Abstract

Jane Campion's film The Piano (1993) opens an uncanny space in mainstream movies where cinematic enunciation intersects with the linguistic and psychoanalytic innovations of the last half-century. This article presents a glimpse into the traces (semios) of FEMININITY as latent extra-Symbolic discourse in Campion's film.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 68-88
Launched on MUSE
2005-03-03
Open Access
No
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