Search Results for: "Jane Campion"

The Power of the Dog premiered at the Venice Film Festival on September 2, 2021. In a short time, however, much has already been written about writer-director Jane Campion’s latest feature film, one of the most...

Originally published in Senses of Cinema issue 22, October 2002. b. 30 April, 1954, Wellington, New Zealand filmography bibliography articles in Senses web resources Jane Campion is Australasia'...

Tackling the often-troublesome act of linking ‘the artist’ with unstable mental health is not a unique notion in art or life, but Jane Campion’s An Angel at My Table tries to discern the ‘madness’ from the arti...

Glossing Jane Campion’s narrative, thematic, and aesthetic interests, Kathleen McHugh writes that in “crafting visual stories drawn from genres that are especially attentive to women’s bodies, to their agency, ...

“This was my first film. I knew these people who all had red hair and were part of the family. They were also alike in character, extreme and stubborn. Their drive in the country begins an intrigue of awesome...

Touch creates its own language. In The Piano (1993), Jane Campion’s gorgeous, Gothic romance, it speaks multiple dialects. Campion gives us access to mute Ada McGrath’s (Holly Hunter) voice when her fingers tou...

Over a black screen, birds chirp in the near distance. The dulcet chords of a cello begin to sound, embellished by a woman’s voice moving joyfully through a sequence of notes before harmonizing with another voi...

Fearless, ruthlessly economical and deeply felt, 2 Friends (1986), Jane Campion’s first feature – actually made for Australian television, and clocking in at a spare 79 minutes – is a modest yet accomplished fi...

Jane Campion’s After Hours (1984) was developed in partnership with the Women’s Film Unit of Film Australia. This is a virtually forgotten entry in Campion’s filmography; while the short works helmed during her...

Acclaimed Wellington-born New Zealand filmmaker Dame Jane Campion once stated that she “would love to see more women directors because they represent half of the population and gave birth to the whole world. Wi...

Jane Campion’s final student film made at the Australian Film & Television School (now called the Australian Film, Television and Radio School), A Girl’s Own Story offers a lyrical exploration of three youn...

There are one million moments in your neighbourhood, but as the filmmakers discovered, each has a fragile presence which fades almost as it forms.  The title of Jane Campion’s 1984 short film Passionless Mom...

“Don’t run after poetry. It penetrates unaided through the joins.” - Robert Bresson (1) Throughout human history from Euripides to J. K. Rowling the discomfort experienced from the fear of the unknown, an ina...

Jane Campion has been a dominant force in world cinema for nearly two decades. Shot delicately in black-and-white, A Girl’s Own Story is an early short film that traces the stories of three suburban teenage gir...

Research into female authorship in the cinema was a neglected area in cinema studies until the 1990s (1). Since then, there has been an increased interest in women auteurs, largely generated by women writers an...

Sue Gillett's monograph on Jane Campion's films establishes Campion as a cinematic poet of heterosexuality, “warts and all”. Gillett's intention is to assess Campion's part in the modern struggle to forge a...

A careful and thought-provoking examination of Campion's adaptation in The Portrait of a Lady.

Seeing and believing: Gillett examines female desire and spectatorship in the Frame-Campion textual relationship.

An intriguing and sensitive discussion of Jane Campion's Sweetie (1989) that blends a personal, affective reading (specified as gender-based) with critical analysis in order to arrive at an understanding of the very complex way in which Campion's films address the viewer as female.

b. 30 April, 1954, Wellington, New Zealand filmography bibliography articles in Senses web resources Jane Campion is Australasia's leading auteur director. As recipient of the Palme d'Or (1993), th...

The great misnomer that “everything is online” revealed to me once again how flawed an assumption it is about a year ago when I was thinking through my earliest memories of Australian women filmmakers. I feel I...

Commissioned to celebrate the 60^th Anniversary of the Cannes Film Festival, this article reflects on the relative merits of the many short films contributed by noted international filmmakers such as Wong Kar-wai, David Cronenberg, Roman Polanski, Jane Campion and Tsai Ming-liang.

In this imaginative analysis of Jane Campion's latest film, the desires and trajectories of contemporary characters are revealed to be not all that far removed from those of ancient mythology.

From Lottie Lyell to Jane Campion, Australia's pre-eminent producer Jan Chapman surveys the contribution of women to the history of Australian cinema.

A sensitive discussion of the heroine's complex journey in Jane Campion's latest film.

The following interview with Marie Craven originated from an online interview after a film class viewing of a program of her films as we moved out of Covid. The Zoom transcriptions of that event were trawled an...

ENTRIES IN PART 1: Jacob Agius Antti Alanen Hussain Al-Dubaisi Francisco Algarín Navarro Julien Allen Michael J. Anderson Dan Auiler Swapnil Azad Jessica Balanzategui Martyn Bamber Jennifer Lynde Bar...

Over the course of nearly two decades, Alexandre O. Philippe has celebrated and explored the iconic figures of the seventh art, from Lucas and Ford to Hitchcock and Lynch. His unique approach not only reveals n...

As a director of a women’s film festival here in Melbourne, the opportunity to attend the world’s oldest, still running women’s film festival – the Festival International de Films de Femmes (FIFF) – in Cretéil ...

ENTRIES IN PART 1: Antti Alanen Hussain Al-Dubaisi Francisco Algarín Navarro Algitya Algi Michael J. Anderson Martyn Bamber Jennifer Lynde Barker Kyle Barrowman Mike Bartlett Nicolas Bartlett Arta Ba...

ENTRIES IN PART 2: José Cabrera Betancort Thomas Caldwell Nicolas Carrasco Michael J. Casey Kevin Cassidy Guilherme Cavalcanti Jane Cheadle Daryl Chin Graiwoot Chulphongsathorn Janina Ciezadlo Jesús ...

ENTRIES IN PART 5: Daniel Kasman Christopher Kearney Nolan Kelly Simon Killen Rainer Knepperges Ricardo Köhler Benjamin Kooyman Maja Korbecka Sneha Krishnan Jay KuehnerAdam Kuntavanish Otto Kylmälä ...

Bloomsbury Academic chooses for the most recent entry to its Philosophical Filmmakers series, the British/American writer, producer, director, Christopher Nolan. In an age where blockbuster cinema has been wres...

After 101 Issues and 23 years of publications, Senses of Cinema takes a deep dive into Indian popular cinema, the world’s largest film industry: Bollywood. While Bombay cinema is generally ignored by critics in...

ENTRIES IN PART 1: Antti Alanen Victor Alicea Francisco Algarín Navarro Salvador Amores Geoff Andrew Cinema Antiviral. Martyn Bamber Jennifer Lynde Barker Arta Barzanji Amarsanaa Battulga Mike Bartl...