Relevant bibliographies by topics / Australian cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Australian cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Australian cinema"

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.
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Zvegintseva, Irina Anatolyevna. "The Silent Era in Australian Cinema." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 88–97. http://dx.doi.org/10.17816/vgik6188-97.

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The article focuses on the first period in the history of Australian cinema. It is well-known that the present is always rooted in the past. This is true of any national cinema, and the Australian one is no exception. This subject is relevant in the light of the fact that, in the first place, the reasons for the contemporary boom in Australian cinema are impossible to understand and analyze unless they are derived from the awareness of the first steps of Australian cinema. It was in the very first years of the existence of Australian cinema that there emerged a special worldview, inherent in the cinematographic messages of this nation, that would later become iconic of Australian cinema: addressing the reality of Australia, love for its wild and beautiful nature and for the people who civilize this severe land. In their works the filmmakers of the Green Continent have almost always unflaggingly introduced two protagonists, an animate one, a manly, daring human being, and an inanimate one, the nature, magnificent, powerful, unexplored... At the same time, there was formed an image of a Hero: a fair, proud man, for whom honor and dignity are closely linked to striving for freedom. A conflict between the Individual and a soulless system is manifested in the early bushranger films and in the contemporary ones alike, now that the films by the Australian filmmakers come out again and again featuring the Individuals attempts at breaking his bondage. The novelty of this research lies in the fact that while the contemporary period of Australian cinema is well-covered in the global film criticism, the past of this national cinema is almost unknown. Considering the interest in the phenomenon of the contemporary cinema of the Green Continent, the author concludes that the global success of the Australian films today is largely linked to the accomplishments of the cinema pioneers, who against tough competition from American and English films, have laid a foundation for the future victories of this special national cinema.
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Griffin, Lynn, Steven Griffin, and Michelle Trudgett. "At the Movies: Contemporary Australian Indigenous Cultural Expressions – Transforming the Australian Story." Australian Journal of Indigenous Education 47, no. 2 (June 21, 2017): 131–38. http://dx.doi.org/10.1017/jie.2017.15.

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Cinema is an art form widely recognised as an agent to change the social condition and alter traditional norms. Movies can be used to educate and transform society's collective conscience. Indigenous Australian artists utilise the power of artistic expression as a tool to initiate change in the attitudes and perceptions of the broader Australian society. Australia's story has predominately been told from the coloniser's viewpoint. This narrative is being rewritten through Indigenous artists utilising the power of cinema to create compelling stories with Indigenous control. This medium has come into prominence for Indigenous Australians to express our culture, ontology and politics. Movies such as Samson and Delilah, Bran Nue Dae, The Sapphires and Rabbit-Proof Fence for example, have highlighted the injustices of past policies, adding new dimensions to the Australian narrative. These three films are just a few of the Indigenous Australian produced films being used in the Australian National Curriculum.Through this medium, Australian Indigenous voices are rewriting the Australian narrative from the Indigenous perspective, deconstructing the predominant stereotypical perceptions of Indigenous culture and reframing the Australian story. Films are essential educational tools to cross the cultural space that often separates Indigenous learners from their non-Indigenous counterparts.
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Yue, Audrey. "Asian‐Australian cinema, Asian‐Australian modernity." Journal of Australian Studies 24, no. 65 (January 2000): 189–99. http://dx.doi.org/10.1080/14443050009387603.

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Aveyard, Karina. "What the Country Tells Us: The Place of the ‘Rural’ in Contemporary Studies of Cinema." Media International Australia 139, no. 1 (May 2011): 124–32. http://dx.doi.org/10.1177/1329878x1113900116.

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Cinemas have an important place in the social and cultural life of many Australian rural towns. They are valued as spaces around which residents of isolated communities can gather and interact, and have a role in mediating concepts of identity and in promoting positive emotional attachment to place. Rural cinema histories suggest these aspects of non-metropolitan movie-going have been significant since the very early days of this screen format. This article examines the role of geography in shaping the circumstances and meaning of cinema-going in contemporary rural Australia. It also explores the connections between modern and historical film attendance practices, which hitherto have been obscured by scholarly neglect of the rural. These interrelationships suggest a basis for rethinking the ways in which cinema audiences are categorised and studied.
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Williams, Deane. "Australian (post) national cinema." Media International Australia 180, no. 1 (July 24, 2021): 24–31. http://dx.doi.org/10.1177/1329878x211010776.

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This article proposes that Tom O’Regan’s Australian National Cinema book is best understood among the contexts from which it emerged and, in this process, repositions the magnum opus of his scholarly career, as a post-national theorising of the national cinema formation in terms of ‘an unprincipled assemblage’ and a discursive multiplicity.
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Goldsmith, Ben. "Outward-looking Australian cinema." Studies in Australasian Cinema 4, no. 3 (January 2010): 199–214. http://dx.doi.org/10.1386/sac.4.3.199_1.

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Jaehne, KareN. "Australian Cinema Brian McFarlane." Film Quarterly 42, no. 2 (December 1988): 55. http://dx.doi.org/10.2307/1212625.

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Smaill, Belinda. "Diasporas of Australian cinema." Continuum 25, no. 1 (February 2011): 132–34. http://dx.doi.org/10.1080/10304310903569429.

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Jaehne, KareN. ": Australian Cinema . Brian McFarlane." Film Quarterly 42, no. 2 (December 1988): 55. http://dx.doi.org/10.1525/fq.1988.42.2.04a00100.

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Dissertations / Theses on the topic "Australian cinema"

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Reid, Mary Anne. "Success factors in Australian cinema in the 1990s." Thesis, Queensland University of Technology, 2000.

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The main body of this research thesis employs a combination of case study and national data to discuss the concept of 'success' in relation to the Australian film industry in the 1990s. Faced with the problem of measuring 'success', my approach has been to apportion success into 'commercial' and 'critical', in relation to three Australian films - Muriel's Wedding, Love And Other Catastrophes and Kiss or Kill - each of which is considered to have been successful in one way or another. The purpose of these case studies is to demonstrate that films can be successful at different levels - niche or mainstream - and that in commercial terms, 'successful for whom?' depends on where one stands in the long chain of creators, marketers and exhibitor/broadcasters of a single film.
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au, davidthomas@arach net, and David Glyndwr Thomas. "Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070307.130804.

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‘Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday’ investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents. These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity
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Thomas, David Glyndwr. "Extraordinary undercurrents: Australian cinema, genre and the everyday." Thesis, Thomas, David Glyndwr (2006) Extraordinary undercurrents: Australian cinema, genre and the everyday. PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/344/.

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'Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday' investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents. These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity.
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Thomas, David Glyndwr. "Extraordinary undercurrents : Australian cinema, genre and the everyday /." Thomas, David Glyndwr (2006) Extraordinary undercurrents: Australian cinema, genre and the everyday. PhD thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/344/.

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'Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday' investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents. These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity.
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Rekhari, Suneeti School of Sociology &amp Anthropology UNSW. "Camera obscura: representations of indigenous identity within Australian cinema." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2006. http://handle.unsw.edu.au/1959.4/25765.

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Karen Jennings (1993) and Peter Krausz (2003) in their works, written ten years apart, note the changing ways in which the academic world and the media have dealt with representations of Indigenous identity. It was hoped that the latter work would have been discussing the way in which things have already changed. The fact that it does not, initiates the questions addressed in this thesis: whether Australian cinema explores Indigenous issues in sufficient depth and with cultural resonance. Can a study of cinematic representations lead to a better understanding of Aboriginal identity? In representing Aboriginality on screen does the cinema present a representational complex for Indigenous Australia, which is constructed on their behalf by the cinema itself? In this thesis these questions are theoretically framed within a semiotic methodology, which is applied to the examination of the complexities of representation. This is done through an analysis of the connotations and stereotyping of Indigenous identity in filmic narratives; and the operation of narrative closure and myth making systems through historical time periods; and dualisms in the filmic narratives such as primitive/civilised, us/them, self/other; and the presence of Aboriginality as an absent signifier. The four films chosen for comparative analysis are Jedda, Night Cries, Walkabout and Rabbit Proof Fence. These films span a period of fifty years, which allows for an explication of the changes that have occurred over the passing of time in their visual representations of Aboriginal identity. Hence social and cultural filmic identity representations are juxtaposed with the historical and political discourses prevalent at the time of their production. Through such a detailed analysis of the four film texts, the dominant social discourses of Australia are analysed in relation to their operation as representational frameworks for Indigenous Australians.
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Zuvela, Danielle Samantha. "'Yes, But How Do We Place You?': Expanded Cinema in Australia." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365201.

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This thesis explores the Australian history of a particular modality of experimental film practice; expanded cinema. Included in the purview of this activity are a range of interventions into the standard cinema arrangement of screen, beam and viewer which, though undocumented and largely invisible from the historical record, are significant to the history of cinema as an institution and an art practice in Australia.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Arts, Education and Law
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Slavin, John. "Lost causes : the ideology of national identity in Australian cinema /." [Melbourne : University of Melbourne, 2002. http://eprints.unimelb.edu.au/archive/00000297.

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Bowles, Katherine. "Representing suburbia : strategies of looking at Australian suburbanisation." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390128.

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au, Katie Ellis@westnet com, and Kathleen Ellis. "You Look Normal To Me:The Social Construction of Disability in Australian National Cinema in the 1990s." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061123.144826.

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This thesis examines the social construction of disability in Australian national cinema throughout the 1990s. During that decade, disability was an issue that remained in the background of many film narratives and is (still) under-theorised in academic scholarship. Disability continues to be tangential to many social critiques, particularly in relation to cultural diversity and national identity. When it is foregrounded, as in Liz Ferrier’s (2001) work, its theoretical premise is chiefly located in a damaged body, rather than examined through the lens of cultural construction. The growing number of culturally diverse filmmakers in the Australian film industry during the 1990s initiated a critical focus on diversity, multiculturalism and minority group interests. However, an examination of the social construction of disability is conspicuously absent. I argue that a disability identity that focuses attention away from the body and onto society should be incorporated into notions of diversity concerning Australian national cinema. In this thesis I investigate both thematic and stylistic representations of disability with reference to socio-political contexts and influences. A disability identity — as it is included or excluded from Australian national identity — is explored through a variety of close readings of local films. I examine the methods filmmakers employ to problematise diversity in relation to the limitations of dominant representations of disability. This thesis recognises the historical lack of scholarship in relation to disability as a diversity issue in Australian national cinema of the 1990s and is an attempt to open up this field to new modes of criticism.
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au, Catherine Simpson@scmp mq edu, and Catherine Simpson. "Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98." Murdoch University, 2000. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051214.95411.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.
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Books on the topic "Australian cinema"

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Australian cinema. New York: Columbia University Press, 1988.

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Australian national cinema. London: Routledge, 1996.

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Danks, Adrian, Stephen Gaunson, and Peter C. Kunze, eds. American–Australian Cinema. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1.

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Australian cinema, 1970-1985. London: Secker & Warburg, 1987.

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Verhoeven, Deb. Sheep and the Australian cinema. Carlton, Vic: Melbourne University Publishing, 2006.

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Contemporary Australian cinema: An introduction. Manchester: Manchester University Press, 2000.

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Rattigan, Neil. Images of Australia: 100 films of the new Australian cinema. Dallas: Southern Methodist University Press, 1991.

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Australian film: A bibliography. London: Mansell, 1997.

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Celluloid Anzacs: The Great War through Australian cinema. North Melbourne, Vic: Australian Scholarly Pub., 2007.

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Critical business: The new Australian cinema in review. Adelaide: Rigby, 1985.

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Book chapters on the topic "Australian cinema"

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Danks, Adrian, Stephen Gaunson, and Peter C. Kunze. "Where I’m Calling From: An American–Australian Cinema?" In American–Australian Cinema, 1–15. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_1.

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Gaunson, Stephen. "American Cartel: Block Bookings and the Paramount Plan." In American–Australian Cinema, 205–25. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_10.

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Given, Jock. "The Multiplex Era." In American–Australian Cinema, 227–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_11.

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Delamoir, Jeannette. "“Zest to the jaded movie palate”: Wallace Worsley, Scott R. Dunlap and The Romance of Runnibede." In American–Australian Cinema, 253–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_12.

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Hollyfield, Jerod Ra’Del. "Defining Neverland: P. J. Hogan, J. M. Barrie and Peter Pan in Post-Mabo Australia." In American–Australian Cinema, 275–94. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_13.

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Hawkes, Lesley. "Baz Luhrmann’s The Great Gatsby: Telling a National Iconic Story Through a Transnational Lens." In American–Australian Cinema, 295–313. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_14.

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Danks, Adrian. "Rudimentary Modernism: Ken G. Hall, Rear-Projection and 1930s Hollywood." In American–Australian Cinema, 19–39. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_2.

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DeLassus, Leslie. "Simulated Scenery: Travel Cinema, Special Effects and For the Term of His Natural Life." In American–Australian Cinema, 41–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_3.

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Mills, Jane. "Representations and Hybridizations in First Nation Cinema: Change and Newness by Fusion." In American–Australian Cinema, 67–90. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_4.

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Hopgood, Fincina. "Of Mothers and Madwomen: Mining the Emotional Terrain of Toni Collette’s Anti-Star Persona." In American–Australian Cinema, 91–114. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_5.

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Conference papers on the topic "Australian cinema"

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Leembruggen, Glenn, Philip Newell, and Brian Vessa. "Why Does Cinema Sound Quality Mostly Fail to Realise Its Potential? Some Interesting Results from The SMPTE's 2014 Report on Cinema Sound Systems." In SMPTE Australia Conference. IEEE, 2015. http://dx.doi.org/10.5594/m001746.

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Shaughnessy, P. D., R. R. McIntosh, S. D. Goldsworthy, T. E. Dennis, and M. Berris. "Trends in abundance of Australian Sea Lions, Neophoca cinerea, at Seal Bay, Kangaroo Island South Australia." In Sea Lions of the World. Alaska Sea Grant, University of Alaska Fairbanks, 2006. http://dx.doi.org/10.4027/slw.2006.23.

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Stellpflug, James, and Mike Snell. "IT-Based Switching Brings Francis Ford Coppola's New “Live Cinema” Project to Life." In SMPTE Australia Conference. IEEE, 2015. http://dx.doi.org/10.5594/m001737.

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McIntosh, R. R., P. D. Shaughnessy, and S. D. Goldsworthy. "Mark-recapture estimates of pup production for the Australian sea lion (Neophoca cinerea) at Seal Bay Conservation Park, South Australia." In Sea Lions of the World. Alaska Sea Grant, University of Alaska Fairbanks, 2006. http://dx.doi.org/10.4027/slw.2006.24.

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Campbell, R. A., B. L. Chilvers, S. Childerhouse, and N. J. Gales. "Conservation management issues and status of the New Zealand (Phocarctos hookeri) and Australian (Neophoca cinerea) sea lion." In Sea Lions of the World. Alaska Sea Grant, University of Alaska Fairbanks, 2006. http://dx.doi.org/10.4027/slw.2006.29.

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Eloize Borgert, Aline, and Enedir Ghisi. "Comparação dos Padrões de Qualidade Exigidos por Diretrizes Nacionais e Internacionais para Aproveitamento de Água Pluvial." In XIII SIMPÓSIO NACIONAL DE SISTEMAS PREDIAIS [SISPRED 2019]. Antac, 2021. http://dx.doi.org/10.46421/sispred.v1i.1577.

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RESUMO: Este trabalho tem como objetivo comparar o padrão de qualidade de água exigido pela norma brasileira de aproveitamento de água de chuva de coberturas para fins não potáveis, NBR 15527 (ABNT, 2019), com diretrizes nacionais e internacionais sobre o assunto. Foram analisadas legislações, manuais e normas brasileiras a respeito de água pluvial, água cinza, balneabilidade e potabilidade, além de diretrizes alemãs, estadunidenses e australianas sobre sistemas de aproveitamento de água pluvial. Inicialmente foram identificados os padrões de qualidade de água exigidos pelos documentos nacionais. A partir disso, foram constatadas semelhanças e divergências entre os requisitos de acordo com as finalidades de uso das águas. Posteriormente, o mesmo foi feito com os documentos internacionais. Comparando-se os dados obtidos com os requisitos da norma brasileira de água pluvial, verifica-se que há incoerência em suas exigências. Os resultados sugerem que a NBR 15527 (ABNT, 2019) é demasiadamente restritiva, apesar de ter sido modificada recentemente. Com base nos documentos estudados, foi elaborado um modelo como sugestão para a adequação da norma, com diferentes padrões de qualidade e finalidades de uso, visando melhor coerência com o cenário global atual.
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Brito, Mônica Santos, Eline Santos De Souza, Andressa Carvalho Da Silva, Vinicius Pinheiro Passos, and Elton Carlos De Almeida. "ATUAÇÃO DA ENFERMAGEM NO CONTEXTO DAS HEPATITES VIRAIS: REVISÃO INTEGRATIVA DA LITERATURA." In II Congresso Nacional Multidisciplinar em Enfermagem On-line. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/2425.

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Introdução: O Brasil, signatário da proposta da OMS de eliminar as hepatites virais como problema de saúde pública até 2030, vem desenvolvendo estratégias que possam auxiliar no alcance desse objetivo, dentre as quais está o fortalecimento da atuação do profissional enfermeiro, para tanto, torna-se de extrema relevância conhecer atuação desses profissionais, no mundo, no intuito de aprimorar suas ações, no contexto brasileiro. Objetivo: Descrever a atuação do enfermeiro no cuidado das pessoas com hepatites virais. Metodologia: Trata-se de Revisão Integrativa da Literatura (RIL), utilizou-se a estratégia PICO para formalizar a questão norteadora. Os critérios de inclusão consideraram materiais que apresentassem recomendações, estudos científicos primários ou secundários, que pudessem evidenciar as políticas, projetos e ações que apresentavam a atuação da(o) enfermeira(o) no enfrentamento das hepatites virais, sendo estudos publicados nos últimos 10 anos, aqueles que não abordassem essa temática foram excluídos. Os descritores foram definidos por meio do Descritores em Ciências da Saúde (DeCS) da Biblioteca Virtual em Saúde (BVS) e do Medical Subject Headings (MeSH) por meio do National Center for Biotechnology Information (NCBI). As buscas foram realizadas no portal PubMed (Public Medical) e nas seguintes bases de dados: Biblioteca Virtual de Saúde (BVS), MEDLINE, LILACS, BDENF e SCIELO, Recursos Multimídias, Coleciona SUS, LIS – Localizador de Informação em Saúde, e Literatura cinza. Resultados: Após a leitura na íntegra, foram identificados 14 materiais que respondiam à questão norteadora, sendo 9 (65%) experiências australianas, 2 (14%) França e 1 (7%) EUA, 1 (7%) Canadá e 1 (7%) Nova Zelândia. As ações lideradas pelo enfermeiro possibilitam a ampliação do acesso à atenção às hepatites virais, principalmente, em populações que habitam em locais de difícil acesso. A proposta de fortalecer a atuação do enfermeiro, envolve práticas supervisionadas por meio de protocolos bem definidos, incluindo educação em saúde, suporte ao paciente, avaliação clínica, realização/solicitação de testes de diagnóstico, como Elastografia e realização e monitoramento do tratamento. Conclusões: Neste sentido, destaca-se a potencialidade do profissional de enfermagem que dentro de suas atribuições profissionais pode elaborar estratégias para auxiliar na eliminação das hepatites virais, principalmente, na Atenção Primária à Saúde, desde que, seja oportunizado, espaços para capacitação.
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