ABSTRACT

A recent spate of remakes of film titles dating from the Australian cinema revival in the 1970s suggests a renewed interest in this significant corpus. It has a deeper resonance insofar as the original films also represent landmarks in Australian Gothic aesthetics. In two of these productions, Storm Boy (2019) and Picnic at Hanging Rock (2018), the renewal of the Gothic discourses and the allied figure of the child are inflected by an optimistic vein of “post-millennial Gothic”. It is apparent in the styling and in the post-feminist and cultural consciousness of both productions, and the sense in which both remakes provide resolutions to the earlier films and embed layers of contemporary social pedagogy in the revised Gothic scenarios. Both of these productions suggest a recognition that the films of the cinema revival may not speak to a current generation, and this dissonance is particularly apparent in the revised figure of the lost child in the remakes.

抽象的

从1970年代澳大利亚电影界复兴起，最近对电影作品进行了重制，这表明人们对该重要语料重新产生了兴趣。就原始电影而言，它在澳大利亚哥特式美学中也具有里程碑意义，因此它具有更深的共鸣。在其中两部作品中，《暴风男孩》（2019）和《在吊岩上野餐》（2018），哥特式话语的更新和儿童的盟友形象受到“千年后的哥特式”乐观情绪的影响。这在两种作品的风格，后女权主义和文化意识中都显而易见，并且两种翻拍形式都为更早的电影提供了解决方案，并在修改后的哥特式情境中嵌入了当代社会教育学的层次。这两部作品都表明人们认识到电影复兴的电影可能不会向当代人说话，这种不协调在翻拍中对失落儿童的修改后的形象中尤为明显。