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	Jane Campion - Wikipedia, the free encyclopedia
		Jane Campion (born April 30, 1954 in Wellington, New Zealand) is a film director.
		She is one of the most internationally successful New Zealand directors, although she claims not to identify closely with that country, and most of her work has been made in or financed by other countries, principally Australia––where she now lives––and the USA.
		Campion attended the Australian Film Television and Radio School early in its history, where she learned the craft that has resulted in a career that spans 14 films as director, three as producer and eight as writer.
	en.wikipedia.org /wiki/Jane_Campion (363 words)

	Boston Review: Jane Campion's The Piano (film review)
		Campion was also trained as a social anthropologist, however, and that training -- particularly the work of Levi-Strauss -- has had a profound impact on her directorial imagination.
		Campion is interested in Sweetie for all of the anthropological reasons that would repel an "escapist" movie audience and makes no effort to prettify her.
		Campion repeatedly portrays Ada stepping into the muck and mire of the New Zealand landscape with shoes totally ill suited for the purpose and her skirt dragging in the filth.
	www.bostonreview.net /BR19.1/stone.html (4439 words)

	Jane Campion
		Jane Campion first plays were short films which earned several international awards.
		Jane Campion was born in Wellington, New Zealand.
		Perhaps the most important thing for Jane is the relaxing and intuitive way she approaches a project.
	www.fys.uio.no /~magnushj/Piano/campion.html (1068 words)

	Jane Campion: A Complete Retrospective (Site not responding. Last check: 2007-11-07)
		Although she didn't write the script, Campion's personal touch can be seen in the film's offbeat narrative structure -- it's a series of episodes going back in time -- and its themes of social repression, conformity, rebellion, and the limits of communication and reconciliation.
		Her increasingly psychotic tantrums are given counterpoint by Campion's oddball but unobtrusive editing, compositions, and camera angles (shot from under beds or the upper corners of rooms, the film seems observed from the point of view of a naughty child or a flighty imp).
		But Campion's indirection, her bemused, unsettling insight, and her cumulative, meditative narrative frame her subject's sensibility, genius, and triumph, as does Kerry Fox's brave and wise performance.
	www.bostonphoenix.com /archive/movies/99/01/28/JANE_CAMPION_A_COMPLETE_RE.html (1466 words)

	Jane Campion
		Campion's eagerly awaited follow-up to The Piano, her 1996 adaptation of Henry James' novel The Portrait of a Lady (written in 1881), drew criticism for its modernising impulses and liberal treatment of James' classic text, and for the coldness of its characters despite the sumptuous Italian locations and art direction.
		Campion employs the kitsch stylings of 1970s pop culture to great comic effect in her portrayal of PJ Waters and her sense of humour is unforgiving in the presentation of Ruth's family, particularly her sister-in-law Yvonne (Sophie Lee).
		Campion's fascination with the darker side of romance is demonstrated by her declared passion for the Gothic literature of the Brontës.
	www.sensesofcinema.com /contents/directors/02/campion.html (4608 words)

	Jane Campion: interviews
		After Sweetie, Campion told Carrie Rickey (in The Philadelphia inquirer) that she thinks "women are more supportive of women" (52) and that "to deny women directors, as I suspect is happening in the States, is to deny the feminine vision" (53).
		Yet Campion tells her French and Australian interviewers that "in [the Maori] community, sexuality is totally out in the open, people talk continuously about their genitals" (104) and that she was using this openness as a contrast to highlight the repression of her three main protagonists (148).
		Campion uses the present tense to refer to Maori of the past and of the present.
	www.latrobe.edu.au /screeningthepast/reviews/rev1199/hmbr8a.htm (1279 words)

	OZ CINEMA.com : People : Jane Campion
		Though Jane Campion is, officially, a New Zealander, she has often been regarded an Australian director since she was educated in Sydney and began her distinguished filmmaking career here.
		Jane Campion is regarded by many as the most successful graduate of the AFTRS, Australia's national film school.
		Such enthusiastic critical reaction proved to the filmmaking community that Jane Campion was a significant talent in Australia's Post New Wave; a creative being capable of creating complex metaphors within her deep characters and the manner by which they interplay.
	www.ozcinema.com /people/c/janecampion.html (463 words)

	7.30 Report - 13/12/1999: Jane Campion and Holy Smoke
		JANE CAMPION, FILM DIRECTOR: but we were looking for a very special girl and one that could work alongside Harvey Keitel because, of course, he's amazing.
		JANE CAMPION: I think people maybe get misled by the level of Harvey's machismo, to believe that that is him, but actually what's so exciting in my mind about Harvey is that he's got this really strong masculine quality about him, but at the same time his main interests are like poetry.
		JANE CAMPION: First of all we had to get over this thing -- for example, I do have a kind of strong idea about spiritual belief and she doesn't.
	www.abc.net.au /7.30/stories/s73088.htm (1172 words)

	Jane Campion: A Bibliography of Materials in the UC Berkeley Libraries
		Campion's adaptation of Henry James's novel 'The Portrait of a Lady' is superb rendering of the nuances of a woman's life.
		Jane Campion's film The Piano (1993) opens an uncanny space in mainstream movies where cinematic enunciation intersects with the linguistic and psychoanalytic innovations of the last half-century.
		Jane Campion's film "The Piano" illustrates how ideals of white femininity and certain promises of liberation for white women are implicated in structures of colonialism.
	www.lib.berkeley.edu /MRC/campion.html (4684 words)

	Jane Campion \| Biography (born 1954)
		Campion's first international film, The Piano, immediately brought her wider acclaim, together with a best screenplay Oscar.
		They have nothing to prepare themselves for its strength and power.' This was certainly true of her next protagonist, the heiress played by Nicole Kidman in Henry James' The Portrait of a Lady, although the film itself as less successful.
		There are moments of tedium in most of Campion's films, but it's only here that they overwhelm the drama, as Campion keeps the emotions of the story too cramped and confined.
	www.leninimports.com /jane_campion.html (351 words)

	Jane Campion (1954- ) (Site not responding. Last check: 2007-11-07)
		Campion is one of the few successful female directors who can be labelled an auteur, and also one of the few whose work could be called feminist; her films are typically concerned with women in situations of oppression or restriction.
		However, Campion's work has often been criticised by feminists who are disappointed by Campion's recurrent theme of an oppressed female protagonist finding solace in a domineering male lover.
		Jane Campion's The Piano struck a deep chord (if you'll excuse the expression) with audiences in 1993, who were mesmerized by the film's rich, dreamlike imagery.
	www.jahsonic.com /JaneCampion.html (520 words)

	Jane Campion @ Filmbug (Site not responding. Last check: 2007-11-07)
		Jane Campion, born in New Zealand and working between Australia and New Zealand, won international renown for her critically acclaimed film The Piano, which starred Holly Hunter, Sam Neill and Harvey Keitel.
		In 1996, Campion directed Portrait of a Lady based on the Henry James novel with Nicole Kidman as the lead actor.
		Campion graduated with a Bachelor of Arts in Anthropology from Victoria University of Wellington in New Zealand then pursued a Diploma of Fine Arts at Chelsea School of Arts in London, completing her studies at Sydney College of Arts where she majored in painting.
	www.filmbug.com /db/26009 (531 words)

	Campion, Jane on Encyclopedia.com (Site not responding. Last check: 2007-11-07)
		Jane's addiction: in Jane Campion's shocking new film, In the Cut, the battle of the sexes becomes deadly.(Eye)
		Jane Campion attends a news conference for the film "In The Cut" at the Toronto International Film Festival Tuesday, September 9, 2003, in Toronto, Canada.
		FILM: The director's cut; Jane Campion was originally going to make her sexy noir thriller In the Cut with Nicole Kidman.
	www.encyclopedia.com /html/C/CampionJ1.asp (648 words)

	Directors: Jane Campion
		Her father was an opera and theater director and her mother an actress, and Campion herself graduated with a BA in anthropology from Victoria University of Wellington in 1975, and then got a BA in painting at Sydney College of the Arts in 1979.
		In the movie version, as opposed to TV mini-series, of her story, Frame is told that to be a successful writer she must write a bestseller, material success being equated by the fatuous man who tells her this with artistic triumph.
		It is as if, looking at the great beauty and dignity that Winslet brings to her performance, Campion in the end did not have the heart to allow the unhappy ending that the material logically demanded, but instead preferred to spare and honor her characters.
	www.cinemonkey.com /reviews/holmcampion/jcampion.html (819 words)

	Ladies We Like \|\| Jane Campion (Site not responding. Last check: 2007-11-07)
		Born in Waikanae, Campion attended Victoria University in Wellington, New Zealand, and Sydney College of the Arts in Sydney, Australia, before studying filmmaking at Sydney's prestigious Australian Film, Television and Radio School (1981-1984).
		Campion came to international prominence with her first feature, Sweetie (1989), a darkly humorous and unsettling portrait of an emotionally disturbed woman's struggle to maintain a relationship with her family.
		Set in the 19th century, the film tells the story of a Scottish woman who is sent by her father to New Zealand to marry a farmer.
	www.ladyfest.org /LadiesWeLike/Campion_Jane.html (366 words)

	Jane Campion
		Campion next adapted Henry James's The Portrait of a Lady, starring Nicole Kidman as Isabel Archer, a young American heiress seduced by a decadent pair of expatriates living in Italy.
		Campion tells of her early life in Wellington and of her training as a filmmaker in the 1980s at the Australian School of Film and Television.
		Campion received the Academy Award for Best Original Screenplay in 1993 and was the first woman director to win the Palme d'Or at Cannes.
	www.upress.state.ms.us /books/c/jane_campion_interv.html (359 words)

	Jane Campion
		Jane Campion was born on April 30, 1954 in Wellington, New Zealand.
		Campion uses brilliant shades of the color orange to highlight the growing dispondency.
		But Campion makes us think about them again as she reminds us that we have all experienced these events but that the embarrassment is gone before we realize it.
	www.suite101.com /article.cfm/directors_corner/25824 (478 words)

	Women Make Movies - Jane Campion (Site not responding. Last check: 2007-11-07)
		Acclaimed Director Jane Campion won the Palme d'Or at the Cannes Film Festival in 1986 with her very first short film "Peel" (1982), making her the first woman to ever win the festival's highest honor.
		The Films of Jane Campion, Films by Jane Campion, 49 min., Color/BW The internationally acclaimed director of "The Piano", "An Angel at My Table" and "Sweetie" first dispalyed her visual flair and dark humor in these a...
		Passionless Moments, A film by Jane Campion, 13 min., BW A series of wry vignettes: Sean and Arnold Not Speaking; Scotties, Part of the Grand Design of the Universe; Angela Eats Meats, Ironing on Sunday, and...
	www.wmm.com /catalog/_makers/fm103.htm (481 words)

	Jane Campion Biography / Biography of Jane Campion Main Biography
		Campion was born on April 30, 1954, in Wellington, New Zealand, the daughter of Richard Campion and Edith Armstrong.
		Campion was raised in Wellington, with her older sister, Anna, with whom she would later collaborate, and her younger brother, Michael.
		While Campion was interested in acting, she did not immediately follow the family tradition.
	www.bookrags.com /biography-jane-campion (220 words)

	Salon People \| Where the boys are (Site not responding. Last check: 2007-11-07)
		The films of Kimberly Peirce, Krueger, Harron, Jane Campion, Denis and newcomer Sofia Coppola -- all of which are premiering soon or currently in release -- don't fall under the feather-soft rubric of the typical "woman's picture," nor do they shy away from raw depictions of sexuality or violence.
		Campion has always been a master of exposing both the subtle carnality and the startling innocence that lurk beneath the surface of her male stars.
		Another element of Campion's representation is the recurrence of men easily manipulated by the women in their lives (the baffled boyfriend in "Sweetie," Sam Neill's brutish husband in "The Piano").
	www.salon.com /people/feature/2000/03/22/directors (720 words)

	kamera.co.uk - feature item - Jane Campion by Dana Polan
		Campion became seem as 'a film-maker able to suggest new possibilities for a cinema of fervent emotionalism and the representation of feminine fantasy and desire on screen'.
		The preceding chapter on the film is a delight, further exploring avenues of gender, authorship, cultural and national identity (Campion is New Zealand born but has adopted an Australian identity) and the very origins of art cinema in terms of various National cinemas struggling for self-definition.
		This minor criticism aside, the liberally illustrated Jane Campion is thought provoking, well-written, studious and thoroughly illuminating fare ideally suited not only to followers of Campion's work but those interested in far wider issues of representation, gender, authorship and the part the works of independent figures can play in forging recognisable National cinematic identities.
	www.kamera.co.uk /books/jane_campion.html (638 words)

	Jane Campion's The piano
		Jane Campion's The piano, edited by Harriet Margolis for the Cambridge Film Handbooks series, presents a selection of essays by international scholars, most of whom are Aotearoa New Zealand-based.
		Jane Campion's The piano offers a polished and well-chosen collection of essays examining the major issues that emerge from the film.
		It would be of value to anyone interested in Campion's work and particularly useful as a reference for undergraduate work.
	www.latrobe.edu.au /screeningthepast/reviews/rev1100/ehbr11a.htm (826 words)

	Angel from the Mirror City: Jane Campion's Janet Frame
		Jane Campion is also a director who understands the intricate circuits of vision between a woman and the world she tries to see.
		In this paper I want to argue that Jane Campion, herself identifying with the 'Janet Frame' of her books, has created a film which psychoanalytically-inspired film theory has trouble imagining, one in which active and mobile female identifications are enabled beyond the stultifying logic of either narcissism or masochism.
		Unlike the voyeurs of classic narrative cinema, we become collaborators in Campion's task of releasing her heroine from the mirror which freezes her image in its preordained poses, and lovingly framing a window from which she can safely gaze out and retreat at will.
	www.sensesofcinema.com /contents/00/10/angel.html (5880 words)

	AllRefer.com - Jane Campion (Film, Biography) - Encyclopedia
		Jane Campion 1954–;, New Zealand film director, b.
		Campion, who both wrote and directed most of her early films, is particularly adept at depicting the plight of women who live outside society's norms.
		Campion won substantial praise for her next feature, An Angel at My Table (1990), a sensitive portrait drawn from the autobiographical writings of fellow New Zealander Janet Frame.
	reference.allrefer.com /encyclopedia/C/CampionJ.html (284 words)

	Jane Campion
		Campion first won international renown for her critically acclaimed film The Piano (1993), starring Holly Hunter and Harvey Keitel.
		In 1996, Campion directed Portrait of a Lady based on the Holly James novel with Nicole Kidman as the lead.
		Campion married Colin Englehert in 1992 and their daughter, Alice, was born in 1994.
	www.tribute.ca /bio.asp?id=3834 (413 words)

	Jane Campion Web Page At MyStarLinks.com (Site not responding. Last check: 2007-11-07)
		Jane Campion was born in Wellington, New Zealand, and now lives in Sydney, New South Wales, Australia.
		Having graduated with a BA in Anthropology from Victoria University of Wellington in 1975, and a BA, with a painting major, at Sydney College of the Arts in 1979, she began filmmaking in the early 1980s, attending the Australian School of Film and Television.
		Bale continued with roles such as Ned Rosier in Jane Campion's 'The Portrait of a Lady' and a journalist in 'Velvet Goldmine.' In 'All the...
	www.mystarlinks.com /stars/janecampion.php (639 words)

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