Cirrus@Austlit

'The Power of the Dog premiered at the Venice Film Festival on September 2, 2021. In a short time, however, much has already been written about writer-director Jane Campion’s latest feature film, one of the most awarded releases of 2021 and the nexus of a range of heated, high-profile debates. These debates revolved around the place of the Western in contemporary cinema, with actor Sam Elliot infamously challenging Campion’s right to direct a film in the genre its representation of queerness, with, for example, The Atlantic’s Spencer Kornhaber bemoaning its ‘queer problem and, coincident with the start of Oscar voting, Campion’s careless stumble into personifying white feminism’s glaring blind spot regarding race—when she framed the difficulty of her perennial competition with men for major directing awards against Serena and Venus Williams’ comparatively easy (in Campion’s view) challenges in professional tennis. While the intensity and diversity of these conversations no doubt speak to the strength of The Power of the Dog’s immediate impact, this article is motivated by the desire to comment on issues raised by the film that have yet to attract the wandering eye of mainstream film journalism to any sustained degree. And, in anticipation of longer-term discussions in the sphere of film scholarship, it approaches The Power of the Dog as an opportunity to revisit provocative questions about national cinema, genre and masculinity that Jane Campion’s cinema has evoked since the inception of her career.' (Introduction)