ABSTRACT |
Jane Campion’s The Piano (1993) was soon acclaimed by
the public, the critics, different cinema institutions, and academics
alike. Its complexity also favoured the appearance of many and varied
academic analysis of the film. A number of scholars have noted that this
text relies upon different sources which inspired its creation. However,
no scholarly work has considered its complex and multi-layered use of
intertextuality as such, as a main issue. This essay will try to address
this intertextual nature of The Piano; it will refer to some
literary sources that probably provided inspiration for it and that have
not been acknowledged in the existing literature; it will also consider
others that, although mentioned by critics, acquire new perspectives and
significance here. This essay will also finally suggest some plausible
implications behind this very conscious use of intertextuality.
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