Finding Her Voice 1
Escaping the limits society places on women in the film of Jane Campion
ANNOTATED PROCESS JOURNAL
Table of Contents
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Table of Contents
01Research Director Design Berif Film Moodboard Material Narrative Plot Diagram Director Connection Interview Master Board
02Development Identity Sketch Visual Style
03Deliverabbles Poster
Catalog Ticket Advertising DVD package Website / App Business System
Jane Campion
JANE CAMPION FILMOGRAPHY Tissues (1980) Mishaps of Seduction and Conquest (1981)
BIOGRAPHY
Peel: An Exercise in Discipline (1982) Passionless Moments (1983) Dame Elizabeth Jane Campion DNZM is a New A Girl’s Own Story (1984) Zealand screenwriter, producer, and director. She is the After Hours (1984) second of five women ever nominated for the Academy Two Friends (1986) Award for Best Director and the first and only female Sweetie (1989) filmmaker to receive the Palme d’Or, which she received An Angel at My Table (1990) for the acclaimed film The Piano (1993), for which she The Piano(1993) also won the Academy Award for Best Original Screenplay. The Portrait of a Lady (1983) Although both her parents were involved in New Zealand Holy Smoke! (1996) theatre, Campion initially chose a different direction, After Hours (1999) earning a B.A. (1975) in anthropology from the Victoria In the Cut (2003) University of Wellington. She obtained a second degree The Water Diary (2006) (1981), in art, from the Sydney College of the Arts at the Top of the Lake (2013) University of Sydney in Australia before turning to film. Campion enrolled in the Australian Film, Television and Radio School and made several notable short films while there and afterward. Her first theatrical feature, Sweetie (1989), won notice at the Cannes film festival and was followed by the successful An Angel at My Table, which was based on autobiographies by Janet Frame. Campion’s subsequent work has tended to polarize opinion. Holy Smoke! (1999) teamed Campion with Harvey Keitel, who as the female lead. Her 2009 film Bright Star was shown at the Cannes Film Festival.
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Jane Campion
Jane Campion
FILM MOODBOARD
The Piano
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Jane Campion
FILM MOODBOARD
A n A n ge l a t t h e Ta b l e
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Holy Smoke!
Jane Campion
DESIGN BRIEF FESTIVAL NAME Title: Finding Her Voice Subtitle: Escaping the limits society places
on women in the film of Jane Campion
FILM SELECT An Angel at My Table (1990) The Piano(1993) The Portrait of a Lady (1983)
POSITIONING: This film festival is going to bring you to Jane Campion’s women’s stories. In her lens and writing, Campion will explain her character’s experience and destiny for women in society. Here, Campion not only takes you into a dramatic screen, but real persona come to you and allow you to explore their stories throughout the past and the present. Do you see yourself in their stories?
Holy Smoke! (1996)
The Piano
AUDIENCE: Woman(protogorist)
Our film festival will invited :
Husband
- All people who order than 18 years old.
Man
- Ladies who are love Jane Campion’s movie - Women who are looking for self values and freedom in their lifes.
G
DATES: March 21-22, 2021 March 21 is a day of 66th Academy Awards in 1994. Jane Campion
B
E
rewards Best Director, Best Writing, Screenplay Written Directly for the Screen
LOCATION: I
Dorothy Chandler Pavilion is one of the halls in the Los Angeles Music Center. Jane Campion , The Piano won the first Academy Awards with Anna Paquin and Holly Hunter. Location is 135 N Grand Ave, Los Angeles, CA
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THREAD: A
B
Jane Campion explores how women in patriarchal society try to esC
cape from bondage of family and marriage. When they experienced D
death and love, they were able to find their true value bravely.
GUIDING NARRATIVE:
A: Who are we talking about
Who:
B: What happen
- I am a woman in the shadow of a lost love.
C: The proccess of transformation
No one ever came into my heart again.
D: The End Where: - It’s a rainy day, I am sitting by the balcony of my bedroom. What: - I pick up his photo and cry. His departure makes me suffer. I put down his photo and look outside the window, the waves are dashing against the beach. I know I have to accept a life without him, because reality is forcing me to move on with my life.
Jane Campion
MASTER MOODBOARD Level 1
Level 2
Level 3
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Jane Campion
T YPOGRAPH Y ST YLE
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Jane Campion
GRAPHIC ST YLE
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Jane Campion
PLOT DIGRAM The Piano
Woman(protogorist) Husband Man
F
C
E
A
B
D
A: Lost in bondage of Marriage and Love. B: Trying to get comfort for freedom C: Found freedom from fantasy D: Disillusionment E: Accept the reality and go back the begining F: Find the self-worth and face the reality of life
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DIRECTOR CONNECTION
Sofia Coppola Sofia Carmina Coppola is an American screenwriter, director, producer, and actress.
JANE CAMPION
Catherine Hard wicke Helen Catherine Hardwicke is an American film director, production designer, and screenwriter.
Edith Campion Jane Campion’ s mother, She was an actress, known for An Angel at My Table (1990) director by Jane Campion Richard Campion Jane Campion’ s father. New Zealand’s first professional theatre company, with his wife and cofounder Edith Campion.
Jane Campion
INTERVIEW Meeting with Jane Campion Jane Campion was the guest of honor at the Antipodes Festival which took place this last October in Saint Tropez, France—paying tribute to New Zealand cinema. She received an award, the Top of Tasman Award for her entire career, and inaugurated this 20th edition by presenting two films: Peel, for which she received the Palme d'Or short film at the Cannes Film Festival in 1986, and her first feature film Sweetie. What does this Antipodes Festival represent for you? My film Holy Smoke was shown in 1999, but I could not be there. It is still a very long trip to Europe from New Zealand. I try to come given that my career took off in France. What do you mean? Pierre Rissient - filmmaker and discoverer of talents who died on May 6, 2018 (editor’s note) - whose memory I saluted at the inauguration, gave me my shot by selecting my graduation film Peel, then Sweetie at the Cannes Festival. This is how it all began.
How can this situation be changed? I think after #metoo, it will no longer be possible to ignore women. We want to hear what they want and what they think! Women are a wealth of the world. “Me” and “too” are the first two words I pronounced as a child. I wanted to have everything my big sister had and I used to say “Me too, me too,” all the time! On a more serious note, I was at the Golden Globes ceremony—hearing these women speak up and demand equality, made me feel like for the first time something was really happening. To speak up, to claim, is it enough? We are facing a historic turning point. And we will never go back. We must work, rush into the now open doors and use this energy to build on. Just do it! Just go for it! On the film sets I worked on lately, we were surprised to see the teams’ gender ratios not mixed enough. This is especially true on television, less in cinema which is a more conservative field. To speak up, to claim, is it enough?
You are one of the rare women director to receive awards, such as winning two Palmes d'Or, an Oscar, or awards in Venice, and to be considered by the critics[ECF1] . How
We are facing a historic turning point. And we will
does it make you feel?
doors and use this energy to build on. Just do it! Just
It makes me uncomfortable. In this world, women’s voices are not given enough importance, though I don’t just blame the film industry or critics for that. This is a problem that goes far beyond the cinema industry,
never go back. We must work, rush into the now open go for it! On the film sets I worked on lately, we were surprised to see the teams’ gender ratios not mixed enough. This is especially true on television, less in cinema which is a more conservative field.
even if our world is far from being spared. When 93%
You have always claimed a feminine view in your films.
of films are made by men and this percentage has not
Has this complicated the financing for some of them?
increased since the beginning of film-making, we cannot remain at ease.
Being a woman is very important to me. And I do not want to be bullied or abused because of my sex. But, this is not a claim! I express my sensitivity and it turns out to be feminine. This has never been a handicap for my producers who have always liked my scripts and found the necessary money for me to do my films.
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REVIEWS: Has Hollywood solicited you, offered more money? But that's not what I want to do! On the other hand, it is important not to neglect film finance. For me, it was financial reasons that drove Weinstein and the others down. They collapsed before being annihilated
“The Piano” is as peculiar and haunting as any film I’ve seen... It is a story of shyness, repression and loneliness; of a woman who will not speak and a man who cannot listen, and of a willful little girl who causes mischief and pretends she didn’t mean to.
by women.
— Roger Ebert
That is to say?
The film isn’t really about cults at all, but about the
TV shows such as The Handmaid's Tale, Big Little Lies or mine, Top of the Lake, all address the complexity of the relationship between the two sexes and the difference in women's feelings. They have had success and received awards. I think the public is bored watching works with alpha males. Even men are fed up! If producers continue to ignore the female point of view, they will eventually lose their audience. Which is what matters. This is the right time for women.
struggle between men and women, and it’s a little surprising, although not boring, when it turns from a mystic travelogue into a feminist parable. — Roger Ebert As Holy Smoke moves from its early mix of rapture and humor into the more serious, confrontational stage, it runs into trouble . . . the screenplay . . . threatens to become heavy-handedly ideological beneath its outward whimsy . . . it turns out to be more fundamentally conventional than might be expected . . . Shot so
You say that writing male characters is not easy for you. Is this why you collaborate with Gerard Lee? He is my oldest friend and we share the same sense of humor. He is the most surprising and least ambitious person I know. Yet, he is much more "girly" than I am! I struggle to write male roles as they’re usually stemming from patriarchal structures, the same way
beautifully by Dion Beebe that it seems bathed in divine light, [the film] has a sensual allure that transcends its deep-seated ponderousness. The richly colored Indian scenes have hallucinogenic magic, while exquisite desert vistas radiate an attunement with nature. — Janet Maslin
I am wary of stereotyping female characters.
Jane Campion’s drama still hits all the right notes.
Would you go so far as to write a movie with a central
— Peter Bradshaw
male character? Yes, I would, and will. And it will be in my next film. Now that the #meetoo movement has allowed other women to express themselves, I feel more free to put a man at the center of my next film.
there’s a special sort of thrill that comes from being able to pinpoint the moment at which you fall in love with a film, particularly one that’s entrenched in the Film Canon. — Hannah Woodhead
Jane Campion
IDENTIT Y SKETCH
the
Finding The Voice
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IDENTIT Y SKETCH
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POSTER DEVELOPMENT
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POSTER
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ADVERTISING
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TICKET
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STATIONARY SYSTEM
Jane Campion
DVD PACKAGE
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Jane Campion
CONTAINER
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CATALOG
Jane Campion
WEBSITE
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Jane Campion
APP
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SUOUNDTRACK
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NOTEBOOK
Jane Campion
GRAPHIC TEE
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MASK
Jane Campion
PICTURE FRAME
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POST CARD
ANNOTATED PROCESS JOURNAL NAME : MAGGIE CHEN CLASS: GR 425 01: VISUAL SYSTEMS 2 INSTRUCTOR: HUNTER WIMMER
Escaping the limits society places on women in the film of Jane Campion