In the Mood for Analyzing
Paper by Drake Zimmerman.
In the Mood for Love is a dramatic romance released in 2000 by Wong Kar-wai, a Hong Kong film director and screenwriter. It tells the melancholic story of Mr. Chow (Tony Leung Chiu-Wai) and Mrs. Chan’s (Maggie Cheung) relationship with one another following the realization that their wife and husband respectively had an affair with each other. The film was captured entirely between Bangkok, Thailand for its exterior shots, including street scenes, taxi scenes, and Singapore scenes, and Hong Kong for its interior shots, like apartment scenes and Mr. Chow’s office space (Filmed in Ether, 2020). In the Mood for Love features a fictional narrative and was plagued by a troubled, 15-month production due to financing issues, his cinematographer backing out, and a lack of a coherent script (Filmed in Ether, 2020). While originally screened at Cannes Film Festival in 2000, it soon reached international audiences to much audience and critical acclaim and landed Wong & co. awards (Filmed in Ether, 2020).
This paper analyzes the scene in the film (52 36 – 57 35) largely between Mr. Chow and Mrs. Chan in which they spend time with one
The Female Gaze: The Piano and Jane Campion
Paper by Marcie McTigue.
T
he 1993 movie The Piano is a gorgeous film that uses the natural beauty of the beaches and wilds of writer/director Jane Campion’s native New Zealand as a backdrop to a violent fairy tale. The Piano is a fictional narrative period drama set in the mid-1800s. It was filmed over two. months in the winter of 1992. Some critics argue that The Piano is in a film movement called the Female Gaze but it is also a romance, a tragedy, and it challenges societal views of women. The film won many awards, including the Palme d’Or for Campion and Academy Awards for Best Supporting Actress for nine-year-old Anna Paquin, Best Actress for Holly Hunter, and Best Original Screenplay for Campion.
This paper will explore the idea of the female faze in Jane Campion’s film The Piano, specifically looking at the pivotal scene between Ada (Holly Hunter) and Baines (Harvey Keitel) where Baines says that their arrangement of her playing piano in exchange for sexual favors is, “making you a whore and me wretched.” This scene is relevant to the rest of the film because this turning point
