ABSTRACT The twenty-first century has seen an increase in scholarly interest in the discursive construction of women film practitioners, yet much of this literature focusses on women at the younger- or middle-aged ends of the spectrum, leaving the positioning of older women directors unexamined. Taking Jane Campion as an important case study, this paper explores how Campion is depicted in critical discourses including journalistic responses from Cannes, comments by female industry peers, her self-construction in interviews, and via the television show Top of the Lake, with its unique focus on themes of women and aging. While there is consistency within each discourse in which Campion is situated, each emphasises different facets of Campion’s career. This article explores counter-discourses around aging as uttered by Campion and as apparent in Top of the Lake and provides evidence of an intensified biographical focus in critical commentary from this stage of Campion’s career. While not definitively attributable to Campion’s biological age, the critical recourse to biography may be enabled by the sheer longevity of Campion’s career and many decades in the public eye. Taken together, these constructions of ‘Campion’ are contradictory, however many succeed in putting pressure on hegemonic notions of gender and aging.

中文翻译：

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“但是我在乎吗？不，我年纪太大了，无法照顾'：六十岁后简·坎皮恩（Jane Campion）的创作中具有权威性，不容忍和创作自由

摘要在二十一世纪，对女性电影从业者的话语结构的学术兴趣有所增加，然而，许多文献都将重点放在处于年轻或中年年龄段的女性，而将老年女性导演的定位留给了其他女性。未经审查。本文以简·坎皮恩（Jane Campion）为重要案例研究，探讨了坎皮恩在关键话语中的表现方式，包括戛纳的新闻回应，女性同行的评论，她在访谈中的自我建构，以及通过电视节目《湖面》，特别关注女性和衰老主题。尽管坎皮恩所处的每种话语都具有一致性，但每个方面都强调坎皮恩事业的不同方面。本文探讨了坎皮恩（Campion）所说的以及在《湖畔之巅》（Top of the Lake）中明显出现的关于衰老的反对话，并提供了在坎皮恩职业生涯这一阶段批评评论中传记重点越来越集中的证据。尽管不能完全归因于坎皮昂的生物学年龄，但坎皮昂职业生涯的长寿和数十年的公众视野可能使对传记的批判性求助成为可能。综上所述，“校园”的这些结构是矛盾的，但是许多成功地对性别和衰老霸权概念施加了压力。坎皮恩（Campion）的职业生涯的长寿和数十年来在公众眼中的发展，可能是对传记文学的批判性诉求。综上所述，“校园”的这些结构是矛盾的，但是许多成功地对性别和衰老霸权概念施加了压力。坎皮恩（Campion）的职业生涯的长寿和数十年来在公众眼中的发展，可能是对传记文学的批判性诉求。综上所述，“校园”的这些结构是矛盾的，但是许多成功地对性别和衰老霸权概念施加了压力。