Call For Book Chapters: ReFocus – The Films of Jane Campion

Call For Papers (Book Chapter): ReFocus. The Films of Jane Campion

Contact Email:
a.bowler@swansea.ac.uk / adele.m.jones@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 inclusion in the volume, please do not hesitate to
contact the editors, Dr Alexia L. Bowler (a.bowler@swansea.ac.uk) & Dr
Adele Jones at (adele.m.jones@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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