The essays gathered in this issue of Studies in Australasian Cinema are selected from, and broadly representative of, the methods and topics brought together at the inaugural SSAAANZ conference. Collectively, the essays speak to a broad conception of screen studies and diverse critical concerns across film and television exhibition and reception, documentary film, pedagogy and screen culture. Constantine Verevis and Deane Williams’ article analyses the cultural history of Melbourne’s Australian Centre for the Moving Image (ACMI). Tessa Dwyer offers a detailed examination of the acclaimed television series Top of the Lake and the role cultural specificity and the authentic voice play in the context of transnational television. Simon Sigley investigates cinematic shifts in how Western Samoa was represented in three feature-length documentary films. Produced by the National Film Unit (NFU) of New Zealand between 1947 and 1962, the films cover a period during which ‘Samoa was administered as a United Nations (UN) trust territory by the New Zealand government’. Derived from a primary survey, Toija Cinque and Jordan Vincent’s article investigates the use of smart TVs and broadband-enabled mobile media devices for the viewing of movies, television programs and documentaries among other forms of screen content, often concurrently with social media devices, to understand audience practices in an increasingly fragmented mediascape. Vejune Zemaityte, Deb Verhoeven and Bronwyn Coate draw on big data in relation to feature film screenings and box office figures to interrogate the ‘10 per cent rule’ – the often made, but untested, claim in industry discourses that the Australian market represents 10 percent of the theatrical market for Hollywood films. Focussing on both Australian and US screening data from 2013, the article compares the popularity of selected American films in both the Australian and US markets to ‘contrast the differences that emerge in terms of distribution and exhibition’. Finally, Mark Ryan examines the pedagogy of screen content in undergraduate Australian screen studies courses. Together, the essays collected here provide a sense of the vibrancy and diversity of the research from the inaugural conference of Screen Studies Association of Australia and Aotearoa New Zealand, and anticipate its second conference, The Uses of Cinema: Film, Television, Screen, Monash University, Melbourne, November 21–23, 2018.

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来自澳大利亚屏幕研究协会和新西兰Aotearoa会议的论文（2016）

本期《澳大利亚电影研究》中收集的论文均选自在首届SSAAANZ会议上汇集的方法和主题，并具有广泛的代表性。从总体上讲，论文涉及广泛的屏幕研究概念，涉及电影和电视展览和接待，纪录片，教学法和屏幕文化的各种关键问题。君士坦丁·维尔维斯（Constantine Verevis）和迪恩·威廉姆斯（Deane Williams）的文章分析了墨尔本澳大利亚运动图像中心（ACMI）的文化历史。泰莎·德威尔（Tessa Dwyer）详细研究了广受好评的电视连续剧《湖畔之巅》（Top of the Lake），以及跨国电视背景下的文化特色和真实的话剧角色。西蒙·西格利（Simon Sigley）研究了三部长篇纪录片电影中萨摩亚西部的电影变化。这些电影由新西兰国家电影局（NFU）在1947年至1962年之间制作，涵盖了一段时期：“萨摩亚由新西兰政府作为联合国（UN）信托领土进行管理”。来自初步调查的Toija Cinque和Jordan Vincent的文章研究了如何使用智能电视和具有宽带功能的移动媒体设备来观看电影，电视节目和纪录片以及其他形式的屏幕内容（通常与社交媒体设备同时使用），在日益分散的媒体环境中了解受众的做法。Vejune Zemaityte，Deb Verhoeven和Bronwyn Coate利用有关故事片放映和票房数字的大数据来审问“ 10％规则”，这是经常但未经测试的方法，在行业讨论中声称，澳大利亚市场占好莱坞电影戏剧市场的10％。本文着眼于2013年以来在澳大利亚和美国的放映数据，比较了精选美国电影在澳大利亚和美国市场的受欢迎程度，以“对比在发行和放映方面出现的差异”。最后，马克·瑞安（Mark Ryan）在澳大利亚本科的屏幕学习课程中研究了屏幕内容的教学法。总之，这里收集的论文提供了澳大利亚屏幕研究协会和新西兰Aotearoa新西兰首届会议的研究的活力和多样性感，并预计将举行第二届会议，电影的使用：电影，电视，屏幕，莫纳什电影墨尔本大学，2018年11月21-23日。