sally Potter, é uma realizadora que põe em causa a diferença do género com o seu filme Orlando (1992), e apresenta uma luta equilibrada pelo poder entre Sally e Véron, em The Tango Lesson (1997).
This work is a study about the representation of the feminine on film, based on several stereotypes given to women in the dominant cinema, that is, the Hollywood cinema. If woman is often shown in relation to her relationship with men, as an object of visual pleasure, then what is her place in the narrative and her place as a feminine spectator? Besides the feminine absence on the big screen, women are also absent as spectators, given that, in order for them to identify themselves as the dominant power or obtain visual pleasures (Laura Mulvey) of the image they are presented with, they have to resort to processes of sexual transformation, in which they gain masculine features, and thus, they are going to acquire a ‘mask’, so that this proximity to the man can be maintained (Joan Rivière). In the attempt to understand the contemporary representation of women in the cinema, I studied two films from three feminine directors: Jane Campion, Marleen Gorris and Sally Potter. These directors express, through their films, different ways of feminine representation. While Jane Campion takes her heroines through a journey where they find their sexuality, such as, The Piano (1993), and The Portrait of a Lady (1996), Marleen Gorris chooses, on the contrary, to make a reflection about the role and importance of women in the patriarchal society, Mrs. Dalloway (1997), or a representation of the feminine freedom and strength, away from the influence of the patriarchal power, Antonia’s Line (1995). Finally, Sally Potter explores the questions of gender in Orlando (1992) and shows a balanced fight for power between Sally and Véron, in The Tango Lesson (1997).

碩士
國立高雄師範大學
英語學系
90
This thesis discusses the representation of female subjectivity in Jane Campion’s The Piano in terms of Lacanian and film-oriented psychoanalytical theories. In this work, Campion reveals the male dominance and violence, but reverses the image of women as victims by means of a selective mute Ada. In Ada, Campion fashions a mute woman’s strong obsession with the Imaginary, and her strong will to seak her desired father in the Symbolic. Ada, the mute in search of her female subjectivity, is more articulate than verbal speakers. In the introductory chapter, I offer a background of Jane Campion concerning her films and the features of female characters in her works so as to survey her intention in filming. I also introduce the background of The Piano, and Campion’s use of literary as well as filmic elements in this film. Also in this part, I offer a brief introduction to my discussion of this film. In the following chapters, I pay attention to Ada’s female subjectivity in terms of Lacanian psychoanalysis and psychoanalytical film theories. Each chapter hinges on the psychoanalytical reading of the film. I illustrate Lacan’s mirror stage as my theoretical background on Ada’s incomplete female subjectivity in Chapter Two. Stemming from psychoanalytical gaze, filmic theories on (male) gaze is introduced in Chapter Three. Following the discussion in previous chapters, Chapter Four discusses both the subversion of male dominance treated in Chapter Two and the filmic male gaze examined in Chapter Three. Chapter Four also proves my argument of Campion’s articulate silence in Ada, and subversive filmic gaze presenting a dominant female subjectivity in the film. Chapter Five concludes my thesis, summarizing main points in the previous chapters, and the contribution that my reading of The Piano makes.

碩士
淡江大學
西洋語文研究所
84
In The Piano, we observe a special famale figure, Ada, whose muteness is self-imposed. I believe the reason she can successfully stop speaking at the age of six is her supernatural will power, which later might have caused a demonic image of her. And this supernatural will also helps Ada to achieve anyghing she wants. Using it she stopped speaking and therefore isolated herself in the society. She has made herself an outsider by her muteness. However, Ada still connects with some people. I suppose it is because of her use of different tools as her "voices." They are her signing, writing, her piano and her mind's voice. These special voices allow her to build relationship with other people and to express herself and her moods. I believe that Ada is a woman desires for a real freedom from the social and cultural restraints. Although Ada has chosen to be mute to fight against the restraints, and therefore develops her special use of voices, her longing for silence is still her deepest desire: to be free from sounds and society and people. The open-ending of Ada's story allows us to imagine the strength of her emotion while she is facing the dilemma of choosing between lonely silence and social life with Baines.