ABSTRACT Following major film censorship reform in 1971 gay and lesbian Australians were, for the first time, able to see and tell their stories on screen. This change coincided with internationally revolutionary moments of gay and lesbian activism, which were largely centred around the notion of visibility. The new representational opportunities that gay and lesbian film offered quickly became tied to the political imperatives of the Australian iteration of this activist movement. A film sensibility also soon developed that was both particularly queer and particularly Australian. This article explores the extent to which the question of film audience became politicised in Australia following censorship reform in 1971, until the early 1980s, and the implications this had for gay and lesbian representation in film. It fills a gap in the scholarship on the film communities of this period, by interrogating the role gay and lesbian filmmaking groups played in creating a national gay and lesbian cinema culture, and raises questions about how the political and social are expressed through filmmaking within marginalised communities. By exploring the experience of two gay and lesbian filmmaking groups, it will show the ways in which questions of audience and representation influenced the political and aesthetic style of early Australian gay and lesbian film culture.

中文翻译：

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“关于同性恋之间的同性恋”：1971–1982年澳大利亚早期同性恋电影文化中的代表政治

摘要在1971年进行了重大的电影检查制度改革之后，澳大利亚男女同性恋者首次能够在屏幕上观看和讲述他们的故事。这种变化与国际上男女同性恋行动主义的革命时期相吻合，后者主要围绕可见性的概念。男女同志电影所提供的新的代表性机会很快就与这种激进运动的澳大利亚迭代的政治势力联系在一起。电影的敏感性也很快发展起来，既特别奇怪又特别是澳大利亚。本文探讨了在1971年的检查制度改革之后直至1980年代初，澳大利亚的电影观众问题在何种程度上被政治化，以及这对电影中男女代表的影响。通过询问同性恋电影制作团体在创建全国同性恋电影文化中所扮演的角色，填补了这一时期电影界奖学金的空白，并提出了关于如何通过边缘化电影来表达政治和社会的问题社区。通过探讨两个男女同性恋电影制作团队的经验，它将展示观众和代表问题如何影响澳大利亚早期男女同性恋电影文化的政治和审美风格。