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Correction Studies in Australasian Cinema Pub Date : 2023-11-23
Published in Studies in Australasian Cinema (Ahead of Print, 2023)
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Editor’s Note Studies in Australasian Cinema Pub Date : 2023-11-01 Anthony Lambert
Published in Studies in Australasian Cinema (Vol. 17, No. 3, 2023)
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The impacts of ethnic and mainstream culture on Māori-themed films Studies in Australasian Cinema Pub Date : 2023-10-26 Sandor Klapcsik, Monika Bartoňová
This paper analyses the impact of Hollywood crime-thrillers and that of Māori cultural conventions in Māori-themed New Zealand films. The influence of the former is detected in the figure of the ga...
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The forgotten history of the Australian film musical: tracking the production and development of the genre in Australia Studies in Australasian Cinema Pub Date : 2023-09-14 Phoebe Macrossan
While Australian film studies has located various genres, including horror, comedy, action/adventure, science fiction, and crime within the broader ‘Ozploitation’ discourse and the increase in Aust...
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Mad Max and the Western Studies in Australasian Cinema Pub Date : 2023-09-11 Martin Holtz
The Mad Max films were among the most successful exports of the Australian New Wave and had an enormous impact on shaping what the cinematic post-apocalyptic landscape looks like around the world. ...
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Investigating older women as lead protagonists: an Australian case study of Stateless (2020) Studies in Australasian Cinema Pub Date : 2023-06-30 Joanne M. Tindale
ABSTRACT Screen Australia’s Gender Matters Program (2015–2023) addresses the underrepresentation of women in the screen industry. Older women continue to be less visible and stereotyped on screen which will be examined in this paper on the Australian television mini-series Stateless (Freeman and Moorhouse 2020). Stateless is an award-winning series commissioned and screened by the Australian Broadcasting
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Introduction Studies in Australasian Cinema Pub Date : 2023-06-30 Glenda Hambly, Anna Dzenis
Published in Studies in Australasian Cinema (Vol. 17, No. 1-2, 2023)
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Innovation in true crime: generic transformation in documentary series Studies in Australasian Cinema Pub Date : 2023-06-28 Sean Maher, Susan Cake
ABSTRACT This discussion explores innovation in true crime programming on streaming platforms and on-demand catch up broadcast television services. Altered consumption habits from long form programming and binge viewing on streaming services has prompted innovations in factual content through docuseries. Commencing with Reality Television police procedurals such as the long running US series Cops ([1989–2023]
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Disrupting the self: script development within the academy Studies in Australasian Cinema Pub Date : 2023-06-28 Susan Cake, Louise Sawtell
ABSTRACT Screenwriting within the Academy creates opportunities for female writers to question and challenge traditional and industrial approaches to script development. The two writer-researchers use critical conversation as a form of collaborative reflection to examine how personal experiences inform their script development processes. Situating the creative practice within the context of research
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From creativity to disruption: introduction to the double issue Studies in Australasian Cinema Pub Date : 2023-06-27 Anthony Lambert
Published in Studies in Australasian Cinema (Vol. 17, No. 1-2, 2023)
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University film schools at the heart of creative collaborations with industry: a case study Studies in Australasian Cinema Pub Date : 2023-06-27 Michael Sergi, Chris Fitchett, Darren Paul Fisher
ABSTRACT This paper is a detailed case study of how the Bond University Film and Television School collaborated with external production companies to actively participate in, and support, the production of the $1.5 million feature film The Fear of Darkness as a means of providing a unique student learning and industry networking experience. Students were able to take genuine on-set production roles
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Introduction to the ASPERA Journal Special Issue: creativity matters, part two (2023) Studies in Australasian Cinema Pub Date : 2023-06-26 Margaret McVeigh, Aurora Scheelings, Joanne Tindale, Joseph Grogan
Published in Studies in Australasian Cinema (Vol. 17, No. 1-2, 2023)
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A dream, a visual diary: disruptive narrative modes in When the Camera Stopped Rolling (Jane Castle, 2021) Studies in Australasian Cinema Pub Date : 2023-06-22 Felicity Collins
ABSTRACT Dubbed ‘a forgotten trailblazer’ of Australian filmmaking, Lilias Fraser was also the mother of cinematographer, Jane Castle, who spent more than a decade piecing together When the Camera Stopped Rolling (2021), a multifaceted documentary that draws on a rich archive of photographs, home movies and film footage shot by three generations of the Fraser-Castle family. Describing her love-hate
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Disruptive docs: teaching hybrid documentary filmmaking in Australia Studies in Australasian Cinema Pub Date : 2023-06-18 Phoebe Hart
ABSTRACT As a documentary educator and practitioner in Australia, ‘truth’ is an area of concern for both my students and I in undertaking the risky capturing and the representation of the lives of others. Documentaries are deceptively difficult to make, especially for the novice, and most especially when considering hybrid non-fiction genre forms. The questions my students pose often centre on how
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Manifesto as method for a queer screen production practice Studies in Australasian Cinema Pub Date : 2023-06-18 Stayci Taylor, Angie Black, Patrick Kelly, Kim Munro
ABSTRACT The authors reflect on creating a collaborative creative work that was developed both with, and as, a manifesto. Using queer theory as a framework, the authors track the process of developing and deploying a 14-step manifesto and outline their aims for queering screen production through creative practice. The project applies Baker’s (2011) call for a queer-ing of practice-led research, enacting
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Animating Country Studies in Australasian Cinema Pub Date : 2022-11-26 Ashley Burgess, Michael Mace, Peter Moyes
ABSTRACT Eleven Animation students from Australia and the UK spent two weeks in the Australian Outback with the Guwa-Koa Traditional Owners and co-created a five-minute stop motion animation as part of the Vision Splendid Outback Film Festival. Over the two-week intensive ‘Bootcamp’, the students researched, planned, created and screened the film as a creative interpretation of a Dreamtime story shared
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Introduction to the ASPERA Journal Special Issue: creativity matters, part one (2022) Studies in Australasian Cinema Pub Date : 2022-11-22 Margaret McVeigh, Aurora Scheelings, Joanne Tindale, Joseph Grogan
Published in Studies in Australasian Cinema (Vol. 16, No. 2-3, 2022)
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Wildlife Watcher Kylie: co-designing a virtual ambassador for the Koala Watch programme Studies in Australasian Cinema Pub Date : 2022-11-21 Maria Zelenskaya, Sharyn Rundle-Thiele
ABSTRACT This paper describes a creative collaboration between Griffith University and Redland City Council that was piloted in 2020–2021. The project developed and tested an interactive virtual ambassador within an ongoing koala conservation campaign. Redlands Coast Koala Watch is a community programme that aims to enlist the help of Redland City residents in efforts to monitor local koala populations
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Larger than life people and stories: issue 2–3, 2022 Studies in Australasian Cinema Pub Date : 2022-11-17 Anthony Lambert
Published in Studies in Australasian Cinema (Vol. 16, No. 2-3, 2022)
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Queer disorientations in Only the Brave, Head On, and Blessed Studies in Australasian Cinema Pub Date : 2022-07-04 Kelly McWilliam, Jessica Gildersleeve
ABSTRACT In this article, we explore the orientation of queer bodies to the city – and to Lisa French’s (2013) motif of ‘looking from the largely industrialised west at the city’ in particular – in three films directed by Ana Kokkinos: Only the Brave (1994), Head On (1998), and Blessed (2009). In doing so, we take up Sara Ahmed’s queer phenomenological approach to focus on Alex (played by Elena Mandalis)
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After the National Film Unit, before social media: Wellington tourism film’s urban narratives and production dynamics 1991–2008 Studies in Australasian Cinema Pub Date : 2022-07-01 Diego Bonelli
ABSTRACT This article analyses the development of Wellington tourism film from 1991 to 2008, release years of Absolutely Positively Wellington and Spoil Yourself in Wellington TV commercials, respectively. While performing the textual analysis of five case studies released for domestic TV circulation, it examines their underlying tourism marketing and place-branding dynamics in the broader context
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Power, identity and production: issue 1 introduction Studies in Australasian Cinema Pub Date : 2022-04-11 Anthony Lambert
(2022). Power, identity and production: issue 1 introduction. Studies in Australasian Cinema: Vol. 16, No. 1, pp. 1-1.
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Carnivalesque subversion and the narrative gaze of children: Taika Waititi’s Boy (2010), Hunt for the Wilderpeople (2016), and Jojo Rabbit (2019) Studies in Australasian Cinema Pub Date : 2022-03-15 Sanra Reji, Aparna Nandha
ABSTRACT This article studies the carnivalesque subversion of oppressive systems using the narrative gaze of children in Taika Waititi’s three films, Boy (2010), Hunt for the Wilderpeople (2016), and Jojo Rabbit (2019). Waititi has a wide range of filmography to his assets and his films, while comically articulating his politics, incorporate new vocabularies to tackle various forms of oppression. The
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‘Post goblins’ and ‘preditors’: identities, experiences, and contributions of women in Australian screen postproduction and visual effects sectors 2020/2021 Studies in Australasian Cinema Pub Date : 2022-02-08 Julia Erhart, Kath Dooley
ABSTRACT The first 20 years of the twenty-first century have seen a flourishing of research about women film and media creatives, their industrial positioning, and media output in industries around the globe, but overwhelmingly this research has focussed on the woman director. Women below-the-line workers, their workplace experiences, and their impression of their own creative contributions, particularly
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Australian Genre Film Studies in Australasian Cinema Pub Date : 2022-02-08 Liam Ball
(2022). Australian Genre Film. Studies in Australasian Cinema: Vol. 16, No. 1, pp. 49-51.
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Australian queer screen stakeholders and creative artists: perceptions of value, motivation and impact of LGBTQ+ Australian film Studies in Australasian Cinema Pub Date : 2022-02-07 Rob Cover
ABSTRACT This paper reports findings from interviews with key Australian stakeholders involved in Australian films with gender- and sexually-diverse (LGBTQ+) characters, themes and narratives. The paper found that directors, creative producers, screenwriters and actors involved stakeholders of Australian LGBTQ+ film expressed a desire to impact their audiences in ways that emphasise the value of entertainment
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Beyond exploitation: preface to issue 3 Studies in Australasian Cinema Pub Date : 2021-11-01 Anthony Lambert
(2021). Beyond exploitation: preface to issue 3. Studies in Australasian Cinema: Vol. 15, Independent and Low Budget Filmmaking in Australia, pp. 83-84.
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Introduction Studies in Australasian Cinema Pub Date : 2021-11-01 Glenda Hambly, Noel Maloney
(2021). Introduction. Studies in Australasian Cinema: Vol. 15, Independent and Low Budget Filmmaking in Australia, pp. 85-86.
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Climbing Everest: the ‘national’ and ‘international’ in low budget feature film Studies in Australasian Cinema Pub Date : 2021-11-01 Glenda Hambly
ABSTRACT Australian cinema is defined as simultaneously national, international and transnational. This paper takes these defined characteristics and applies them to the low budget, independent feature sector. It argues the sector mirrors the orientation of the wider industry. Given the instrumental role the national screen agency, Screen Australia, plays in influencing the direction of the industry
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The Female Voice in Low budget, independent cinema of Australia: Strange Colours, The Second & Hot Mess Studies in Australasian Cinema Pub Date : 2021-11-01 Phoebe Hart, Marilyn Leder
ABSTRACT This study investigates the impediments that Australian, female, independent filmmakers face in bringing female-centred stories onto the screen. In 2016, the federal screen funding agency Screen Australia launched Gender Matters to better understand the many barriers facing women filmmakers and create opportunities for female screen creatives to gain equity in the screen industries. But how
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Disruptive poetics in The Five Provocations Studies in Australasian Cinema Pub Date : 2021-11-01 Anna Dzenis, Noel Maloney
ABSTRACT The Five Provocations (2018), Angie Black’s debut low-budget, independent feature film, began production without a script. Free from the requirements of development funding and operating with what she described as a ‘no budget’ model, Black worked with her actors to develop characters and stories in an extended period of improvisation. While improvisation in low budget, independent cinema
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Leveraging collaboration: script development processes in low budget Australian feature filmmaking Studies in Australasian Cinema Pub Date : 2021-11-01 Susan Cake, Sean Maher, Tony McGrath
ABSTRACT For independent Australian filmmakers working outside traditional funding sources, the script often provides the sole means of raising finance to take the film into production. In the case of the low budget Australian feature films Pimped ([2018], “Directed by David Barker. Playground Films.” Apple TV) and Watch the Sunset ([2017], “Directed by Tristan Barr and Michael Gosden.” Barr Lipp Productions
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Moving forward: issue 1–2 introduction Studies in Australasian Cinema Pub Date : 2021-08-04
(2021). Moving forward: issue 1–2 introduction. Studies in Australasian Cinema: Vol. 15, No. 1-2, pp. 1-2.
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A dark and dusty night: Razorback and the development of an environmentalist Australian Gothic cinema Studies in Australasian Cinema Pub Date : 2021-06-16 Isaac Rooks
ABSTRACT This article argues that Razorback’s self-aware play with cinematic Australian Gothic tropes infuses the aesthetic with an environmentalist sensibility that resonates in the Anthropocene. The limited scholarship addressing Razorback typically positions the film as a crude expression of the same anxieties found in New Wave Australian Gothic cinema. This interpretation misunderstands the role
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Antipodean urban dystopias: documenting the New Zealand city 1965–1971 Studies in Australasian Cinema Pub Date : 2021-07-19
ABSTRACT By relying on the textual analysis and on the examination of existing archival documents related to their production and circulation, this article analyses three documentaries produced in New Zealand in the 1965–1971 time frame while providing an overview of New Zealand film history as well as the examination of pre-existing modes of urban representation in New Zealand cinema. The author argues
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Don’t call me grandma: how to write formidable country women over the age of 65 as lead protagonists in an Australian feature film Studies in Australasian Cinema Pub Date : 2021-07-23
ABSTRACT In recognition of the lack of female representation on screen, in 2015 Screen Australia launched the Gender Matters Program. However, it did not address the lack of representation of older women (defined as over 40 or ‘a woman of a certain age’). The research question addressed by this article is how to write older female characters over the age of 65 who are tough, capable, and complex. The
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‘Just ask “what if?” and go from there’: the role of mainstream story structures in women’s web series script development Studies in Australasian Cinema Pub Date : 2021-05-07 Stayci Taylor
ABSTRACT This article investigates, through interviews, the script development processes of four female-identifying web series creators, contributing to scholarship around web series’ ability to serve diverse communities [Christian 2020. “Beyond Branding: The Value of Intersectionality on Streaming TV Channels.” Television & New Media 21 (5): 457–474; 2011. “Fandom as Industrial Response: Producing
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Kennedy Miller Mitchell and the relationality of Australian cinema – global film practice in Australia Studies in Australasian Cinema Pub Date : 2021-05-03 James Douglas
ABSTRACT Recent work in Australian screen scholarship has been focused on expanding the limitations of our national cinema discourse. Terms like Deb Verhoeven’s ‘Industry 3’ or Ben Goldsmith’s ‘outward-looking Australian cinema’, and the discourse of ‘transnationality’ more generally, exemplify a contemporary tendency that seeks out new conceptual foundations from which to analyse Australian film as
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Goodbye to 2020 Studies in Australasian Cinema Pub Date : 2020-12-14 Anthony Lambert
(2020). Goodbye to 2020. Studies in Australasian Cinema: Vol. 14, No. 3, pp. 161-161.
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The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema Studies in Australasian Cinema Pub Date : 2020-12-08 Allison Ruth Craven
ABSTRACT ‘Gothic’ is identified as a prominent mode of Australian cinema since the 1970s. In commentary on Australian Gothic films, the aesthetic ancestry is often traced to literary conventions in colonial and pre-colonial British or European literatures. This article draws attention to the convergence of these literary and cinematic traditions and compares the prevalence of landscape as a Gothic
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The real gaze in Australian cinema Studies in Australasian Cinema Pub Date : 2020-12-10 Alison Horbury
ABSTRACT This paper takes up Todd McGowan’s rethinking of psychoanalytic film theory to consider what such approaches might disclose in the work of a national cinema. I focus on Australia’s national cinema where it is caught, I argue, between the Imaginary gaze of an aestheticized nationalism and a traumatic ‘Real’ gaze that disturbs the field of cultural vision. I show how Ted Kotcheff’s 1971 Wake
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Watching The Hobbit in Aotearoa/New Zealand: the affective resonance of landscape, race and greed Studies in Australasian Cinema Pub Date : 2020-11-12 Joost de Bruin
ABSTRACT This article discusses the responses from people in Aotearoa/New Zealand and New Zealanders overseas to the online questionnaire of the World Hobbit Project, an international audience research project on the reception of the film trilogy The Hobbit involving 145 researchers from 46 countries. As the trilogy was filmed in their home country, New Zealand audiences were uniquely positioned to
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Pushing the boundaries: creativity and constraint in Australian screen production Studies in Australasian Cinema Pub Date : 2020-09-23 Juliet John, Hester Joyce
ABSTRACT Screen production is risky business. Significant sums of money are invested in a process that is subject to myriad precarious variables. Effective completion of a screen project is achieved through the instigation and monitoring of strict parameters which bound its creative process. However, filmmaker David Lynch states that ‘any restriction is a sadness and can kill creativity’ (Stratton
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The creative sustainability of screen business in the Australian regions Studies in Australasian Cinema Pub Date : 2020-08-26 Susan Kerrigan, Mark David Ryan, Phillip McIntyre, Stuart Cunningham, Marion McCutcheon
ABSTRACT Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory support – feature films, documentaries and television
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Working with the Australian cinema industry to understand the movie-going experience Studies in Australasian Cinema Pub Date : 2020-08-25 Simon Weaving, Craig Hight, Karen Nobes, Claire Pasvolsky
ABSTRACT Although box office receipts for the theatrical release of movies have remained consistently high over the past decade, this tends to mask a slow erosion in the frequency of movie-going among the Australia population. Australians, it appears, are gradually losing the habit of going to the movies. This decline sits in marked contrast to increasing numbers of audiences preferring to engage with
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A Note from the Editor-in Chief Studies in Australasian Cinema Pub Date : 2020-05-03 Anthony Lambert
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Regional screen cultures: the precarity and significance of Queensland’s film festival landscape Studies in Australasian Cinema Pub Date : 2020-05-03 Elizabeth Ellison,Tess Van Hemert
ABSTRACT In the midst of drought in Central Queensland, the small town of Winton triples its population for the Vision Splendid Outback Film Festival. Even when facing challenges, the local community values the way the festival brings the community together, injects tourist dollars into the local economy and provides visibility to the local screen industry. However, staging a film festival in a regional
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‘Don’t Read This on a Plane’: a case study in microbudget feature filmmaking Studies in Australasian Cinema Pub Date : 2020-05-03 Stuart McBratney,Mario Minichiello,Mark Roxburgh
ABSTRACT This paper presents demonstrable insights from the creation of a microbudget feature-length narrative drama film with high production values. As a case study, I am using a feature film I have written and directed titled “Don't Read This on a Plane”, which was filmed in 10 countries, produced on a budget of A$125,000 including all post-production, fees, and deliverables, and has been acquired
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The Nightingale Sings in a New Year … Studies in Australasian Cinema Pub Date : 2020-01-02 Anthony Lambert
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‘I can’t stand the noise of it’: the figure of the child and the critique of colonialism in Jennifer Kent’s the Nightingale Studies in Australasian Cinema Pub Date : 2020-01-02 Joanne Faulkner
ABSTRACT The presence in Jennifer Kent’s The Nightingale of children, and of violence against them, has so far been little commented upon, as much commentary has focused on the film’s depiction of rape and colonial gender relations. Yet key plot points are articulated through violence against a child — and the exclamations at these points by the film’s antagonist, Lt. Hawkins, of “shut it up” and “I
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Uncanny parallels: Jennifer Kent’s the Nightingale, violence, and the Vandemonian past Studies in Australasian Cinema Pub Date : 2020-01-02 Kristyn Harman
ABSTRACT Set in mid-1820s Van Diemen’s Land, The Nightingale depicts a dark and disturbing Tasmanian past populated with redcoats, convicts, Aboriginal people, and a few free settlers. Controversial scenes include the repeated rape of a young female convict, the murders of her husband and infant, and the rape and murder of an Aboriginal woman. Uncanny parallels can be drawn between the on-screen experiences
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‘Brutal’ and ‘Grisly’: exploring the (non-Indigenous) critical reception to two Australian postcolonial films of the frontier, The Nightingale (2018) and The Proposition (2005) Studies in Australasian Cinema Pub Date : 2020-01-02 Catriona Elder
ABSTRACT This article explores the marketing and non-Indigenous critical responses to the film The Nightingale (2018) by reading it alongside the reception and responses to a similar film, made over a decade earlier, a film that also studies the multi-layers of colonial violence. Using the film The Proposition (2005) as a foil this article considers the ways that violence figured by two non-Indigenous
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Convict/Aboriginal partnerships and ruptured histories in The Nightingale Studies in Australasian Cinema Pub Date : 2020-01-02 James Findlay
ABSTRACT This article considers the convict/Aboriginal partnership at the heart of Jennifer Kent's The Nightingale. In doing so it locates Clare and Billy’s relationship within a broader representational history of convict/Aboriginal partnerships on screen. It explores how The Nightingale conforms to, or ruptures, the narrative patterns and tropes that have developed around such encounters. Furthermore
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A critical introduction to The Nightingale: gender, race and troubled histories on screen Studies in Australasian Cinema Pub Date : 2020-01-02 Michelle Arrow, James Findlay
ABSTRACT Acclaimed Australian filmmaker Jennifer Kent’s film The Nightingale has generated intense debate since its premiere at the 2018 Venice Film Festival. Set during the Black War in Van Diemen’s Land in 1825, the film is an unflinching depiction of colonial and sexual violence. Kent told The Saturday Paper that she ‘wanted to tell a story that is relevant to my history and my country’. Her vision
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‘I just felt sad and angry all in one thing’: Jim Everett in conversation with Rebe Taylor on making the Nightingale Studies in Australasian Cinema Pub Date : 2020-01-02 Rebe Taylor, Jim Everett
ABSTRACT The symposium ‘The Nightingale: Gender, Race and Troubled Histories on Screen’ opened with a discussion between Jim Everett, the film’s associate producer and Aboriginal consultant, and Associate Professor Rebe Taylor, Senior Research Fellow in the College of Arts, Law and Education at the University of Tasmania. Rebe and Jim have known each other since 1999, when they met at a history conference:
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Migrant and diasporic film and filmmaking in New Zealand Studies in Australasian Cinema Pub Date : 2019-09-02 Anthony Lambert
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‘Selling the creative city’: Wellington tourism film in the neoliberal era Studies in Australasian Cinema Pub Date : 2019-09-02 Diego Bonelli, Thierry Jutel, Alfio Leotta
ABSTRACT Since the beginning of the Twentieth Century tourism films have constituted a significant part of New Zealand film production. In fact, films made and/or used for tourism promotion have been released for domestic and overseas circulation by both government-led and private film production companies. Over the last 10 years the institutions in charge of Wellington tourism marketing have been
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‘But do I care? No, I’m too old to care’: authority, unfuckability, and creative freedom in Jane Campion’s authorship after the age of sixty Studies in Australasian Cinema Pub Date : 2019-09-02 Julia Erhart
ABSTRACT The twenty-first century has seen an increase in scholarly interest in the discursive construction of women film practitioners, yet much of this literature focusses on women at the younger- or middle-aged ends of the spectrum, leaving the positioning of older women directors unexamined. Taking Jane Campion as an important case study, this paper explores how Campion is depicted in critical
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More than just a gay pun: the changing nature of Australian queer film criticism Studies in Australasian Cinema Pub Date : 2019-09-02 Stuart Richards
ABSTRACT This essay looks at the critical reception of Australian queer cinema demonstrating the difference in reviews of queer Australian films. The Adventures of Priscilla, Queen of the Desert (Elliot, Stephan. 1994. The Adventures of Priscilla, Queen of the Desert. Sydney: Roadshow Distribution) and The Sum of Us (Dowling, Kevin, and Geoff Burton. 1994. The Sum of Us. Sydney: Southern Star) will
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Editor’s Introduction Studies in Australasian Cinema Pub Date : 2019-01-02 Anthony Lambert
Welcome to the first issue of Studies in Australasian Cinema for 2019. This issue comprises two articles which deal with the paradoxical themes at work in politicised representations of gender and sexuality. In ‘Riding in cars as girls: discourses of victimhood, power and agency in Beneath Clouds and American Honey’, Samantha Cater places Australian film Beneath Clouds in a relationship with the US