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Centring the female: the articulation of female experience in the films of Jane Campion

机译:以女性为中心:简·坎皮恩电影中女性经历的表达

摘要

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.
机译:本论文是对女性作者身份的研究,研究了简·坎皮恩(Jane Campion)的故事片,以确定她对电影中“女性体验”的电影表达的偏爱—是否可以美化女性体验,并发现她是否性别可以通过女导演的电影来辨别。对这些思想的探索需要对与电影有关的女权主义思想,方法论和认识论进行回顾,并审查女权主义在电影学和作者权理论中的相关理论立场。理论上对坎皮恩电影的采用的关键镜头是后现代女性主义。作为一种方法,这允许理解差异而不是“其他”,并且对性别既不是本质主义者也不是建构主义者的询问,而是促进对这两种立场的批判性思考。本论文的中心论点是,坎皮恩(Campion)的电影实践是对性别差异,男女在世界上如何生活的世界共同生活的调查,并通过历史,心理和文化经验而成为女性。因此,本论文认为,坎皮恩的美学和观点不仅是女权主义者,而且是女性和女性,并且她的作品是对女性体验的电影表达。

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    French L;

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  • 年度 2007
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  • 入库时间 2022-08-20 21:55:57

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