Blue Crush Cinema

Abstract

This article discusses the settler-colonial femininity at work in two films that foreground the Pacific Ocean, Blue Crush (John Stockwell, 2002) and The Piano (Jane Campion, 1993). With these film readings it offers a critique of the feminist new materialist turn toward water. The feminist hydrological turn aims to amplify the oceanic sensorium’s potential to dissolve the always-already-illusory boundedness of Western subjectivity into a recognition of watery enmeshment, and it aligns, though does not often directly engage, with Indigenous Pacific and trans-Pacific anti-colonial hydropolitics. This article brings feminist hydrological writing into conversation with psychoanalysis and explains that blue crush cinema has the following elements and functions: (1) it tells of a settler woman with a powerful draw toward the water—here crush is polyvalent; (2) the ocean is at once literal and psychic; (3) the film camera allows water’s diffractive animacy to distort human form, a distortion that hydrological feminists associate with dissolving Western subjectivity, and that psychoanalytic theorist Julia Kristeva associates with “oceanic feeling”; but (4), in the end, the blue crush enables the settler woman to return to colonial work. This final function has critical implications for feminist readings of water, which, as this article’s central speculation goes, may work paradoxically to recuperate Western thought.