Dotykanie minionego. Fortepian Jane Campion jako przykład adaptacji auratycznej

Artykuł jest próbą zdefiniowania zjawiska w światowym kinie współczesnym, które wykorzystując nowe sposoby komunikacji w obrębie sztuk wizualnych i ich haptyczności, stara się rekreować nastroje i wrażliwości konotowane z kulturą minionych czasów. Fortepian Jane Campion, jako świadectwo zaangażowanej lektury przede wszystkim poezji Emily Dickinson, ale też Wichrowych Wzgórz Emily Brontë, staje się tu przykładem fabuły z jednej strony nasyconej perspektywami, motywami i sytuacjami zaczerpniętymi z tych utworów, z drugiej wykorzystuje stylistyczną multisensoryczność kina, by w przedstawionych bohaterach i przedmiotach ich otaczających odtwarzać dynamikę relacji i nastroje znane z przekazów o kulturze połowy XIX wieku. Dzięki temu staje się auraptacją (adaptacją auratyczną; ang. auraptation – auratic adaptation), adaptacją aury wyczytanej spomiędzy literackich świadectw epoki, przeniesieniem w dzisiejsze czasy i właściwe im media niepowstałej w wieku XIX opowieści.

Longing and Lust, ‘Red Light’ on a ‘Dark Continent’

This chapter presents a variegated depiction of female sexuality seen from their own point of view, beginning with Carollee Schneeman’s Meat Joy (1964). Woolf’s metaphors for the female sex and lesbian desire is brought to the scene in interracial encounters in She Must Be Seeing Things (Sheila McLaughlin 1987), The Watermelon Woman (Cheryl Dunye 1997) and Pariah (Dee Rees 2011). The stereotypical figure of the lustful and man-eating witch is reworked in The Love Witch (Anna Biller 2016) and Jennifer’s Body (Karen Kusama 2009). In Raw (Julia Ducournaou 2016) female sexuality is addressed in a ferocious and intense way. After the explicit poetics of horror of the films of the middle section, this chapter looks at three other films that have a more-implied horror embedded within their narration. In I’m Not a Witch (Rungano Nyoni 2017) witchcraft is seen from a totally different non-western perspective, whereas in In the Cut (Jane Campion 2003) we see a combination of poetry, sexuality and a different type of final girl. In the equally poetic Longing for the Rain (Lina Yang, 2013), a contemporary Beijing housewife makes love with a ghost that might not be so benign and slowly takes over her life.

Female Power Uncensored

This chapter presents case studies of the work of four contemporary female directors from world cinema: Kathryn Bigelow, Jane Campion, Claire Denis, and Céline Sciamma. Bigelow's Strange Days (1995) self-consciously interrogates the contradiction by which the voyeuristic consumer of violent and misogynist ‘entertainment’ is taken out of the equation when assigning responsibility for these cultural phenomena. It offers a unique exception to stereotypical gender roles one would expect to find in a Hollywood action film. In The Piano (1993), Campion was able to make a feminist critique of an outdated and patriarchal way of seeing women. Meanwhile, Denis's Beau Travail (1999) is an example of how the female camera can deconstruct and represent the male sex in similar ways to how men have represented women in the past. Finally, Sciamma's Girlhood (2014) is an example of how a female writer-director can construct cinema that breaks gender stereotypes, uses a ‘female gaze’ in its cinematography, and represents women's problems and issues in a complex and compassionate way.

VITORIANOS, MODERNOS E SALVAGEPUNKS: REVERBERAÇÕES E ASSOMBROLOGIAS DO SÉCULO 19

A cultura contemporânea (tanto a high culture quanto a low culture) está cada vez mais enamorada do século 19. Alguns exemplos que ilustram esta hipótese: os filmes dirigidos por Francis Ford Coppola, Jane Campion e Ang Lee; os romances de A. S. Byatt e William Gibson; as revisitas a Oscar Wilde e Lewis Carroll, fotografia nostálgica, produtos de computação gráfica, o cyberpunk e o steampunk. No texto desenvolvido aqui, discuto as reverberações da era vitoriana na contemporaneidade, argumentando que, a contrapelo da margem a que Pound relega o passado vitoriano, no início do século 20, o espectro persistente dos vitorianos ronda todas as formas de modernide. PALAVRAS-CHAVE: era vitoriana; século longo; século breve; modernidades.

‘Killing romance’ by ‘giving birth to love’: Hélène Cixous, Jane Campion and the language of In the Cut (2003)

Jane Campion’s work regularly revolves around women’s often complex relationship with socio-cultural discourses and their articulation in language, whether in familial and institutional structures or in cultural and creative practice. In this sense, Campion’s filmmaking continues a feminist tradition of exploration regarding female subjectivity, identity and desire as it is represented in language (cinematic or otherwise). In the Cut (2003), adapted from Susanna Moore’s novel of the same name, again places language and the (dis)articulation of the female voice at its heart: the renewal of which is positioned within the film as crucial to women’s survival. In taking its cue from Hélène Cixous’s ‘The Laugh of the Medusa’ (1976) and later writings such as ‘Castration or Decapitation?' (1981) and ‘Coming to Writing' (1991), this article frames its discussion of Campion’s interrogation of ‘Woman’s’ attempts at the articulation of the self as an exemplar (in both theme and form) of Cixousian strategies. The article will argue that techniques such as a cinematic écriture feminine, and the appropriation and adaptation of the language of Hollywood genre film, form part of Campion’s feminist inquiry into the discourses and legacies of a phallogocentric patriarchal culture which traditionally delimit Woman as a ‘speaking’ subject. In this way, In the Cut exposes the tensions between what Cixous calls the ‘Absolute Woman’ of culture (the aphonic hysteric) and attempts towards agency, thus challenging phallogocentric representations of women. In using these strategies, Campion’s adaptation creates a polyphonic artefact which not only revises Moore’s novel but also re-visits (in order to reclaim) female articulation; re-writing phallogocentric claims to agency and subjectivity, imagining women's ‘survival’ through language. In this sense, then, adaptation itself can be thought of as a feminist act of subversion.

Creativity as a Haven: An Angel at My Table (Jane Campion, 1990)

Through a comparison with Janet Frame’s Autobiography, from which it is adapted, this chapter analyses Jane Campion’s An Angel at My Table as the first New Zealand film to present all three of the main maturational phases characteristic of the coming-of-age genre, but as experienced by a Pākehā girl. Identifying the effects of a repressive environment as the source of the emotional stresses that lead the main character, Janet, to be institutionalized for schizophrenia, the discussion shows how she finds respite in fictive creativity and a world of the imagination. It also shows Campion’s personal investment in the story as a displaced representation of her own mother’s fight with mental illness.