The Piano

Further reading

  • Althofer, Beth (1994). "The Piano, or Wuthering Heights revisited, or separation and civilization through the eyes of the (girl) child". Psychoanalytic Review. 81 (2): 339–342.
  • Attwood, Feona (1998). "Weird Lullaby Jane Campion's "The Piano"". Feminist Review. 58 (1): 85–101. doi:10.1080/014177898339604. JSTOR 1395681. S2CID 144226880.
  • Bentley, Greg (2002). "Mothers, daughters, and (absent) fathers in Jane Campion's The Piano". Literature/Film Quarterly. 30 (1): 46. ProQuest 226994856.
  • Bihlmeyer, Jaime (2005). "The (Un) Speakable FEMININITY in Mainstream Movies: Jane Campion's" The Piano"". Cinema Journal. 44 (2): 68–88. doi:10.1353/cj.2005.0004. S2CID 191463102.
  • Bihlmeyer, Jaime (2003). "Jane Campion's The Piano: The Female Gaze, the Speculum and the Chora within the H (y) st (e) rical Film" (PDF). Essays in Philosophy. 4 (1): 3–27. doi:10.5840/eip20034120.
  • Bogdan, Deanne; Davis, Hilary; Robertson, Judith (1997). "Sweet Surrender and Trespassing Desires in Reading: Jane Campion's The Piano and the struggle for responsible pedagogy". Changing English. 4 (1): 81–103. doi:10.1080/1358684970040106.
  • Bussi, Elisa (2000). "13 Voyages and Border Crossings: Jane Campion's "The Piano" (1993)". The Seeing Century. Brill: 161–173. doi:10.1163/9789004455030_014. ISBN 9789004455030. S2CID 239977351.
  • Campion, Jane (2000). Jane Campion's The Piano. United Kingdom: Cambridge University Press. ISBN 978-0521597210.
  • Chumo II, Peter N. (1997). "Keys to the Imagination: Jane Campion's The Piano". Literature/Film Quarterly. 25 (3): 173.
  • Dalton, Mary M.; Fatzinger, Kirsten James (2003). "Choosing silence: defiance and resistance without voice in Jane Campion's The Piano". Women and Language. 26 (2): 34.
  • Davis, Michael (2002). "Tied to that Maternal 'Thing': Death and Desire in Jane Campion's "The Piano"". Gothic Studies. 4 (1): 63–78. doi:10.7227/GS.4.1.5.
  • Dayal, Samir (2002). "Inhuman love: Jane Campion's "The Piano"". Postmodern Culture. 12 (2). doi:10.1353/pmc.2002.0005. S2CID 144838814.
  • DuPuis, Reshela (1996). "Romanticizing Colonialism: Power and Pleasure in Jane Campion's "The Piano"". The Contemporary Pacific. 8 (1): 51–79. JSTOR 23706813.
  • Frankenberg, Ronnie (2016). "Re-presenting the Embodied Child: the Muted Child, the Tamed Wife and the Silenced Instrument in Jane Campion's "The Piano"". The Body, Childhood and Society. Springer. p. 125. ISBN 978-0-333-98363-8.
  • Frus, Phyllis (2010). "Borrowing a Melody: Jane Campion's "The Piano" and Intertextuality". In Frus, Phyllis; Williams, Christy (eds.). Beyond Adaptation: Essays on Radical Transformations of Original Works. McFarland. ISBN 978-0786442232.
  • Gillett, Sue (1995). "Lips and fingers: Jane Campion's "The Piano"". Screen. 36 (3): 277–287. doi:10.1093/screen/36.3.277.
  • Hazel, Valerie (1994). "Disjointed Articulations: The Politics of Voice and Jane Campion's "The Piano"" (PDF). Women's Studies Journal. 10 (2): 27.
  • Hendershot, Cyndy (1998). "(Re) Visioning the Gothic: Jane Campion's "The Piano"". Literature/Film Quarterly. 26 (2): 97–108. JSTOR 43796833.
  • Izod, John (1996). "The Piano, the Animus, and the Colonial Experience". Journal of Analytical Psychology. 41 (1): 117–136. doi:10.1111/j.1465-5922.1996.00117.x. PMID 8851259.
  • Jacobs, Carol (December 1994). "Playing Jane Campion's Piano: Politically". Modern Language Notes. 109: 757–785.
  • James, Caryn (28 November 1993). "A Distinctive Shade of Darkness". The New York Times. Retrieved 19 July 2023.
  • Jayamanne, Laleen (2001). "Post-colonial gothic: the narcissistic wound of Jane Campion's "The Piano"". Toward Cinema and Its Double: Cross-cultural Mimesis. Indiana University Press: 24–48. ISBN 978-0253214751.
  • Jolly, Margaret (2009). "Looking Back? Gender, Sexuality and Race in "The Piano"". Australian Feminist Studies. 24 (59): 99–121. doi:10.1080/08164640802680627. hdl:1885/31897. S2CID 143160100.
  • Klinger, Barbara (2003). "Contested Endings: Interpreting The Piano's (1993) Final Scenes". Film Moments: Criticism, History, Theory: 135–39.
  • Klinger, Barbara (2006). "The art film, affect and the female viewer: "The Piano" revisited". Screen. 47 (1): 19–41. doi:10.1093/screen/hjl002.
  • Molina, Caroline (1997). "Muteness and mutilation: the aesthetics of disability in Jane Campion's "The Piano"". The Body and Physical Difference: Discourses of Disability. University of Michigan Press. pp. 267–282. ISBN 978-0472066599.
  • Najita, Susan Yukie (2001). "Family Resemblances: The Construction of Pakeha History in Jane Campion's "The Piano"". ARIEL: A Review of International English Literature. 32 (1).
  • Norgrove, Aaron (1998). "But is it music? The crisis of identity in "The Piano"". Race & Class. 40 (1): 47–56. doi:10.1177/030639689804000104. S2CID 143485321.
  • Pflueger, Pennie (2015). "The Piano and Female Subjectivity: Kate Chopin's "The Awakening" (1899) and Jane Campion's "The Piano" (1993)". Women's Studies. 44 (4): 468–498. doi:10.1080/00497878.2015.1013213. S2CID 142988458.
  • Preis-Smith, Agata (2009). "Was Ada McGrath a Cyborg, or, the Post-human Concept of the Female Artist in Jane Campion's "The Piano"" (PDF). Acta Philologica: 21.
  • Reid, Mark A. (2000). "A few black keys and Maori tattoos: Re‐reading Jane Campion's the piano in PostNegritude time". Quarterly Review of Film & Video. 17 (2): 107–116. doi:10.1080/10509200009361484. S2CID 191617268.
  • Riu, Carmen Pérez (2000). "Two Gothic Feminist Texts: Emily Brontë's "Wuthering Heights" and the Film "The Piano" by Jane Campion". Atlantis: 163–173.
  • Sklarew, Bruce H. (2018). "I Have Not Spoken: Silence in "The Piano"". In Gabbard, Glen O. (ed.). Psychoanalysis and Film. Routledge. pp. 115–120. ISBN 978-0429478703.
  • Taylor, Lib (2014). "Inscription in "The Piano"". In Bignell, Jonathan (ed.). Writing and Cinema. Routledge. pp. 88–101. doi:10.4324/9781315839325. ISBN 978-1315839325.
  • Thornley, Davinia (2000). "Duel or Duet? Gendered Nationalism in "The Piano"". Film Criticism. 24 (3): 61–76. JSTOR 44019061.
  • Williams, Donald (2013). "The Piano: The Isolated, Constricted Self". Film Commentaries.
  • Wrye, Harriet Kimble (1998). "Tuning a clinical ear to the ambiguous chords of Jane Campion's "The Piano"". Psychoanalytic Inquiry. 18 (2): 168–182. doi:10.1080/07351699809534182.
  • Zarzosa, Agustin (2010). "Jane Campion's The Piano: melodrama as mode of exchange". New Review of Film and Television Studies. 8 (4): 396–411. doi:10.1080/17400309.2010.514664. S2CID 191596093.

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