• International Journal of Contents
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• 제9권4호
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• pp.86-91
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• 2013

The Piano, directed by Jane Campion in 1993, became a sensational movie with a special theme focusing on gender and sexual identity, when it won Palme d'Or in the Cannes Film Festival at the same year. Most of the critics discuss the representation of Victorian sexual repression in the colonial setting. But the critical acclaim tends to view the existence of the Maori people and the colonial setting as the backdrop of the narrative, although this colonial background is constructed as a medium to accelerate the release of the repressed passion. Regarding the race issue as a compelling discourse that gets left out of "feminist" accounts, this paper analyzes The Piano, focusing on both how the story of colonialism is constituted in the film and how the film represents ambivalent images of the Maori people, the native of New Zealand.

• International Journal of Contents
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• 제7권3호
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• pp.60-64
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• 2011

Jane Campion's is a well-known film for a number of reasons, such as for being an Oscar winner, for having been helmed by an emerging director from New Zealand, and for having the reputation of being a feminist film. In this paper, the first scene of was chosen to examine the heroine Ada's language in terms of the gothic genre. Ada is a dumb woman who lives in the era of man's language. She represents the women's social position in the Victorian era but has her own and unique language for communicating with the outside world. The first scene of introduces Ada's own language, using her fingers. Her fingers speak for her all the time instead of her mouth, and there is someone who can understand what she wants to say when all others cannot. How the film depicts Ada's language and how the first scene well summarizes the film's core are examined herein.

• 한국콘텐츠학회논문지
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• 제11권10호
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• pp.137-146
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• 2011

제인 캠피온의 <피아노>에서 에이다의 남편인 스튜어트는 근대인들과 마찬가지로 자연에 대한 무한한 정복욕과 소유욕을 드러낸다. 그러나 베인즈는 뉴질랜드 원주민과의 인간적 유대를 지니고 있으며, 자기땅에 대한 소유욕과 정복욕을 갖고 있지 않다. 스튜어트가 자기 아내의 욕망을 무시하고 자기의 욕망에 따라서만 행동한다는 점에서 근대인의 지배하는 이성을 대변해준다면, 베인즈는 에이다의 피아노에 대한 열망을 충족시켜 주고 그녀의 내면세계를 함께 공유하기 위해 그녀의 피아노와 자기의 땅을 교환하자는 거래를 제시한다. 이처럼 베인즈는 에이다의 목적에 맞게 그녀를 배려하고, 동시에 자기의 욕망 또한 배려한다는 점에서 배려하는 이성을 대변한다고 할 수 있다.