Table of Contents

1 FOREWORD
1.1 Credits
1.2 Why I chose this topic
1.3 Preview

2 HISTORY AND DEVELOPMENT OF FILM
2.1 How it all started
2.2 Drama
2.3 German Expressionism
2.4 Formalism
2.5 Realism

3 SEMIOTICS
3.1 Short history of semiotics
3.2 Denotation and Connotation
3.3 Systems of signs
3.4 Signs in film
3.4.1 Icon
3.4.2 Index
3.4.3 Symbol
3.4.4 Non-intentional signs
3.4.5 Signs of drama
3.5 Metaphor
3.6 Metonymy, Synecdoche and Trope
3.6.1 Metonymy
3.6.2 Synecdoche
3.6.3 Trope

4 CINEMATOGRAPHIC LANGUAGE
4.1 Camera
4.1.1 Shots
4.1.2 Perspective
4.1.3 Duration of shots
4.1.4 Conjunction of shots
4.1.5 Exposure
4.1.6 Movement of the camera
4.1.7 Direction of movement of the camera
4.1.8 Movement of the object
4.1.9 Direction of movement of the object
4.1.10 Axis
4.2 Mise-en-Scene
4.3 Montage
4.4 Fotogenity
4.5 Composition of the shot

5 SOUND
5.1 Speech
5.2 Sounds
5.3 Music

6 METHODS OF ANALYSIS
6.1 What is a film theoretician?
6.2 Definition: Interpretation - Analysis
6.3 Interpretation of films
6.3.1 Structuralistic method
6.3.2 Literature historic or film historic interpretation of films
6.3.3 Sociological interpretation of films
6.3.4 Psychological interpretation of films
6.3.5 Genre-specific interpretation of films
6.3.6 Biographical interpretation of films
6.4 Content analysis

7 COLOURs AND THEIR MEANING
7.1 Blue
7.2 Red
7.3 Green
7.4 Yellow
7.5 Black
7.6 White
7.7 Pink
7.8 Purple
7.9 Orange
7.10 Brown
7.11 Grey
7.12 Gold
7.13 Silver

8 INTRODUCTION
8.1 Hypotheses
8.2 Explanations

9 JANE CAMPION

10 "SWEETIE"
10.1 Production notes
10.2 Summary
10.3 Sweetie
10.3.1 Looks
10.3.2 Colours / Lighting
10.3.3 Language
10.3.4 Personality
10.3.5 History / Background
10.3.6 Lifestyle / Opinions
10.3.7 Sweetie as an outsider / What other people say about Sweetie
10.3.8 Surroundings / People around her
10.3.9 Typical interactions between Sweetie and other persons
10.4 Kay
10.4.1 Looks
10.4.2 Colours / Lighting
10.4.3 Language
10.4.4 Personality
10.4.5 History / Background
10.4.6 Lifestyle / Opinions
10.4.7 Kay as an outsider / What other people say about Kay
10.4.8 Surroundings / People around her
10.4.9 Typical interactions between Kay and other persons
10.5 Kay and Sweetie - Two sides of one coin
10.6 Other characters
10.6.1 Louis
10.6.2 Bob
10.6.3 Gordon, their father
10.6.4 Flo, their mother
10.7 Filmic realization
10.7.1 Protocol
10.7.2 How Sweetie and Kay are filmed
10.7.3 Lighting
10.8 Symbolism in the film
10.8.1 Trees
10.8.2 Porcelain animals
10.8.3 Cracks
10.8.4 Bodies cut in halves
10.8.5 Crowded margins
10.8.6 Play of lights and shades

11 "AN ANGEL AT MY TABLE"
11.1 Production notes
11.2 Summary
11.3 Janet
11.3.1 Looks
11.3.2 Colours / Lighting
11.3.3 Language
11.3.4 Presonality
11.3.5 History / Background
11.3.6 Lifestyle / Opinions
11.3.7 Janet as an outsider / What other people say about Janet
11.3.8 Surroundings / People
11.3.9 Typical interactions between Janet and other persons
11.4 Other characters
11.4.1 Parents
11.4.2 Siblings
11.4.3 John Forrest
11.4.4 Frank Sargeson
11.4.5 Patrick
11.4.6 Bernard
11.5 Filmic realization
11.5.1 Protocol
11.5.2 How Janet is filmed
11.6 Symbolism in the film
11.6.1 Shoes
11.6.2 The Twelve Dancing Princesses
11.6.3 Islands
11.6.4 Alone on all her paths

12 "THE PIANO"
12.1 Production notes
12.2 Summary
12.3 Ada
12.3.1 Looks
12.3.2 Colours / Lighitng
12.3.2.1 Colours
12.3.2.2 Lighting
12.3.3 Language
12.3.4 Personality
12.3.5 History / Background
12.3.6 Lifestylye / Opinions
12.3.7 Ada as an outsider / What other people say about Ada
12.3.8 Surroundings / People
12.3.9 Typical interactions between Ada and other persons
12.4 Other persons
12.4.1 Flora
12.4.2 Baines
12.4.3 Stewart
12.4.4 Morag and Nessie
12.5 Filmic realization
12.5.1 Protocol
12.5.2 How Ada is filmed
12.6 Symbolism in the film
12.6.1 Bush
12.6.2 Water
12.6.3 The stage-play
12.6.4 The piano

13 "THE PORTRAIT OF A LADY"
13.1 Production notes
13.2 Summary

14 WHAT THE FILMS HAVE IN COMMON
14.1 What the films have in common with regard to subjects / contents
14.1.1 Lost illusions
14.1.2 Hysteria
14.1.3 Craziness
14.1.4 Loneliness
14.1.5 Voluntary retreat
14.1.6 Being locked in
14.1.7 Liberation / Survival
14.1.8 Sexuality
14.1.9 Voyeurism
14.1.10 Talents / Artists
14.1.11 Death resp. death and nature
14.1.12 Fairy tales
14.1.13 Men
14.1.14 Geographical surroundings as mirrors of the women
14.1.15 Janet und Sweetie: Childhood
14.2 What the films have in common cinematically / with regard to design
14.2.1 Alone with the woman
14.2.2 Close-ups
14.2.3 Change of perspective
14.2.4 Subjective Camera
14.2.5 Eyes
14.2.6 Voice-over
14.2.7 Clothes
14.2.8 "Sweetie", "Piano" and "Portrait": Return to the beginning
14.3. The films' messages
14.4. The films as pieces of one woman's biography
15 Conclusion
15.1 Verification of the hypotheses
15.2 Famous last words

BIBLIOGRAPHY
APPENDIX 1: Jane Campion - Filmography
APPENDIX 2: Characters and actors / The Crews
APPENDIX 3: Photos from the three movies

CURRICULUM VITAE


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