[ecrea] CFP The Films of Jane Campion

*Call For Papers: ReFocus The Films of Jane Campion Contact Email: 
(a.bowler /at/ swansea.ac.uk) / (adele.m.jones /at/ swansea.ac.uk) *

*Deadline for Submission of Abstracts: 31st January, 2019 *

*Eds: Dr Alexia L. Bowler and Dr Adele Jones (Swansea University) *

*
*

As the only female director to win the Palme d’Or, and the second to be 
nominated for an Academy Award (both for The Piano [1993]) which is 
celebrating its 25th anniversary, Jane Campion is a figure who garners 
both critical and popular acclaim, as well as industry-wide respect. 
With over thirty years standing as a film, and now television, director 
(with Top of the Lake attracting collaborations with critically 
acclaimed actresses such as Elizabeth Moss, Holly Hunter, and Nicole 
Kidman), Campion’s work shines a spotlight on gender roles, often 
through complex female characters and an innovative approach to the 
screen representation of women habitually at the edges of society. As 
such, Campion’s name is synonymous with women on screen. Indeed, Campion 
is also vocal about the under-representation of females in the film 
industry more generally, concluding that, as ‘women are going to tell 
different stories – there would be many more stories in the world if 
women were making more films’ (Pulver, A. The Guardian, 14th May, 2014).


However, her commitment to the place of feminism itself is tempered by 
an ambivalence towards the term. Indeed, Campion has stated that ‘I no 
longer know what this [feminism, in the context of her filmmaking] means 
or expresses...I am interested in life as a whole. Even if my 
representation of female characters has a feminist structure, this is 
nevertheless only one aspect of my approach’ (Wright-Wrexham, 1999). The 
body of scholarship on her work to date is testament to her celebrated 
position within film, producing an eclectic and wide-ranging mix of 
responses extending to biography, nation and identity, adaptation, sex 
and eroticism, as well as authorship in her work. All these 
contributions celebrate the multiplicity in, and breadth of, her art and 
her vision. Thus the collection aims to interrogate, contribute to, and 
extend contemporary scholarship on Campion by bringing together new and 
innovative analyses from emerging and established scholars in the field. 
There will, then, be a shared focus on the legacy and contribution made 
by Campion to films made by, for, and about women, as well as Campion’s 
filmmaking (vision and practice) and engagement with (or ambivalence to) 
feminist theory past and present, providing new and exciting approaches 
for understanding Campion’s work.

We seek contributions that engage with Campion’s work in film, 
television, and/or the film and television industry more generally, and 
which consider (and potentially re-evaluate) her contributions and 
position vis-à-vis feminism and feminist discourse, as well as our 
understanding of representations of women and/or gender in the twentieth 
and twenty-first century.

The edited collection will be aimed at Edinburgh University Press’s 
ReFocus series, examining overlooked international film directors. 
Series editors are Robert Singer, PhD (NYC) and Gary D. Rhodes, PhD 
(Belfast, N.I.).


Possible topics could include but are by no means limited to:

* Analysis of individual films (including shorts) and/or television

* Female Authorship

* Campion and women’s cinema

* Men, Masculinity and relationships in the work of Campion

* Genre and experimentation in Campion

* Campion and collaboration (with other directors/actors/writers)

* Campion and adaptation (as feminist practice)

* Feminist ethics, politics and aesthetics in Campion’s work

* Problematising feminism

* Sex, sexuality, and the erotic

* The female gaze

* Language, selfhood, subjectivity and agency

* Motherhood

* Generational feminisms

* Film, feminism and philosophy in Campion’s work

* French feminist critical readings of Campion

* Nation and/or institution, identity and subjectivity

* Industry, indie, Hollywood and the festival circuit/prizes

* Trauma, loss, and grief

* Campion, feminism and film philosophy

* Comparisons between feminist filmmakers’ work Campion


If you have any questions regarding the suitability of possible topics 
and material for inclu-sion in the volume, please do not hesitate to 
contact the editors, Dr Alexia L. Bowler ((a.bowler /at/ swansea.ac.uk)) & Dr 
Adele Jones at ((adele.m.jones /at/ swansea.ac.uk)).


Abstracts of 350 words, for chapters of between 7,000-8,000 words 
including endnotes (referenced in Chicago style), along with a short 
biographical note, should be emailed to both editors by 31st January, 
2019. Successful proposals will be notified by 1st March, 2019. Chapters 
will be expected, in full, by 30th June, 2019.


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