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Notes
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Divided into four parts:
1. Subjectivities and the Construction of Identity in Jane Campion's Films (pp.3-76)
2. Jane Campion and Her Sources (pp.77-156)
3. Jane Campion's 'Geographies' (pp.157-206)
4. Viewers Respond to Jane Campion (pp.207-304)
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Contents indexed selectively. The volume also contains criticism relating to Campion's New Zealand films, including the Janet Frame adaptations.
Contents
* Contents derived from the
Detroit,
Michigan,
c
United States of America (USA),c
Americas,:Wayne State University Press
, 2009 version. Please note that other versions/publications may contain different contents. See the Publication Details.- 'In Extremis' : Jane Campion and the Woman's Film, single work criticism (p. 3-26)
- Campion-Keitel Connections, a.k.a. 'We Are the Piano', single work criticism (p. 55-76)
- Portraits of a Woman : Jane Campion and Henry James, single work criticism (p. 125-138)
- Jane Campion and the International Theme : From The Portrait of a Lady to An Angel at My Table, single work criticism (p. 157-174)
- 'Comme une invitation au voyage' : French Reception of Jane Campion, An Angel at My Table, and the Piano, single work criticism (p. 207-232)
- 'The Piano Is Mine. It's Mine.' My (Free Association with) Jane Campion, or, the Child in the Spectator, single work criticism (p. 233-250)
- One Viewing Jane Campion as an Antipodean, single work criticism (p. 279-304)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Last amended 11 Jul 2017 10:02:14
