ReFocus: The Films of Jane Campion

Alexia L. Bowler is a Senior Lecturer at Swansea University. She co-edited, with Jess Cox, a special issue of Journal of Neo-Victorian Studies on adaptation. Her most recent article on Jane Campion and In the Cut was published in Feminist Theory (2018). Adele Jones is a Tutor at Swansea University. She has published on Sarah Waters, Michèle Roberts, and neo-Victorianism, and co-edited Sarah Waters and Contemporary Feminisms (2016, with Claire O'Callaghan).

• List of FiguresAcknowledgementsNotes on ContributorsIntroduction: Unruly Filmmaker, Fellow Traveller - Alexia L. Bowler and Adele Jones1. Claiming Campion: The Question of Jane Campion’s Politics Revisited - Stephen Kuster2. Two Friends: Circumstances of a Historic Feminist Collaboration - Zachary Zahos3. Unsettling Presences: Agentic Embodiment in Jane Campion’s Films - Catherine Fowler4. ‘The Mood That Passes Through You’: Reverberations of Music and Meaning in The Piano - Leanne Weston5. ‘Only another man’: Homosociality in Jane Campion’s Bright Star and The Power of the Dog - Alexia L. Bowler6. ‘I don’t think so, Jan, that’s just another fantasy’: Practice, Paratext and the Power of Women’s Talk in Jane Campion’s Filmmaking - Rona Murray7. Articulating Feminism(s): Voicelessness, (In)Visibility, and Agency in Top of the Lake - Adele Jones8. Jane Campion’s Palimpsestuous Gothic: Kinship in Top of the Lake: China Girl - Johanna Schmertz9. Photosensitive Primetime: Race and Recovery in Top of the Lake: China Girl - Blythe WorthyAfterword: Unsettling Feminism - Annabel CooperBibliography Filmography

This impressive and timely book is a welcome addition to the scholarship on Jane Campion, a filmmaker whose work, despite her significance, remains under-researched. The essays revisit her early, often neglected, films as well as offering new insights into canonical texts such as The Piano, and exploring more recent films, including The Power of the Dog.