The art film, affect and the female viewer: The Piano revisited

Screen

Volumn 47, Issue 1, 2006, Pages 19-41

  Klinger, Barbara ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 51249139335     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/hjl002     Document Type: Article

References (30)

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3. Laleen Jayamanne, Toward Cinema and its Double: Cross-Cultural Mimesis (Bloomington, IN;: Indiana University Press, 2001), p. 48
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5. Lynda Dyson, The return of the repressed? Whiteness, femininity, and colonialism in The Piano'. Screen, vol. 36, no. 3 (1995), pp. 267-76
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13. Robert Ray,How a Film Theory Got Lost and Other Mysteries in Cultural Studies (Bloomington, IN: Indiana University Press, 2001), especially pp. 1-14
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22. Tanis Modleski, Loving with a Vengeance: Mass-Produced Fantasies for Women (New York, NY and London: Routledge. 1990), pp. 59-84
23. Laura MuIvey and Colin MacCabe, 'Images of woman, images of sexualky', in Colin MacCabe (ed.), Godard Images, Sounds, Politics (Bloomington, IN: Indiana University Press, 1980), pp. 79-104
24. Dyson, 'The return of the repressed?' and Leonie Pihama's 'Ebony and ivory: construction of the Maori in The Piano', in Harriet Margolis (ed.), Jane Campion's The Piano (Cambridge: Cambridge University Press, 2000), pp. 114-34
25. Hitchcock's Film Revisited (New York, NY: Columbia university Press, 1989)
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27. Dana Polan, Jane Campion (London: British Film Institute, 2001), pp. 30-3
28. The imaginary Signifier. Psychoanalysis and the Cinema, trans. Celia Britton et al. (Bloomington, IN: Indiana University Press, 1982)
29. Umberto Eco, 'Casablanca: cult movies and intertexiual collage', trans. William Weaver, in Travels in Hyperreality (New York: Harcourt, Brace & Company, 1990) p. 198
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