The Construction of Female Subjectivity in Jane Campion's Films

This thesis explores the construction of female subjectivity in Jane Campion's films by stating the research question: How does Campion deploy visual framing, symbolic motifs, and character discourse to construct female subjectivity in The Piano (1993), In the Cut (2003) and The Power of the Dog (2021)? A sub question follows to explore the alignment between the films and the different waves of feminism: how do these films engage and reflect the evolving discourse of second, third, and fourth wave feminism? Situated by visual critical discourse analysis, the project addresses an academic gap in Campion scholarship: How Campion utilizes her cinematic language in constructing female subjectivity, and how it aliens with historical trajectories of second, third, and fourth wave feminism. Methodologically, the study combines mise-en-scène analysis (shot composition, colour palette, sound design) with a supplementary critical discourse analysis of dialogue and paratext, both triangulating these readings through secondary theory on gaze, jouissance and gender performativity. Primary data are the three feature films, selected scenes, and supplemented by production interviews and scripts. The analysis demonstrates, The thesis finds that Campion constructs resistance through silence and visual control, where female subjectivity is asserted via gaze, spatial separation, and the refusal of speech. Sexual agency emerges through Campion's use of fragmented close-ups and erotic ambiguity, challenging conventional portrayals of desire and reclaiming jouissance for female and queer characters. Finally, the films reveal a complex duality in gender construction: Campion destabilizes fixed gender roles through symbolic inversions and mirroring, positioning femininity and masculinity as performative, fluid, and often co-constructed through power and vulnerability. Moreover, The Piano (1993) aligns with second wave feminism through its focus on bodily autonomy and resistance via silence. In the Cut (2003) reflects third wave feminism by exploring sexual agency, pleasure, and ambiguity. The Power of the Dog (2021) engages fourth wave feminism through its critique of toxic masculinity, gender fluidity, and queer subjectivity.