Gender and Sexuality at the Piano The Piano examines the construction of sexuality in nineteenth-century colonial New Zealand within the discourses of power that shaped this era. Different discourses on gender and race and their interactions are presented to support a narrative critique of European patriarchal ideology as a dominant social structure. In the film's opening sequence, the viewer is immediately presented with an image of marriage as entirely contractual: "Today he married me to a man I have not yet met." The protagonist, despite having already established herself as strong-willed and non-compliant, accepts the deal but is not entirely optimistic about the deal. The viewer also learns that he already has a daughter, but the question of the child's legitimacy remains unanswered. These factors suggest a potential conflict with the husband's patriarchal authority over the wife's sexuality and introduce the plot's primary power discourse: that of the female protagonist's commodity status through the patriarchal system's denial of female autonomy. European patriarchal values ​​are embodied by the Stuart character's authority, symbolizing repression, the narrowing of sexuality into an impassive discourse of female passivity and male dominance. The film exposes the mentality of ownership that has led to the devastation of the natural landscape but also the corruption of personal relationships - above all, Stuart believes in the ownership of Ada. He demonstrates this by denying his claim to ownership at the beginning of the film. Stuart does not hesitate to sell Ada's piano to Baines for a piece of land, and refuses to recognize her right to it, or to understand her and... middle of paper... sexuality, and the destructive effect of speeches of institutionalized power over personal relationships. It highlights the need for a cultural recognition of individual autonomy, thus destroying the morality of 19th century patriarchy that dictated sexual repression and property. Love as an integral element of sexual relations, with the definition of love conveying mutual respect and desire, is presented as one of the main themes of the film, and sexual relations as a requirement of oppressive transactions such as arranged marriage are shown not only irrationally unfair but potentially tragic. Sources Cited The Piano Jane Campion 1993 Bilbrough, Miro, "Different Complexions: Jane Campion, An Interview." Jonathan Dennis and Jan Bieringa, ed. Films in Aotearoa New Zealand (Wellington: Victoria University Press, 1992