Jane Campion: Authorship and Personal Cinema

Index

263 Index The 39 Steps (Alfred Hitchcock), 227 The 400 Blows (François Truffaut). See Les 400 coups Les 400 coups (François Truffaut), 15, 16, 225 After Hours (Jane Campion), 18, 49, 50; ambivalence in, 63; anticipations of The Piano in, 63; Campion’s ambivalence toward, 60; depiction of father in, 61; incestuous fantasy in, 62; sexual abuse in, 60; suicidal ideation in, 63 The Age of Innocence (Martin Scorsese), 137 Akerman, Chantal, 16 Allen, Woody, 16, 17 Altman, Robert, 11 Amarcord (Federico Fellini), 17 The American (Paul Unwin), 138 L’Amour en fuite (François Truffaut), 17 An Angel at My Table (Jane Campion), 14, 18, 34, 44, 46, 56; adaptation, as, 105; artistic creation in, 102; attitude toward mother in, 46; autobiographical elements in, 100; Campion’s personal investment in, 101; Campion’s selfidentification with Janet Frame in, 98; creativity in, 224; depiction of father in, 103, 104; depiction of mother in, 94, 98; Edith Campion as actress in, 95; images of cats in, 97; parallels between Janet Frame and Edith Campion in, 94, 96; personality types in, 19; relation to The Piano of, 112; repression in, 22; screenplay of, 94; transgression in, 47 Andrew, Dudley, 229 Annie Hall (Woody Allen), 17 Antoine et Colette (François Truffaut), 16 Antonioni, Michelangelo, 18 The Aspern Papers (Jordi Cadena), 138 Astruc, Alexandre, 5 The Audition (Anna Campion), 34, 89, 95, 165; Jane’s relation with mother in, 45 auteurism: auteur-structuralism, and, 6; auteur theory, 5; author function, 5; industrial processes, as, 11; motivations of, 220. See also under authorship, post-auteurism authorship, 1; approaches to, 7; authorial fantasmatic and, 220; cinematographic techniques, and, 216; cinethemes and, 217; condensation and, 216; debate over, 4; equilibriation of the self and, 224; fictive invention and, 4; focalization and, 218; ideological and generic determinants of, 7; influence of director in, 230; mastery of trauma and, 224; metonymical systems and, 215, 218; narrative points of origin and, 220; overdetermination and, 216; personal investment and, 22; personality, as, 7, 230; poststructuralist assault on idea of, 5; psychotherapeutic functions of, 221; reconceptualization of, 2; regressive adaptation in, 220; signature, 264 Index as, 8; symbolic locations and, 216; symbolism and, 216, 217, 218; transformational objects and, 223; use of color and, 217. See also auteurism Autobiography (Janet Frame), 91, 92, 93 Baisers volés (François Truffaut), 16 Barthes, Roland, 5, 6 Bazin, André, 5, 229 Bed and Board (François Truffaut). See Domicile conjugal “La Belle Dame Sans Merci” (Keats), 188, 207 Bergman, Ingmar, 11 Bertolucci, Bernardo, 158 “Big Shell” (Jane Campion), 157, 161 La Boheme (Giacomo Puccini), 33 Bollas, Christopher, 30, 93; theory of transformational objects, 222 Bourguignon, Thomas, 130, 157 Bradshaw, Mark, 202 Brawne, Fanny, 201 Bright Star (Jane Campion), 201; antithesis to Campion’s erotic films, as, 206; Campion’s summative retrospective, as, 213; Campion’s personal symbols in, 208; continuities from earlier films in, 212, 213; Edith Campion as inspiration for, 206, 210; idealized love in, 211; images of light in, 213; role of art in, 213; significance of cat in, 209; symbolic imagery in, 206, 208, 212 Broken Skin (Anna Campion), 136 Brontë, Charlotte, 108 Brontë, Emily, 108, 111 Brown, Helen Gurley, 112 Campion, Jane, 9, 11, 14, 155–157; adaptation , use of, 90; Anna Campion, and, 44, 136; earlier life of, 20, 48; Edith Campion, identification with, 105; father in imaginary of, 103; filmmaking, motivations for, 22, 42, 67, 68; Gerard Lee, relation with, 69; Isabel Archer, identification with, 138; Janet Frame and, 92–94, 96–97, 100; mother, influence of, 43, 88–90, 130; New Zealand background, influence on, 48; non-diegetic inserts, use of, 216; novels, love of, 108; persona of, 12; psychoanalysis, interest in, 49; puritanism, view of, 109; quirkiness of, 47; role of the unconscious for, 42, 49; sense of vocation as an auteur, of, 14; spirituality, interest in, 155; symbolism, use of, 21, 23, 226. See also under After Hours; An Angel at My Table; “Big Shell”; Bright Star; Ebb; A Girl’s Own Story; Holy Smoke; In the Cut; “The Lady Bug”; Mishaps: Seduction and Conquest; Passionless Moments; Peel: An Exercise in Discipline; The Piano; The Piano Lesson; The Portrait of a Lady; Sweetie; Tissues; Two Friends; The Water Diary Campion, Anna, 18, 136; actress, as, 80; coauthor of Holy Smoke, as, 155, 158, 159; family life, recollected by, 20–21, 26, 41, 155; father, view of, 32; The Reef (Edith Wharton), screenplay by, 135; rivalry with Jane, 72. See also under The...