Elsa Colombani is an independent scholar and film critic.Eurydice Da Silva is professor of screenwriting at Sorbonne Nouvelle University.

• 1. Vestigial Remains: Queens of the Garden, Angels of the House, and Dutiful Daughters in Jane Campion’s Sweetie, An Angel at My Table, and Holy Smoke!Sue Matheson2. Gendered Spaces in Jane Campion’s Top of the Lake and Top of the Lake: China Girl: Female Oppression and Neutral CommunityLaura Benoît3. Poetic Textures, Jane Campion’s Interrogation of Gendered Notions of Creativity in Bright StarAnna Baccanti4. The Feminine Sublime in the Work of Jane CampionHelen Richardson5. Staging Desire in Jane Campion’s Portrait of a LadyGilles Menelgado6. Perspective, Dismemberment, and Editing in In the CutWendy Haslem7. The Mutability of the Male Body in The Piano (1993), Bright Star (2009) and The Power of the Dog (2021)Ian Murphy8. Opening her Third Eye: Jane Campion’s Auteurial Films during the Post-Cold War DecadeKatherine Cottle9. Antipodean Multiplicities: Hypotext and Influence in Jane Campion’s Dancing Daze and Two FriendsBlythe S Worthy10. Voiceless in the Trees: Postcolonial Memory and the Gothic in Jane Campion’s SweetieMichael Modarelli11. The Power of Playing with Genre: The Western Gothic Melodrama in Jane Campion’s The Power of the DogHervé Mayer

Elsa Colombani is an independent scholar and film critic.Eurydice Da Silva is professor of screenwriting at Sorbonne Nouvelle University.

• 1. Vestigial Remains: Queens of the Garden, Angels of the House, and Dutiful Daughters in Jane Campion’s Sweetie, An Angel at My Table, and Holy Smoke!Sue Matheson2. Gendered Spaces in Jane Campion’s Top of the Lake and Top of the Lake: China Girl: Female Oppression and Neutral CommunityLaura Benoît3. Poetic Textures, Jane Campion’s Interrogation of Gendered Notions of Creativity in Bright StarAnna Baccanti4. The Feminine Sublime in the Work of Jane CampionHelen Richardson5. Staging Desire in Jane Campion’s Portrait of a LadyGilles Menelgado6. Perspective, Dismemberment, and Editing in In the CutWendy Haslem7. The Mutability of the Male Body in The Piano (1993), Bright Star (2009) and The Power of the Dog (2021)Ian Murphy8. Opening her Third Eye: Jane Campion’s Auteurial Films during the Post-Cold War DecadeKatherine Cottle9. Antipodean Multiplicities: Hypotext and Influence in Jane Campion’s Dancing Daze and Two FriendsBlythe S Worthy10. Voiceless in the Trees: Postcolonial Memory and the Gothic in Jane Campion’s SweetieMichael Modarelli11. The Power of Playing with Genre: The Western Gothic Melodrama in Jane Campion’s The Power of the DogHervé Mayer

Elsa Colombani is an independent scholar and film critic.Eurydice Da Silva is professor of screenwriting at Sorbonne Nouvelle University.

• 1. Vestigial Remains: Queens of the Garden, Angels of the House, and Dutiful Daughters in Jane Campion’s Sweetie, An Angel at My Table, and Holy Smoke!Sue Matheson2. Gendered Spaces in Jane Campion’s Top of the Lake and Top of the Lake: China Girl: Female Oppression and Neutral CommunityLaura Benoît3. Poetic Textures, Jane Campion’s Interrogation of Gendered Notions of Creativity in Bright StarAnna Baccanti4. The Feminine Sublime in the Work of Jane CampionHelen Richardson5. Staging Desire in Jane Campion’s Portrait of a LadyGilles Menelgado6. Perspective, Dismemberment, and Editing in In the CutWendy Haslem7. The Mutability of the Male Body in The Piano (1993), Bright Star (2009) and The Power of the Dog (2021)Ian Murphy8. Opening her Third Eye: Jane Campion’s Auteurial Films during the Post-Cold War DecadeKatherine Cottle9. Antipodean Multiplicities: Hypotext and Influence in Jane Campion’s Dancing Daze and Two FriendsBlythe S Worthy10. Voiceless in the Trees: Postcolonial Memory and the Gothic in Jane Campion’s SweetieMichael Modarelli11. The Power of Playing with Genre: The Western Gothic Melodrama in Jane Campion’s The Power of the DogHervé Mayer