Jane Campion: Authorship and Personal Cinema

Notes

233 Notes Introduction All translations throughout this book are mine unless otherwise indicated. 1. See Wexman, Film and Authorship; Grant, Auteurs and Authorship; and Gerstner and Staiger, Authorship and Film. 2. Grant, Auteurs and Authorship, xi. 3. For a gesture in this direction, see work by Catherine Portuges, who, drawing upon the theories of D. W. Winnicott, suggests that the object relations theory of creativity “holds as yet unrealised possibilities for elaborating the intersections of autobiography, gender and film theory.” Portuges, Screen Memories, 59. 4. Metz, The Imaginary Signifier, 84n10. 5. See Gillain, François Truffaut; and Gillain, “Script of Delinquency,” 142–57. 6. Silverman, Acoustic Mirror, 202. 7. I would number among these some of the excellent studies of Alfred Hitchcock ’s films, such as Raymond Bellour’s essays on The Birds, Marnie, Psycho, and North by Northwest in Bellour, Analysis of Film; and Spoto’s Dark Side of Genius. 8. For commentary on the backlash against the excesses of structuralism and poststructuralism—in particular, their suspension of reference—see Stam, Film Theory, 327–78. 9. Laplanche and Pontalis, Language of Psycho-analysis, 354. 10. I am drawing here upon psychoanalytic concepts explored by Christopher Bollas in “The Aesthetic Moment,” 40–48. See also Bollas’s Shadow of the Object and Being a Character. 11. See Truffaut, “Une certaine tendance du cinéma français,” reprinted in translation as “A Certain Tendency of the French Cinema,” 224–37, esp. 230. 12. Throughout this book, I use the term “mise-en-scène” in its broader sense of referring to all elements of visual style, including cinematographic technique and the elements that appear in the film frame (settings, props, costumes, lighting, and the placement and behavior of the actors), rather than in the more narrow sense given by Bordwell and Thompson in Film Art, chap. 6. 13. Hoveyda, “Les Taches du soleil,” 8–9. 14. See Rivette, “Notes sur une révolution ,” 94–97, esp. 97n2. Rivette points out that Truffaut used this quotation as an epigraph for a collection of his critical writings, The Films in My Life. 15. Astruc, “Naissance d’une novelle avant-garde,” 17–23. 16. Sarris, “Notes on the Auteur Theory in 1962,” 35–45, esp. 43. 17. Kael, “Circles and Squares,” esp. 49. 234 Notes to pages 5–16 18. Barthes’ essay “The Death of the Author” (1967) is reprinted in his Image/ Music/Text; Foucault also proclaimed the author dead in his 1969 essay “What Is an Author?” 19. Caughie, Theories of Authorship, 201. 20. Barthes, “Death of the Author,” 145. 21. Ibid., 147. 22. For a trenchant critique of Barthes’ theory, see Silverman, “The Female Authorial Voice,” in her Acoustic Mirror, reprinted in Wexman, Film and Authorship, 50–75. 23. Wollen, Signs and Meaning in the Cinema. See also Stam and Miller, Film and Theory, 123. 24. Wollen, “From Signs and Meaning in the Cinema: The Auteur Theory,” esp. 561. 25. Hillier, “Auteur Theory and Authorship.” 26. See, for example, Petrie, “Alternatives to Auteurs”; and Vidal, “Who Makes Movies?” 27. Wood, “Ideology, Genre, Auteur.” 28. Stam and Miller, Film and Theory, 6. 29. Verhoeven, Jane Campion, 22–25. 30. Staiger, “Authorship Approaches.” 31. Ibid., 34–36. 32. Ibid., 43. 33. For an example of the former, see Yacowar, “Hitchcock’s Imagery and Art” (1977). For an example of the latter, see Bellour, “Hitchcock the Enunciator,” reprinted in Bellour, Analysis of Film, 217–37. 34. Petrie, “Alternatives to Auteurs,” 110–18, esp. 113. 35. Sarris, “Notes on the Auteur Theory in 1962,” esp. 43. 36. Wollen, “From Signs and Meaning in the Cinema: The Auteur Theory,” 167–68. 37. Polan, Jane Campion, 160–67. 38. Ibid., 12. 39. McHugh, Jane Campion, 17–18. 40. Ibid., 18. 41. Ibid., 50. 42. Ibid., 63–64. 43. Sarmas, “What Rape Is,” 14. 44. See Martin, “Losing the Way,” 89–102. 45. See Gordon, “Portraits Perversely Framed,” esp. 22; and Ciment, “The Function and the State of Film Criticism,” 41, who shrewdly foresaw such a reaction. 46. McKee, Story, 9. 47. Timothy Corrigan, A Cinema without Walls: Movies and Culture after Vietnam (New Brunswick, N.J.: Rutgers University Press, 1991), 106. 48. Verhoeven, Jane Campion, 11. 49. I am alluding here to the instructions Hamlet gives to the players who are about to perform The Mousetrap in Shakespeare’s Hamlet (III.2.29), and the words of Vindice in Cyril Tourneur’s The Revenger’s Tragedy (III.5.202–205). 50. Geertz, “Thick Description,” 3–30. 51...