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Class Assignment 1_Film Script_Vocabulary Work

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Class Assignment 1_Film Script_Vocabulary Work

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Our Work in Steps_Breaking the Silence.docx

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One of the most powerful moments in cinema history. When he finds out that his wife Ada has betrayed him, Alisdair chops her finger off, depriving her from playing the piano. Holly Hunter in her Academy Award winning performance. Uno de los momentos más poderosos en la historia del cine.

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New Zealand is known to many as a country with wonderful landscapes, a beautiful and mysterious culture and sheep, lots of sheep however it wasn't always that way. In fact the lands of New Zealand were covered in native birds, some flightless such as the Kiwi and others that sing beautiful songs such as the Kereru many say until the colonization of this land by the British. Britain's colonization of New Zealand had devastating impacts on the culture and environment of the indigenous people (Maori) and the development of the nation due to the British's own assumption that they knew best how to manage the resources they had colonized however they consequently endangered the Maori's culture, environment and the development of the country after the signing of the Treaty of Waitangi on the 6th February 1840.

New Zealand was a land that not many knew of or intended to colonize for many years. It was by accident that it was founded and then once founded no one wanted to colonize the land, largely due to the fact that many were fighting over the colonization of Australia at the same time. Captain Cook had one goal at the time and that was to come out with the win of Australia as their next colony. When the French landed in Akaroa, New Zealand things began to change. The British knew that while it would be extremely expensive to try and gain access to two different colonies at the same time it would be more important to them than to allow the French to take over the land of New Zealand as they would have grounds to be able to try and take over parts of Australia so they decided that they would try t colonize both at the same time. The first arranged meetings with the Maori occurred in 1769 and 1770. [1]

It was 70 years after the first meetings were held between the British and the Maori that the British finally got what they wanted all along - a piece of paper signed by some Maori that didn't actually understand English and thought that they were getting more out of what they were giving. A win for the British. The Treaty of Waitangi was a huge stepping stone for both nations and to begin with both nations were happy with what they had chosen to do, initially the Maori were enticed to the signing through the advanced tools that the British would bring over with them which allowed them to make advancements to their way of life - a small change that signifies the start of the changing of their culture from a small way of life to becoming big city people. Once they had completed the signing however they noticed changes in the treatment that they received. The second article of the Treaty of Waitangi claims "guaranteed protection for Maori lands however the New Zealand Government has the right to buy the lands." The Maoris believed through their own culture that they owned every bit of land in New Zealand; every hill was known to
have a name while every weed was also just important to them. The mountains were also incredibly sacred to them with many of the Maori Myths and legends that are taught in schools today being about the mountains. [2]
Article Soon after signing, Maori's Opinion
This is really the first time that we see the troubles of a language barrier, which would change the Maori culture entirely. Over the 175 years it has been since the Treaty of Waitangi has been signed the Maori language and number of native speakers has been depleting. The lack of understanding for the Maori culture and the mentality to do what is best for them caused the British to implement changes among the Maori such as making them learn the English language. While they may not have necessarily forced them to learn the English language they didn't make any effort to become accustomed to the Maori culture or make any attempts to blend into the society they were trying to take over. The British also showed their lack of understanding to the Maori Culture when they forced the Maoris into smaller areas of land and taking large amounts of sacred farmland and changing it to suit them and their way of life. [3] [4]

Another change that occurred over time was the depletion in the number of Kiwi's throughout the nation. The main depletion occurred soon after the British had come to New Zealand and allowed rabbits onto the island. When they noticed the damage that the rabbits were causing they decided to bring over stoats to try and kill off the ever expanding rabbit population. However this was not very successful as they began to kill the kiwi instead of the rabbits. The cultural issue of this was not prominent at the time however and only became more of an issue around the 1950's when it was found that many were becoming endangered and they were a hard species to help reproduce. In the 1890's the British also became a problem for the kiwi when they found out that the kiwi skin had worth back home and they wanted to make quick money however this didn't last long as the kiwi were hard to hunt for humans due to their ability to hide from eye sight and in respect to the Maoris. [5]
Rabbit Pest in New Zealand
Spain noticed that the information that the British had given out didn't add up to the information that was on record and heard complaints from the Maoris about the loss of their land this causes the Maoris to go to "The New Zealand Company" through the encouragement of the Spanish and get the purchases of their land re-looked at. The result was not successful for the Maoris as the company found that their claim to all the land was "impossibly large".

The British asked a lot of the Maoris, even if it was spoken through their actions rather than through their words. They remained oblivious to the culture of the Maoris and never tried to make an effort to allow them to continue to practice the ways of their culture. Soon enough for the British there was less need to worry about the Maoris since they were largely a minority group of New Zealand. A large effect of this was the massive decrease in the age of death for the Maori since the colonization of New Zealand. It is thought that the items that caused the decrease in life expectancy were items such as weapons and alcohol, which the British used to bribe the Maoris into agreeing to do certain things like allow British onto certain areas of land. Another large cultural change that the Maoris were forced to make was to allow much of their land to be used to farming. While the Maoris found it hard to give up the land the British ended up starting the biggest industry in New Zealand and have very much shaped the culture of New Zealand to these days. [5]

As you are able to see in the featured image that is provided in this essay, while the process took many years eventually the British were able to control the majority of the land throughout the nation. The British turned the majority of this land into farm land. While I could not find an exact number I found that today "54.8 percent of the nation is farm land" so we are able to tell that at this time around 70-75% of the nation would have been farmland.

In conclusion, aspects of Britain's colonization of New Zealand were very important for the nation to be able to move forward and become a nation that was able to create ties through import and export industries. However much of what has changed in New Zealand over the 175 years it has been since the signing of the treaty are consequences from this mindset. The loss of Maori language and changes to the wildlife are significant changes that are widely spoken about in New Zealand and much of the ignorance of the British is to blame with them attempting to make the Maori conform to what they wanted in one of their colonies.

[1] Thomas, Nicholas; Islanders: The Pacific in the Age of Empire: 2010; Page 130

[2] O'Malley, Vincent and Stirling, Bruce and Penetito, Wally. The Treaty of Waitangi Companion Maori and Pakeha from Tasman to today: 2011; Page 73

[3] Reedy, Tamati. Te Reo Maori: The Past 20 years and looking forward. Oceanic Linguistics, Vol. 39, No.1 (Jun., 2000), pp. 157-169

[4] http://www.dailyplanet.org.uk/category/anti-racism/

[5] Victoria Univeristy, New Zealand; Introduced Birds and Mammals in New Zealand and their effect on the environment; Tuatara: Volume 27, Issue 2, December 1984; http://nzetc.victoria.ac.nz/tm/scholarly/tei-Bio27Tuat02-t1-body-d1.html

[6] O'Malley, Vincent and Stirling, Bruce and Penetito, Wally. The Treaty of Waitangi Companion Maori and Pakeha from Tasman to today; 2011; Page 85

Secondary Sources

Adams, Peter. Fatal Necessity : British Intervention in New Zealand 1830 - 1847. 1997

Buick, Thomas Lindsay. The Treaty of Waitangi, or how New Zealand became a British Colony. 1840; 1914

Hudson, Paul. English Emigration to New Zealand, 1839-1850 : Information Diffusion and Marketing a New World. The Economic History Review, vol. 54, No. 4 (Nov., 2001), pp. 680-698

O'Malley, Vincent and Stirling, Bruce and Penetito, Wally. The Treaty of Waitangi Companion Maori and Pakeha from Tasman to today. 2011.

Reedy, Tamati. Te Reo Maori: The Past 20 years and looking forward. Oceanic Linguistics, Vol. 39, No.1 (Jun., 2000), pp. 157-169

Thomas, Nicholas, Islanders: The Pacific in the age of Empire, 2010

Victoria Univeristy, New Zealand; Introduced Birds and Mammals in New Zealand and their effect on the environment; Tuatara: Volume 27, Issue 2, December 1984; http://nzetc.victoria.ac.nz/tm/scholarly/tei-Bio27Tuat02-t1-body-d1.html

Primary Sources

The Times (London, England), The War in New Zealand, Wednesday, Nov 14, 1860; pg. 6; Issue 23777. (5682 words)

The Times (London, England), The Rabbit Pest in New Zealand, Tuesday, May 22, 1888; pg. 3; Issue 32392. (275 words)

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New Zealand is known to many as a country with wonderful landscapes, a beautiful and mysterious culture and sheep, lots of sheep however it wasn't always that way. In fact the lands of New Zealand were covered in native birds, some flightless such as the Kiwi and others that sing beautiful songs such as the Kereru many say until the colonization of this land by the British.

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The Other is a common figure in literature. If you took Core Curriculum 1.1, you may recognize this concept in a tragedy like Medea. Medea as Other is doubly dangerous. For the Greeks, any non-Greek was the Other or a "barbarian," and Medea is a barbarian.

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Silence and powerlessness go hand in hand – women’s voices must be heard

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Silence and powerlessness go hand in hand – women’s voices must be heard

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Being unable to tell your story is a living death. The right to speak is a form of wealth that is being redistributed. No wonder powerful men are furious

ilence is golden, or so I was told when I was young. Later, everything changed. Silence equals death, the queer activists fighting the neglect and repression around Aids shouted in the streets. Silence is the ocean of the unsaid, the unspeakable, the repressed, the erased, the unheard. It surrounds the scattered islands made up of those allowed to speak and of what can be said and who listens.

Silence occurs in many ways for many reasons; each of us has his or her own sea of unspoken words. English is full of overlapping words, but for the purposes of this essay, regard silence as what is imposed, and quiet as what is sought. The tranquillity of a quiet place, of quieting one's own mind, of a retreat from words and bustle is acoustically the same as the silence of intimidation or repression, but psychically and politically something entirely different. What is unsaid because serenity and introspection are sought and what is not said because the threats are high or the barriers are great are as different as swimming is from drowning. Quiet is to noise as silence is to communication.

The quiet of the listener makes room for the speech of others, like the quiet of the reader taking in words on the page, like the white of the paper taking ink. "We are volcanoes," Ursula Le Guin once remarked. "When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains." The new voices that are undersea volcanoes erupt in what was mistaken for open water, and new islands are born; it's a furious business and a startling one. The world changes. Silence is what allows people to suffer without recourse, what allows hypocrisies and lies to grow and flourish, crimes to go unpunished. If our voices are essential aspects of our humanity, to be rendered voiceless is to be dehumanised or excluded from one's humanity. And the history of silence is central to women's history.

Words bring us together, and silence separates us, leaves us bereft of the help or solidarity or just communion that speech can solicit or elicit. Some species of trees spread root systems underground that interconnect the individual trunks and weave the individual trees into a more stable whole that can't so easily be blown down in the wind. Stories and conversations are like those roots.

Being unable to tell your story is a living death, and sometimes a literal one. If no one listens when you say your ex-husband is trying to kill you, if no one believes you when you say you are in pain, if no one hears you when you say help, if you don't dare say help, if you have been trained not to bother people by saying help. If you are considered to be out of line when you speak up in a meeting, are not admitted into an institution of power, are subject to irrelevant criticism whose subtext is that women should not be here or heard.

Stories save your life. And stories are your life. We are our stories; stories that can be both prison and the crowbar to break open the door of that prison. We make stories to save ourselves or to trap ourselves or others - stories that lift us up or smash us against the stone wall of our own limits and fears. Liberation is always in part a storytelling process: breaking stories, breaking silences, making new stories. A free person tells her own story. A valued person lives in a society in which her story has a place.

Violence against women is often against our voices and our stories. It is a refusal of our voices, and of what a voice means: the right to self-determination, to participation, to consent or dissent; to live and participate, to interpret and narrate.

Sometimes just being able to speak, to be heard, to be believed, are crucial parts of membership in a society

A husband hits his wife to silence her. A date rapist or acquaintance rapist refuses to let the "no" of his victim mean what it should, that she alone has jurisdiction over her body. Rape culture asserts that women's testimony is worthless, untrustworthy. Anti-abortion activists also seek to silence the self-determination of women. A murderer silences forever.

These are assertions that the victim has no rights, no value - is not an equal.

Other silencings take place in smaller ways: the people harassed and badgered into silence online, talked over and cut out in conversation, belittled, humiliated, dismissed.

Having a voice is crucial. It's not all there is to human rights, but it's central to them, and so you can consider the history of women's rights and lack of rights as a history of silence and breaking silence. Speech, words, voices sometimes change things in themselves when they bring about inclusion, recognition: the rehumanisation that undoes dehumanisation. Sometimes they are only the preconditions to changing rules, laws, regimes to bring about justice and liberty.

Sometimes just being able to speak, to be heard, to be believed, are crucial parts of membership in a family, a community, a society. Sometimes our voices break those things apart; sometimes those things are prisons.

And then when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable. Those not impacted can fail to see or feel the impact of segregation or police brutality or domestic violence; stories bring home the trouble and make it unavoidable.

By voice, I don't mean only literal voice - the sound produced by the vocal cords in the ears of others - but the ability to speak up, to participate, to experience oneself and be experienced as a free person with rights. This includes the right not to speak, whether it's the right against being tortured to confess, as political prisoners are, or not to be expected to service strangers who approach you, as some men do to young women, demanding attention and flattery and punishing their absence.

Who has been unheard? The sea is vast, and the surface of the ocean is unmappable. We know who has, mostly, been heard on the official subjects; who held office, commanded armies, served as judges and juries, wrote books, and ran empires over past several centuries. We know how it has changed somewhat, thanks to the countless revolutions of the 20th century and after - against colonialism, racism, misogyny, against the innumerable enforced silences homophobia imposed, and so much more. We know that in the US, class was levelled out to some extent in the 20th century and then reinforced towards the end, through income inequality and the withering away of social mobility and the rise of a new extreme elite. Poverty silences.

Silence is what allowed predators to rampage through the decades unchecked. It's as though the voices of these prominent public men devoured the voices of others into nothingness, a narrative cannibalism. They rendered them voiceless to refuse and afflicted with unbelievable stories. Unbelievable means those with power did not want to know, to hear, to believe, did not want them to have voices. People died from being unheard.

If the right to speak, if having credibility, if being heard is a kind of wealth, that wealth is now being redistributed. There has long been an elite with audibility and credibility, and an underclass of the voiceless.

As the wealth is redistributed, the stunned incomprehension of the elites erupts over and over again, a fury and disbelief that this woman or child dared to speak up, that people deigned to believe her, that her voice counts for something, that her truth may end a powerful man's reign. These voices, heard, upend power relations.

A hotel cleaner launched the beginning of the end of IMF chief Dominique Strauss-Kahn's career. Women have ended the careers of stars in many fields - or rather those stars have destroyed themselves by acts they engaged in, believing that they had the impunity that comes with their victims' powerlessness. Many had impunity for years, some for lifetimes; many have now found they no longer do.

Who is heard and who is not defines the status quo. Those who embody it, often at the cost of extraordinary silences with themselves, move to the centre; those who embody what is not heard, or what violates those who rise on silence, are cast out.

By redefining whose voice is valued, we redefine our society and its values.

* This essay is an extract from Rebecca Solnit's new book, The Mother of All Questions
Topics

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Silence and powerlessness go hand in hand - women's voices must be heard | Rebecca Solnit

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Being unable to tell your story is a living death. The right to speak is a form of wealth that is being redistributed. No wonder powerful men are furious ilence is golden, or so I was told when I was young. Later, everything changed.

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The Piano (1993) Official Trailer - Holly Hunter, Anna Paquin Movie HD

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Disillusionment of Ten O’Clock

Wallace Stevens, 1879 - 1955

The houses are haunted
By white night-gowns.
None are green,
Or purple with green rings,
Or green with yellow rings,
Or yellow with blue rings.
None of them are strange,
With socks of lace
And beaded ceintures.
People are not going
To dream of baboons and periwinkles.
Only, here and there, an old sailor,
Drunk and asleep in his boots,
Catches tigers
In red weather.

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Our story starts in Scotland in the mid-19th century...

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Our story starts in Scotland in the mid-19th century...

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The Piano is a 1993 period drama film written and directed by Jane Campion. Starring Holly Hunter, Harvey Keitel, Sam Neill, and Anna Paquin in her first major acting role, the film focuses on a mute Scottish woman who travels to a remote part of New Zealand with her young daughter after her arranged marriage to a frontiersman.

A co-production between New Zealand, Australia and France, The Piano was a critical and commercial success, grossing US$140.2 million worldwide against its US$7 million budget. Hunter and Paquin both received high praise for their performances. In 1993, the film won the Palme d'Or at the Cannes Film Festival, making Jane Campion the first female director to ever receive this award. It won three Academy Awards out of eight total nominations in March 1994: Best Actress for Hunter, Best Supporting Actress for Paquin, and Best Original Screenplay for Campion. Paquin was 11 years old at the time and remains the second-youngest actor to win an Oscar in a competitive category.

The plot has similarities to Jane Mander's 1920 novel "The Story of a New Zealand River", but also substantial differences. Campion says that Wuthering Heights and The African Queen were her inspirations.

In the mid-1800s, an electively mute Scotswoman named Ada McGrath is sold by her father into marriage to a New Zealand frontiersman named Alisdair Stewart, bringing her young daughter Flora with her. Ada has not spoken a word since she was six and no one, including herself, knows why. She expresses herself through her piano playing and through sign language, for which her daughter, in parent-child role reversal, has served as her interpreter. Flora is the product of a relationship with a piano teacher whom Ada believed she had seduced through mental telepathy, but who "became frightened and stopped listening" and thus left her.

Ada, Flora, and their belongings, including a hand crafted piano, are deposited on a New Zealand beach by a ship's crew. The following day, Alisdair arrives with a Māori crew and his friend, George Baines, a fellow forester and retired sailor who has adopted many of the Māori customs, including tattooing his face. Alisdair at first tells Ada there aren't enough bearers for the piano, then refuses to go back for it saying they all must make sacrifices. Ada, in turn, is cold to him and is determined to be reunited with her piano. Unable to persuade Alisdair, Ada and Flora visit Baines with a note asking to be taken to the piano and although he cannot read he agrees. He is spellbound by Ada's playing and offers Alisdair land he coveted in exchange for the instrument, and lessons from Ada. Alisdair consents, oblivious to Baines's attraction to her. Ada is enraged but cannot resist being able to play when Baines says he wants to learn by listening. Very soon Baines proposes Ada can earn her piano back at a rate of one piano key per "lesson", provided he can observe her and do "things he likes" while she plays. She agrees, but negotiates for a number of lessons equal to the number of black keys only. Ada continues to rebuff Alisdair's affectionless overtures while beginning to explore her sensuality with Baines, who bargains for more intimacy in exchange for greater numbers of keys, while Ada holds back a great deal still. Realizing she is not willing to commit to him emotionally, Baines gives up and simply returns the piano to Ada, saying their arrangement "is making you a whore, and me wretched", and what he really wants is for her to actually care for him.

Despite having her piano back, Ada finds herself missing Baines. She returns soon after and does not hold back; Alisdair hears them having sex as he walks by Baines's house and then watches them through a crack in the wall. Outraged, he follows her the next day and confronts her in the forest, where he attempts to force himself on her, despite her intense resistance. He eventually exacts a promise from Ada she will not see Baines.

Soon afterwards, Ada orders Flora to take a package to Baines containing a single piano key inscribed with a declaration of love reading, "Dear George you have my heart Ada McGrath". Flora argues, then brings the piano key to Alisdair instead. After reading the love note burnt onto the piano key, Alisdair runs home with an axe, with Flora on his heels, and cuts off Ada's index finger in a rage, to deprive Ada's ability to play the piano. He then sends a sobbing Flora to Baines with the severed finger wrapped in cloth, saying if Baines ever attempts to see Ada again, he will "chop off another, and another, and another". Later that night, while touching Ada in her sleep, Alisdair hears what he believes to be Ada's voice inside his head, asking him to let Baines take her away. Deeply shaken, he goes to Baines's house and asks if she has ever spoken words to him. Baines assures him she has not. They depart from the same beach on which she first landed in New Zealand. While being rowed to the ship with her baggage and Ada's piano tied onto a Māori longboat, Ada asks Baines to throw the piano overboard. As it sinks, she deliberately tangles her foot in the rope trailing after it. She is pulled overboard but, deep under water, changes her mind and kicks free and is pulled to safety.

In an epilogue, Ada describes her new life with Baines and Flora in Nelson, New Zealand, where she has started to give piano lessons in their new home, and her severed finger has been replaced with a metal finger made by Baines. Ada describes taking speech lessons and practicing, and sometimes dreaming of her piano's resting place in the ocean and of herself still tethered to it.

Casting the role of Ada was a difficult process. Sigourney Weaver was Campion's first choice, but ultimately turned down the role. Jennifer Jason Leigh was also considered, but had a conflict with her commitment to (1991). Isabelle Huppert met with Jane Campion and had vintage period-style photographs taken of her as Ada, and later said she regretted not fighting for the role as Hunter did.

The casting for Flora occurred after Hunter had been selected for the part. They did a series of open auditions for girls age 9 to 13, focusing on girls who were small enough to be believable as Ada's daughter (as Holly Hunter is relatively short at 157 cm / 5' 2" tall). Anna Paquin ended up winning the role of Flora over 5,000 other girls.

Alistair Fox has argued that The Piano was significantly influenced by Jane Mander's The Story of a New Zealand River. Robert Macklin, an associate editor with The Canberra Times newspaper, has also written about the similarities. The film also serves as a retelling of the fairytale " Bluebeard", itself depicted as a scene in the Christmas pageant.

In July 2013, Campion revealed that she originally intended for the main character to drown in the sea after going overboard after her piano.

Production on the film started in April 1992, filming began on 11 May 1992 and lasted until July 1992, and production officially ended on 22 December 1992.

Reviews for the film were overwhelmingly positive. Roger Ebert wrote: " The Piano is as peculiar and haunting as any film I've seen" and "It is one of those rare movies that is not just about a story, or some characters, but about a whole universe of feeling". Hal Hinson of The Washington Post called it an "evocative, powerful, extraordinarily beautiful film".

"The Piano" was named one of the best films of 1993 by 86 film critics, making it the most acclaimed film of 1993.

In his 2013 Movie Guide, Leonard Maltin gave the film 3 1/2 stars out of 4, calling the film a "Haunting, unpredictable tale of love and sex told from a woman's point of view" and went on to say "Writer-director Campion has fashioned a highly original fable, showing the tragedy and triumph erotic passion can bring to one's daily life".

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 91% based on 68 reviews, and an average rating of 8.50/10. The website's critical consensus reads, "Powered by Holly Hunter's main performance, The Piano is a truth-seeking romance played in the key of erotic passion." On Metacritic, the film has a weighted average score of 89 out of 100, based on 20 critics, indicating "universal acclaim".

The film was the highest-grossing New Zealand film of all-time surpassing Footrot Flats: The Dog's Tale (1986) with a gross of $NZ3.8 million.

The film was nominated for eight Academy Awards (including Best Picture), winning three for Best Actress (Holly Hunter), Best Supporting Actress (Anna Paquin) and Best Original Screenplay (Jane Campion). At age 11, Anna Paquin became the second youngest competitive Academy Award winner (after Tatum O'Neal in 1973).

At the Cannes Film Festival, the film won the Palme d'Or (sharing with Chen Kaige's Farewell My Concubine), with Campion becoming the first woman to win the honour, as well as the first filmmaker from New Zealand to achieve this. Holly Hunter also won Best Actress.

In 2019, the BBC polled 368 film experts from 84 countries to name the 100 best films by women directors, and The Piano was named the top film, with nearly 10% of the critics polled giving it first place on their ballots.

Extract from the score of the 1993 film "The Piano"

Problems playing this file? See media help.

The score for the film was written by Michael Nyman, and included the acclaimed piece "The Heart Asks Pleasure First"; additional pieces were "Big My Secret", "The Mood That Passes Through You", "Silver Fingered Fling", "Deep Sleep Playing" and "The Attraction of the Peddling Ankle". This album is rated in the top 100 soundtrack albums of all time and Nyman's work is regarded as a key voice in the film, which has a mute lead character.

The film was released on DVD in 1997 by LIVE Entertainment and on Blu-ray on 31 January 2012 by Lionsgate, but already released in 2010 in Australia.

On 11 August 2021, the Criterion Collection announced their first 4K Ultra HD releases, a six-film slate, will include The Piano. Criterion indicated each title will be available in a 4K UHD+Blu-ray combo pack including a 4K UHD disc of the feature film as well as the film and special features on the companion Blu-ray. The Piano was released on January 25, 2022.

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The Piano is a 1993 period drama film written and directed by Jane Campion. Starring Holly Hunter, Harvey Keitel, Sam Neill, and Anna Paquin in her first major acting role, the film focuses on a mute Scottish woman who travels to a remote part of New Zealand with her young daughter after her arranged marriage to a frontiersman.