Common Ground Books
Common Ground Open
The Arts in Society
Information, Medium & Society
Climate Change: Impacts and Responses
Diversity in Organizations, Communities & Nations
Global Studies
Spaces & Flows
Design Principles & Practices
New Directions in the Humanities
Interdisciplinary Social Sciences
Aging & Social Change
Tourism and Leisure Studies
The Learner
Organization Studies
Religion in Society
Food Studies
Communication and Media Studies
e-Learning and Innovative Pedagogies
Sport & Society
On Sustainability
Technology, Knowledge & Society
World Universities Forum
The Constructed Environment
Health, Wellness & Society
The Image
Science in Society
The Inclusive Museum
Bluebeard in Jane Campion’s “The Piano”
Views: 427
- Title: Bluebeard in Jane Campion’s “The Piano”: A Case Study in Intertextuality as an Enunciation of FEMININITY in Mainstream Movies
- Author(s): Jaime Bihlmeyer
- Publisher: Common Ground Research Networks
- Collection: Common Ground Research Networks
- Series: New Directions in the Humanities
- Journal Title: The International Journal of the Humanities: Annual Review
- Keywords: Maternal Semiotic, Intertextuality, Dialogism, Femininity, Female Gaze, Julia Kristeva, Jane Campion, Mikhail Bakhtin
- Volume: 8
- Issue: 7
- Date: November 16, 2010
- ISSN: 1447-9508 (Print)
- ISSN: 1447-9559 (Online)
- DOI: https://doi.org/10.18848/1447-9508/CGP/v08i07/42968
- Citation: Bihlmeyer, Jaime. 2010. "Bluebeard in Jane Campion’s “The Piano”: A Case Study in Intertextuality as an Enunciation of FEMININITY in Mainstream Movies." The International Journal of the Humanities: Annual Review 8 (7): 183-190. doi:10.18848/1447-9508/CGP/v08i07/42968.
- Extent: 8 pages
All Rights Reserved
Copyright © 2010, Common Ground Research Networks, All Rights Reserved
Abstract
The Bluebeard folktale is (re)produced in Jane Campion’s The Piano (1993) as the featured performance in a pageant that a minister organizes for his colonial New Zealand congregation. This construction-en-abyme is representative of intertextuality in terms of Julia Kristeva’s “affirmative negativity.” The paper explores intertextuality in The Piano as an agent of a multiplex and extra-lingual dialogism linked to FEMININITY and the female gaze.
