SCREEN-L Archives

April 2000, Week 4

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Condense Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Mime-Version:
1.0
Sender:
Film and TV Studies Discussion List <[log in to unmask]>
Subject:
From:
Shashwati Talukdar <[log in to unmask]>
Date:
Fri, 28 Apr 2000 01:07:57 -0400
In-Reply-To:
Content-Type:
text/plain; charset="us-ascii" ; format="flowed"
Reply-To:
Film and TV Studies Discussion List <[log in to unmask]>
Parts/Attachments:
text/plain (33 lines)
>>
>
>For me, Campion's use of geography and surroundings in "Holy Smoke" and "The
>Piano" are used much in the same way as they were in "Sweetie", that being
>backdrops which allow us to focus on the character.  The remote settings in
>India and New Zealand enhance the characters isolation, and endear them to
>us as the hero.  Her contrasting of the outback with the city in "Sweetie"
>supports the film greatly. The family leave the city and enjoy harmony,for

The treatment of the "remote" locations in Piano and H. Smoke are
quite different from that of Sweetie. while the outback is more
integral to the make-up of the character in Sweetie, it is just a
backdrop in the other films.

Strange how some tropes just don't go away, regardless of all the
postcolonial scholarship of the last 25 years or so. Especially from
somebody like Campion who was trained in Anthropology, perhaps
because of it, perhaps they don't really teach McClintock and Shohat
in Australia.



Shashwati

-------------------------------------------
Shashwati Talukdar
[log in to unmask]
Ph: (917) 243-7522

----
Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu

ATOM RSS1 RSS2