Bluebeard in Jane Campion’s “The Piano”: A Case Study in Intertextuality as an Enunciation of FEMININITY in Mainstream Movies
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.
||Maternal Semiotic, Intertextuality, Dialogism, Femininity, Female Gaze, Julia Kristeva, Jane Campion, Mikhail Bakhtin
International Journal of the Humanities, Volume 8, Issue 7, pp.183-190.
Article: Print (Spiral Bound).
Article: Electronic (PDF File; 593.343KB).
Associate Professor, Media, Journalism and Film, Missouri State University, Springfield, MO, USA
Jaime Bihlmeyer has an MFA in Filmmaking from the Ohio University's School of Film and has taught at the college and university level for 21 years. He has published chapters in scholarly volumes and in journals including Cinema Journal and the International Journal of the Humanities. His scholarly interest lies in the manifestation in mainstream movies of references to the pre-lingual stage in human development, particularly in terms of what Julia Kristeva refers to as the maternal semiotic. The intent of this line of inquiry is to broaden the scope of gender literacy in analyzing movies by exploring the psycho-linguistic elements evident in the movies as they pertain to the pre-lingual stage.
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