Jane Campion's The Piano
Jane Campion's The Piano is one of the most unusual love stories in the history of cinema. This volume examines the film from a variety of critical perspectives. In six essays, specially commissioned for this project, an international team of scholars examine topics such as the controversial representation of the Maori, the use of music in the film, the portrayal of the mother-daughter relationship, and the significance of the film in terms of international cinema, the culture of New Zealand, and the work of Jane Campion.
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A STRANGE HERITAGE FROM COLONIZATION TO TRANSFORMATION?
Music in The Piano
The Last Patriarch
The Piano the Animus and Colonial Experience
Ebony and Ivory Constructions of Maori in the Piano
Foreign Tunes? GENDER AND NATIONALITY IN FOUR COUNTRIES RECEPTION OF THE PIANO
Ada and Flora Ada's Ada's theme aesthetic animus Anna Paquin Aotearoa New Zealand archetypal Auckland audience Australian Film Baines Baines's beach Bilbrough Bruzzi bush camera Campion's film Cannes cinema colonial construction context critical culture daughter diegetic director discourses Emily Bronte emotional essay example fairy father female oedipus-oriented feminine feminist film's filmmakers Freiberg gender Gerard Lee Girl's Own Story Gothic Harvey Keitel heroine Holly Hunter Ibid identify identity images indigenous Jan Chapman Jane Campion Jonathan Dennis Jungian Kiwi land male Maori characters Maori language Maori women melodrama metaphor modes of address moko mother movie narrative Neill Pakeha Palme d'or passion patriarchal Piano Pihama play position preoedipal Producer reception reference relation relationship representation of Maori repressed responses romance Sam Neill scene Screen sexual social Stewart story Sweetie symbolic textual thetic tion Ulanov unconscious viewers visual Wellington woman Zealand film Zealand Listener