This paper focuses on Jane Campion’s 1992 film "The Piano." Drawing on Joseph Campbell’s theory of the monomyth, it argues that by portraying a female protagonist in a male-dominated society, Campion creates a world in which gender has no boundaries. Campbell’s monomyth theory states that all protagonists or heroes undergo a series of events in what is known as the hero’s journey. Evidence in Campbell’s "The Hero with a Thousand Faces" suggests the theory is predominantly patriarchal. In Campion’s film, however, the female protagonist follows Campbell’s theory of the hero’s journey, proving it is not only applicable to male protagonists. Moreover, through his physical acts and manner of communication with the protagonist, her lover indicates that he does not follow the conventions of the patriarchal society. These elements combine to prove that Campion’s film is feminist in its gender representation and universal in its approach through mythology.
| Presenters: | Brian Boger (Undergraduate Student) Jennifer LaMarsh (Undergraduate Student) Jonathan Mannhaupt (Undergraduate Student) Emily Wilkins (Undergraduate Student) |
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| Topic: | Film Studies |
| Location: | 123 Hartwell |
| Time: | 2:30 pm (Session IV) |
