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Dissertations / Theses on the topic 'Australian cinema'
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1
Reid, Mary Anne. "Success factors in Australian cinema in the 1990s." Thesis, Queensland University of Technology, 2000.
Find full textAbstract:
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.
2
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.
Full textAbstract:
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
3
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/.
Full textAbstract:
'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.
4
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/.
Full textAbstract:
'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.
5
Rekhari, Suneeti School of Sociology & 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.
Full textAbstract:
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.
6
Zuvela, Danielle Samantha. "'Yes, But How Do We Place You?': Expanded Cinema in Australia." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365201.
Full textAbstract:
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
Full Text
7
Slavin, John. "Lost causes : the ideology of national identity in Australian cinema /." [Melbourne : University of Melbourne, 2002. http://eprints.unimelb.edu.au/archive/00000297.
Full text
8
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.
Full text
9
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.
Full textAbstract:
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 Ferriers (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.
10
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.
Full textAbstract:
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.
11
Simpson, Catherine. "Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98." Thesis, Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/312/.
Full textAbstract:
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.
12
Simpson, Catherine. "Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 /." Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.
Full textAbstract:
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.
13
Barnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.
Full textAbstract:
Between 2007 and 2012, 140 fictional feature films were financed with the assistance of Australian film funding bodies. Of these 140 films, only 31 featured female protagonists and of these 31 films, only 8 were comedies (see Appendix B). These figures show statistically, Tasha, the creative film component of this research project, is not a typical Australian comedy film; it is the story of Tasha, an unemployed girl from Girrawheen in her early twenties, who has lost her sense of identity. As Australian films such as Little Fish¸ Candy, Jedda and Muriel’s Wedding would suggest, this is certainly not an uncommon premise in Australian national cinema. However, this is not all there is to know about Tasha; she is preoccupied, not by a love interest or by a drug addiction, but by ninjutsu, and vigilantism. This is where Tasha finds its unique approach to Australian cinema’s historic treatment of the woman-centred narrative. That said, beneath Tasha’s unconventional surface arguably lies a truly Australian comedy film.
The exegesis component of this project re-interprets Bazin’s question, “Qu'est-ce que le cinéma?” (What is cinema?), with a theoretical framework inspired by Australian film theorist Tom O’Regan’s influential text, Australian National Cinema. The exegesis begins by looking at Australian national cinema as a whole, then narrowing the focus to Australian comedy cinema. O’Regan (1996) describes Australian cinema as a national cinema; a cinema that embodies Australian culture, society and history. The focus is on Australian comedy film texts, and their social, political and cultural contexts. Tasha, the creative film project, is what O’Regan would term a “problematisation” of Australian comedy cinema.
The key argument of this project is that Australian national comedy films are uniquely Australian, cinematic explorations of individual identity, socio-cultural identity, landscape and family. Australia laughs about what it knows best, these four narrative and aesthetic preoccupations being central to Australian socio-cultural values and attitudes, to understanding the concept of Australianness. Australian comedy cinema is a problematic genre unto itself. The theoretical component of this project is a profile of Australian comedy cinema’s homogenised representation of Australianness. Tasha is then presented as an alternative. This investigation aims to both improve, and demonstrate an understanding of Australian comedy cinema as a problematisation of gender, culture, landscape, family and identity.
Tasha responds to the research question, “What is Australian comedy cinema?” by revealing that even an Australian action comedy with exciting stunts and fight scenes, is still a story of an individual’s sense of identity, family, and place. Such stories are arguably the hallmark of Australian comedy cinema; this carries a uniquely Australian sense of quirkiness. It remains the domain of the underdog: the battlers, larrikins, and of course the ockers. It still carries the same messages; never forget who you are, who your friends and family are, or where you came from. Despite its unconventional narrative, subject matter, soundtrack and aesthetics, Tasha proves to be no exception; it is still easily identified as a truly Australian comedy film.
14
Ashton, Romana, and darkroom@optus com au. "Antipodean Gothic Cinema: A Study of the (postmodern) Gothic in Australian and New Zealand Film since the 1970s." Central Queensland University. Humanities, 2006. http://library-resources.cqu.edu.au./thesis/adt-QCQU/public/adt-QCQU20060921.111449.
Full textAbstract:
Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheffs Wake in Fright (1971) to Peter Jacksons Heavenly Creatures (1994).
Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema.
In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility.
In its conclusion, the study finds that Antipodean Gothic cinema, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms.
15
McKenzie, Jordi. "An economic analysis of motion pictures in the Australian cinema industry, 1997-2000." Connect to full text, 2005. http://hdl.handle.net/2123/1794.
Full textAbstract:
Thesis (Ph. D.)--Discipline of Economics, University of Sydney, [2006?].Title from title screen (viewed 27th June, 2007). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Discipline of Economics, University of Sydney. Degree awarded 2006?; thesis submitted 2005. Includes bibliographical references. Also issued in print.
16
Steains, Timothy Kazuo. "Becoming Mixed: Intercultural Engagement with Japan in Contemporary Australian Literature, Cinema, and Theatre." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16552.
Full textAbstract:
This thesis examines intercultural engagement between Australians and Japanese in a total of nine examples of contemporary Australian literature, cinema, and theatre. Given the recent political rhetoric surrounding Australia’s role in the ‘Asian century’ and its need to ‘engage’ Asia, this study considers how intercultural exchanges might lead to productive forms of cultural mixture in Australia. I use mixed racial and cultural experiences – such as my own – as a framework to think about the benefits of mixed cultural identification. I argue that cross-cultural engagement can lead individuals and societies to possessing multiple forms of cultural, national, and even racial identification. Individual moments of ‘becoming mixed’ offer ways of thinking about transnational formations of Australian cultural life and identity. This exploration takes up Ghassan Hage’s call to consider the potential of intercultural relations, given the failures of Australian multiculturalism. In addition, by taking own mixed race position into account, this project examines the limitations of the restrictive ‘identity politics’ of many postcolonial or critical race approaches to ethnic and racial identity. I employ Kuan-Hsing Chen’s notion of ‘becoming others’ and place it in conversation with Deleuzian becoming and a version of the subject that draws on Freudian melancholia. Becoming others, or becoming mixed, allows us to consider the new possibilities of cross-cultural identifications that are not bound by rigid ethnic, racial, or national identities. The first section of this thesis examines three road movies centring on interracial desire – Sue Brooks’s Japanese Story (2003), Rachel Lucas’s Bondi Tsunami (2004), and Clara Law’s The Goddess of 1967 (2000). The second section analyses three theatre-themed texts (one novel and two plays) that explore ghostly possession and the embodiment of difference – Paddy O’Reilly’s The Factory (2005), Allan Marett’s Oppenheimer Noh (2015), and Mayu Kanamori’s Yasukichi Murakami: Through a Different Lens (2014). The final section examines three novels that centre on wartime reconciliation – Gail Jones’s Dreams of Speaking (2006) Richard Flanagan’s The Narrow Road to the Deep North (2013), and Christine Piper’s After Darkness (2014).
17
Mageros, Peter. "Anzac Cinema: The Heroic Depiction of Australia’s Film Industry, 1906-1988." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14307.
Full textAbstract:
In 1915 Australia’s bush-bred soldier-warrior, the ‘Anzac’, wrote himself into history on the battlefields of Europe, earning a reputation as one of the world’s most fearsome and indefatigable fighters. Back home he was conscripted in an equally fierce cultural war as local film interests battled to keep Australian films on Australian screens. This thesis examines the historical prolificacy of Australian cinema to portray itself as heroic as the nation’s Anzac soldier, who is also commonly referred to as the ‘digger’. As such, the thesis aims to contribute to scholarship about the relationship between the Australian film industry and the national identity by examining how the cinema has at pivotal moments sought to incorporate the Anzac legend into its own identity. It is argued that Australian cinema has sought to depict itself in the ‘heroic’ image of the legend. This nationalist tendency was most apparent at moments of crisis for the production sector – the First World War, the arrival of sound cinema in the early 1930s and the period during and immediately after the Second World War. It is also argued that Anzac-themed films were the catalyst for the cultural nationalist-boom of the early 1980s. The main argument is that the Anzac legend was exploited at these pivotal moments as the film industry sought to re-establish or consolidate its presence in the domestic market when faced with the reality of Hollywood’s dominance. This idea of the ‘heroic film industry’ involved metaphorically aligning the fighting image of the ‘digger’ with the struggle of the film industry itself, culminating in a depiction for both that was interchangeable. This thesis examines a selection of Bush-Anzac-themed films released between 1906 and 1988, with each chapter focussing on a particular phase of the cinema. This is essentially an interventionist approach to the study of Australian film history. As such, it is involved in a critical analysis of the films in question and discourse on the film industry, the result of which is a fresh approach to the relationship between cinema and mythology.
18
Pascoe, Caroline Myra. "Screening Mothers: Representations of motherhood in Australian films from 1900 to 1988." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/385.
Full textAbstract:
Although the position of mothers has changed considerably since the beginning of the twentieth century, an idealised notion of motherhood persists. The cinema provides a source of information about attitudes towards mothering in Australian society which is not diminished by the fact that mothers are often marginal to the narrative. While the study recognises that cinematic images are not unconditionally authoritative, it rests on the belief that films have some capacity to reflect and influence society. The films are placed in an historical context with regard to social change in Australian society, so that the images can be understood within the context of the time of the making and viewing of the films. The depictions of the mother are scrutinised with regard to her appearance, her attitude, her relationship with others and the expectations, whether explicit or implicit, of her role. Of particular significance is what happens to her during the film and whether she is punished or rewarded for her behaviour. The conclusions reached after analysis are used to challenge those ideas which assume that portrayals of motherhood are unchangeable and timeless. The study examines Australian feature films from 1900 to 1988. To augment its historical focus, it uses sociological, psychoanalytical and feminist theoretical writing with special relevance for motherhood and mothering practice. Looking at areas of importance to mothers, it comprises an exploration of what makes a mother good or bad; the significance of the birth of female and male children; the relationship of mothers to daughters; the mother's sexuality and the metaphor of the missing mother. It shows that images of motherhood on screen are organised according to political, social and economic requirements in the community. Further, films frequently show mothers in traditional roles which are useful for maintaining notions of patriarchal privilege in society. The analysis exposes stereotypical depictions of motherhood which are often inaccurate, unfair and oppressive to women.
19
Pascoe, Caroline Myra. "Screening Mothers: Representations of motherhood in Australian films from 1900 to 1988." University of Sydney, History, 1998. http://hdl.handle.net/2123/385.
Full textAbstract:
Although the position of mothers has changed considerably since the beginning of the twentieth century, an idealised notion of motherhood persists. The cinema provides a source of information about attitudes towards mothering in Australian society which is not diminished by the fact that mothers are often marginal to the narrative. While the study recognises that cinematic images are not unconditionally authoritative, it rests on the belief that films have some capacity to reflect and influence society. The films are placed in an historical context with regard to social change in Australian society, so that the images can be understood within the context of the time of the making and viewing of the films. The depictions of the mother are scrutinised with regard to her appearance, her attitude, her relationship with others and the expectations, whether explicit or implicit, of her role. Of particular significance is what happens to her during the film and whether she is punished or rewarded for her behaviour. The conclusions reached after analysis are used to challenge those ideas which assume that portrayals of motherhood are unchangeable and timeless. The study examines Australian feature films from 1900 to 1988. To augment its historical focus, it uses sociological, psychoanalytical and feminist theoretical writing with special relevance for motherhood and mothering practice. Looking at areas of importance to mothers, it comprises an exploration of what makes a mother good or bad; the significance of the birth of female and male children; the relationship of mothers to daughters; the mother's sexuality and the metaphor of the missing mother. It shows that images of motherhood on screen are organised according to political, social and economic requirements in the community. Further, films frequently show mothers in traditional roles which are useful for maintaining notions of patriarchal privilege in society. The analysis exposes stereotypical depictions of motherhood which are often inaccurate, unfair and oppressive to women.
20
Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
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Lee, Gerard. "Swell : a feature-length screenplay set in the world of Australian surfing, and an accompanying exegesis on three-act structure." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/42417/1/Gerard_Lee_Thesis.pdf.
Full textAbstract:
Despite many arguments to the contrary, the three-act story structure, as propounded and refined by Hollywood continues to dominate the blockbuster and independent film markets. Recent successes in post-modern cinema could indicate new directions and opportunities for low-budget national cinemas.
22
Ellis, Kathleen. "You look normal to me: the social construction of disability in Australian national cinema in the 1990s." Thesis, Ellis, Kathleen (2004) You look normal to me: the social construction of disability in Australian national cinema in the 1990s. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/63/.
Full textAbstract:
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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Ellis, Kathleen. "You look normal to me: the social construction of disability in Australian national cinema in the 1990s." Ellis, Kathleen (2004) You look normal to me: the social construction of disability in Australian national cinema in the 1990s. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/63/.
Full textAbstract:
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.
24
Proudley, Craig William. "The way of the warrior: Realising the mythic warrior-hero in the action genre and in Australian cinema." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116768/9/Craig%20Proudley%20Exegesis.pdf.
Full textAbstract:
The Way of the Warrior, Realising the Mythic Warrior-hero in the Action genre and in Australian Cinema, is Creative Practice research that pursues detailed analysis of the warrior-hero in Australian and, action genre cinema narratives. Warrior-hero archetypes are employed in the original Australian feature screenplay Behold a Pale Horse in order to address whether it is possible to synthesise the Warrior-hero archetype with the tropes, codes and conventions of the Action genre in an Australian context and create an original screenplay with the potential for both critical and commercial success?
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Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.
Full textAbstract:
The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).Thesis (Ph.D.)--School of Humanities, 2004.
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McKenzie, Susan M., and n/a. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040804.142852.
Full textAbstract:
This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.
27
McKenzie, Susan M. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366616.
Full textAbstract:
This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text
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au, larissa sextonfinck@uwa edu, and Larissa Claire Sexton-Finck. "Be(com)ing Reel Independent Woman: An Autoethnographic Journey Through Female Subjectivity and Agency in Contemporary Cinema with Particular Reference to Independent Scriptwriting Practice." Murdoch University, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100512.122302.
Full textAbstract:
Women exert only a modicum of production power in 21st century cinema despite its growing accessibility and spectatorship through the developing technologies of the digital era. In 2007, of the top 250 grossing films in Hollywood, only 10% were written, and 6% directed, by women, and just 16% contained leading female protagonists. Why, after the gains of the film feminist movement, is there such a significant gender imbalance in mainstream film, and an imbalance that is only increasing over time? More significantly, what are the possibilities and limitations for reel womans subjectivity and agency, in and on screen, in this male-dominated landscape?
As a female filmmaker in this current climate I conduct an autoethnographical scriptwriting-based investigation into female subjectivity and agency, by writing the feature length screenplay Float, which is both the dramatic experiment and the creative outcome of this research. The exegesis works symbiotically with my scriptwriting journey by outlining the broader contexts surrounding women filmmakers and their female representations.
In this self-reflexive examination, I use an interdisciplinary methodology to unravel the overt and latent sites of resistance for reel woman today on three interdependent levels. These comprise the historical, political and philosophical background to womans treatment both behind, and in front of, the camera; my lived experiences as an emerging writer/director as I write Float; and my representation of the screenplays central female character.
I use the multiple logic of screenplay diegesis to explore the issues that have a bearing on womens ability to be active agents in the world they inhabit, including: the dichotomising of female desire, the influence of familial history, the repression of the mother, the dominance of the male gaze, the disavowal of female specificity, and womens consequent dislocation from their self-determined desire. These obstacles are simultaneously negotiated as I map my process of writing Float and deal with the challenging contexts in which the screenplay was created. In the course of my scriptwriting investigation, film feminist and French poststructuralist paradigms are considered and negotiated as I experiment whether it is possible for female filmmakers, and their female characters, to overcome the seemingly insurmountable odds facing womens actualisation today.
My research brings to light the critical need for more inclusive modes of practice across the film industry, discourse and pedagogy that are cognisant and respectful of reel womens difference, and allow them to explore their own specificity. The thesis argues that it would be advantageous for female filmmakers to challenge their fixed status in phallocentric discourse, and to deconstruct their patriarchal conditioning through engagement with forms of identity and writing resistance that recognise the fluidity of their subjectivity, and the consequent potential for change. I also highlight the importance of an accessible and affirmative feminist cinema pertinent to the 21st century, to integrate feminist ideals into the mainstream, and finally bring reel woman out of the margins.
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Taylor, Cory Jane. "What happens next? " Telling " the Japanese in contemporary Australian screen stories." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16253/.
Full textAbstract:
This study investigates the challenges facing screenwriters in Australia who set out to represent the Japanese on screen. The study is presented in two parts; an exegesis and a creative practice component consisting of two full length feature film screenplays. The exegesis explores how certain screenwriting conventions have constrained recent screen images of the Japanese within the bounds of the cliched and stereotypical, and argues for a greater resistance to these conventions in the future. The two screenplays experiment with new ways of representing the Japanese in mainstream Australian film and aim to expand the repertoire of Asian images in the national film culture.
30
Taylor, Cory Jane. "What happens next? " Telling " the Japanese in contemporary Australian screen stories." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16253/1/Cory_Taylor_Thesis.pdf.
Full textAbstract:
This study investigates the challenges facing screenwriters in Australia who set out to represent the Japanese on screen. The study is presented in two parts; an exegesis and a creative practice component consisting of two full length feature film screenplays. The exegesis explores how certain screenwriting conventions have constrained recent screen images of the Japanese within the bounds of the cliched and stereotypical, and argues for a greater resistance to these conventions in the future. The two screenplays experiment with new ways of representing the Japanese in mainstream Australian film and aim to expand the repertoire of Asian images in the national film culture.
31
Mikhail, Samia, and fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.
Full textAbstract:
This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?
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Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
Full textAbstract:
Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
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DeLassus, Leslie Marie. "Salvage historiography: viewing, special effects, and Norman O. Dawn's unpreserved archive." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2203.
Full textAbstract:
This dissertation excavates the work of early special effects cinematographer Norman O. Dawn in order to explore film spectatorship, the ephemerality of the cinematic image, and motion picture preservation and archival practices. Best known for his innovations of glass and matte shot techniques, Dawn produced 861 composite images while working in the U.S. film industry between 1906 and 1954. Although technological film historians acknowledge the importance of Dawn’s innovations to the development of motion picture special effects, the composite images themselves as well as the films for which they were produced remain in relative obscurity. Rather than attempting to recover these objects for inclusion in an existing film canon, my research interrogates their obscurity by analyzing Dawn’s special effects processes against the broader economic concerns that inform the dominant practices of the US film industry during the first half of the twentieth-century.
My research begins with the Norman O. Dawn collection housed at the Harry Ransom Humanities Research Center, which is the most comprehensive historical record of Dawn’s work in the film industry. Constructed by Dawn himself between 1962 and 1974, this collection consists of 164 poster-sized collages of archival ephemera that illustrate the special effects processes employed in the production of 235 composite images for eighty-five films. While these eighty-five film titles constitute a tentative corpus upon which to base my research, seventy of these films are lost, which raises questions concerning the relationship between motion picture preservation and film history, specifically why these films have not been preserved while others have and to what extent the economic imperatives of the film industry have determined these conditions.
I address these questions in my analysis of archival material related to these films, finding that they traverse several distinct domains of film practice—including early scenic footage for newsreels and the amusement park ride Hale’s Tours of the World, early one-reel travel films, silent-era studio shorts, serials, and B features, and poverty row and independently-produced silent and sound feature-length films—thereby situating Dawn’s special effects at the intersection of the early and contemporary cinematic modes often aligned in studies of cinematic special effects. I argue that this heterogeneous corpus points to a studio-era Hollywood cinema alternative to the classical model, largely forgotten because it is dominated by low-budget product intended to supplement more costly feature films. In contrast to the classical model, this alternate cinematic mode emphasizes the scenic and thrilling elements that characterize both early exhibitionist films and contemporary effects-driven blockbusters. In this context, Dawn’s special effects processes constitute a historically marginalized practice precisely because they are non-routine techniques that provide cost-effective means to produce otherwise economically infeasible scenes, and, as such, operate on the periphery of conventional film production.
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Thompson, Lisa. "Cinéma Vérité? Australian Film, Young Lebanese-Australian Men, and the Performance of Identity." Thesis, Department of Sociology and Social Policy, 2009. http://hdl.handle.net/2123/7254.
Full textAbstract:
Australian popular media has stereotyped young Lebanese-Australian men as ‘violent misogynists’; subsequently, young Lebanese-Australian men have been criminalised as the deviant ethnic ‘other’. Recently, however, a number of films have emerged that have attempted to challenge these stereotypes through a variety of mechanisms. This research aims to examine the role of stereotypes in identity-formation among young Lebanese-Australian men, and to explore their representation through characters and issues depicted within recent films. Semi-structured interviews were conducted with men who had been involved in filmmaking; these interviews explored the tensions inherent within the intersection of masculinity and ethnicity in the negotiation of everyday life, and the situational mobilisation of popular stereotypes in the performance of identity. While these results may be particular to the target group, this project illuminates the complexity of identity and the potential for empowerment and active resistance against racism and marginalisation.
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Aveyard, Karina. "Rural Cinema: Film Exhibition and Consumption in Australia and the United Kingdom." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367864.
Full textAbstract:
This thesis investigates the contexts of film exhibition and consumption in contemporary rural Australia and the United Kingdom (UK). As the site of most detailed fieldwork, Australia forms the primary focus of the investigation, while information gathered in the UK provides material for contextualisation and comparative analysis.
The public screening of films takes place in a wide variety of settings in rural areas of Australia and the UK. These range from modern multi-screen venues operating in large regional centres, through to older-style twin and single screen cinemas found in smaller places. In very small and remote settlements, where film exhibition is generally not viable on a commercial basis, screenings are held in purpose-built and make-shift facilities by local councils, community cooperatives, film societies and a few small-scale entrepreneurs.
As a commercial enterprise, the fortunes of film exhibitors are closely tied to wider economic and demographic trends. Over recent decades there has been a significant increase in the overall number of multiplexes in rural areas. However, this growth has taken place almost exclusively in large settlements, where it has been underpinned by broader increases in industrial activity, employment and population, as well as the rise in cinema-going frequency since the mid 1980s. In smaller, relatively stable towns, scaled-down single and twin screen cinemas are regularly able to survive and sometimes prosper. But in areas of social and economic decline film enterprises can be highly marginal concerns. For smaller operators adaptation and innovation are often key skill requirements. Initiatives such as in-house movie clubs, low ticket prices, and efforts to personalise patrons’ film-going experiences all form an important part of their marketing strategies. For other cinemas the secret to longevity can centre around creating a sub-commercial operating structure, one which allows the enterprise to utilise financial support mechanisms such as government funding and volunteer labour.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
Full textAbstract:
While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
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Bauer-Lenoir, Virginie. "Le cinéma australien contemporain 1975-1988 : reflet d'une société." Paris 3, 1992. http://www.theses.fr/1993PA030046.
Full textAbstract:
L'etude du cinema australien entre 1975 et 1988 rend compte de l'evolution de la production cinematographique en australie. Elle reflete le desir de comprendre dans quel contexte politique, social et culturel, une renaissance aussi profonde du cinema a pu se produire dans ce pays. L'attitude de l'etat australien et des etats de la federation, l'organisation de l'industrie du cinema, l'engagement personnel de ceux qui ont contribue a enrichir le patrimoine cinematographique australien, ainsi que les films eux - memes, en temoignent. Ils nous permettent ainsi d'etablir la specificite du cinema australienThe only way to account for the evolution of the australian film production from 1975 to 1988 is to study the policy of the australian federal governement and of the seven states as regard to the organization of the film industry, the dedication of the men and women who contributed to enrich the australian film heritage and the film themselves. The study of all these aspects comes as an answer to my desire to understand better the political, social and cultural beckground in which such a profound renewal of film production could take place in this country. It also makes possible to define the specificity of australian cinema
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au, jporsini@bigpond net, and Jean-Paul Orsini. "Human impacts on Australian sea lions, Neophoca cinerea, hauled out on Carnac Island (Perth, Western Australia): implications for wildlife and tourism management." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040520.154341.
Full textAbstract:
Over the last 15 years, pinniped tourism has experienced a rapid growth in the Southern Hemisphere, and particularly in Australia and New Zealand where at least four sites attract more than 100,000 visitors per year. Tourism focused on the Australian sea lion (Neophoca cinerea), a protected species endemic to Australia, occurs in at least nine sites in South Australia and Western Australia. Australian sea lions haul out on several offshore islands in the Perth region.
Carnac Island Nature Reserve is one of the main sites where people can view sea lions near Perth, either during recreational activities or on commercial tours.
This study sought: (1) to investigate the potential impact of human visitors on Australian sea lions hauled out on Carnac Island, (2) to consider implications of the results for the management of Carnac Island Nature Reserve, and (3) to examine under which conditions tourism and recreation around sea lions can be sustained in the long term.
Sea lion numbers, rate of return to the site, behavioural response to human presence and incidents of disturbances of sea lions by visitors were recorded over a period of four months on Carnac Island. A survey of 207 visitors was also carried out.
Findings indicated that there were two main types of human impacts on the sea lions:
A specific state of sea lion vigilance induced by low level, but ongoing, repetitive disturbances from human presence, sustained at various approach distances ranging to more than 15 m, vigilance that is different from the behaviour profile observed in the absence of human disturbance,
Impacts resulting from incidental direct disturbances of sea lions by visitors from inappropriate human recreational activities or from visitors trying to elicit a more active sea lion response than the usual sleeping or resting behaviour on display; these impacts included sea lions retreating and leaving the beach, or displaying aggressive behaviour.
Impacts on sea lions from these disturbances may range from a potential sea lion physiological stress response to sea lions leaving the beach, a reduction in the time sea lions spend hauling out, and, in the longer term, the risk of sea lions abandoning the site altogether. Repeated instances of visitors (including unsupervised young children) approaching sea lions at very short distances of less than 2.5 m represented a public safety risk.
Results also indicated that (1) the numbers of sea lions hauled out and their rate of return to the beach did not appear to be affected by an increase in the level of human visitation (although longer-term studies would be required to confirm this result); and (2) there appeared to be a high turnover rate of sea lions at the site from day to day, suggesting that there are frequent arrivals and departures of sea lions to and from Carnac Island.
The visitor survey indicated that many visitors to Carnac Island had a recreational focus that was not primarily directed towards sea lion viewing (incidental ecotourists). Although many visitors witnessed incidental disturbance caused by humans to sea lions, they did not seem to recognise that they themselves could disturb sea lions through their mere presence. Visitors also seemed to have a limited awareness of the safety risk posed by sea lions at close range. Visitors expressed support for the presence of a volunteer ranger on the beach and for more on-site information about sea lions. Finally, visitors indicated that they greatly valued their sea lion viewing experience. It is anticipated that the continued increase in visitation to Carnac Island from recreation and from tourism will result in intensified competition for space between humans and sea lions. Long-term impacts of human disturbances on sea lions are unknown, but a physiological stress response and/or the abandonment of haulout sites has been observed in other pinniped species.
The findings of this study highlight the need to implement a long-term strategy to reduce disturbance levels of sea lions by visitors at Carnac Island to ensure that tourism and recreation around sea lions can be sustained in the long term. Recommendations include measures to control visitor numbers on the island through an equitable allocation system between various user groups, the development of on-site sea lion interpretation and a public education and awareness program, the setting up of a Sea Lion Sanctuary Zone on the main beach, ongoing monitoring of sea lion and visitor numbers and other data, and a system of training and accreditation of guides employed by tour operators.
39
Orsini, Jean-Paul. "Human impacts on Australian sea lions, Neophoca cinerea, hauled out on Carnac Island (Perth, Western Australia): implications for wildlife and tourism management." Thesis, Orsini, Jean-Paul (2004) Human impacts on Australian sea lions, Neophoca cinerea, hauled out on Carnac Island (Perth, Western Australia): implications for wildlife and tourism management. Masters by Research thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/238/.
Full textAbstract:
Over the last 15 years, pinniped tourism has experienced a rapid growth in the Southern Hemisphere, and particularly in Australia and New Zealand where at least four sites attract more than 100,000 visitors per year. Tourism focused on the Australian sea lion (Neophoca cinerea), a protected species endemic to Australia, occurs in at least nine sites in South Australia and Western Australia. Australian sea lions haul out on several offshore islands in the Perth region.
Carnac Island Nature Reserve is one of the main sites where people can view sea lions near Perth, either during recreational activities or on commercial tours.
This study sought: (1) to investigate the potential impact of human visitors on Australian sea lions hauled out on Carnac Island, (2) to consider implications of the results for the management of Carnac Island Nature Reserve, and (3) to examine under which conditions tourism and recreation around sea lions can be sustained in the long term.
Sea lion numbers, rate of return to the site, behavioural response to human presence and incidents of disturbances of sea lions by visitors were recorded over a period of four months on Carnac Island. A survey of 207 visitors was also carried out.
Findings indicated that there were two main types of human impacts on the sea lions:
* A specific state of sea lion vigilance induced by low level, but ongoing, repetitive disturbances from human presence, sustained at various approach distances ranging to more than 15 m, vigilance that is different from the behaviour profile observed in the absence of human disturbance,
* Impacts resulting from incidental direct disturbances of sea lions by visitors from inappropriate human recreational activities or from visitors trying to elicit a more 'active' sea lion response than the usual 'sleeping or resting' behaviour on display; these impacts included sea lions retreating and leaving the beach, or displaying aggressive behaviour.
Impacts on sea lions from these disturbances may range from a potential sea lion physiological stress response to sea lions leaving the beach, a reduction in the time sea lions spend hauling out, and, in the longer term, the risk of sea lions abandoning the site altogether. Repeated instances of visitors (including unsupervised young children) approaching sea lions at very short distances of less than 2.5 m represented a public safety risk.
Results also indicated that (1) the numbers of sea lions hauled out and their rate of return to the beach did not appear to be affected by an increase in the level of human visitation (although longer-term studies would be required to confirm this result); and (2) there appeared to be a high turnover rate of sea lions at the site from day to day, suggesting that there are frequent arrivals and departures of sea lions to and from Carnac Island.
The visitor survey indicated that many visitors to Carnac Island had a recreational focus that was not primarily directed towards sea lion viewing ('incidental ecotourists'). Although many visitors witnessed incidental disturbance caused by humans to sea lions, they did not seem to recognise that they themselves could disturb sea lions through their mere presence. Visitors also seemed to have a limited awareness of the safety risk posed by sea lions at close range. Visitors expressed support for the presence of a volunteer ranger on the beach and for more on-site information about sea lions. Finally, visitors indicated that they greatly valued their sea lion viewing experience. It is anticipated that the continued increase in visitation to Carnac Island from recreation and from tourism will result in intensified competition for space between humans and sea lions. Long-term impacts of human disturbances on sea lions are unknown, but a physiological stress response and/or the abandonment of haulout sites has been observed in other pinniped species.
The findings of this study highlight the need to implement a long-term strategy to reduce disturbance levels of sea lions by visitors at Carnac Island to ensure that tourism and recreation around sea lions can be sustained in the long term. Recommendations include measures to control visitor numbers on the island through an equitable allocation system between various user groups, the development of on-site sea lion interpretation and a public education and awareness program, the setting up of a Sea Lion Sanctuary Zone on the main beach, ongoing monitoring of sea lion and visitor numbers and other data, and a system of training and accreditation of guides employed by tour operators.
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Orsini, Jean-Paul. "Human impacts on Australian sea lions, Neophoca cinerea, hauled out on Carnac Island (Perth, Western Australia) : implications for wildlife and tourism management /." Orsini, Jean-Paul (2004) Human impacts on Australian sea lions, Neophoca cinerea, hauled out on Carnac Island (Perth, Western Australia): implications for wildlife and tourism management. Masters by Research thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/238/.
Full textAbstract:
Over the last 15 years, pinniped tourism has experienced a rapid growth in the Southern Hemisphere, and particularly in Australia and New Zealand where at least four sites attract more than 100,000 visitors per year. Tourism focused on the Australian sea lion (Neophoca cinerea), a protected species endemic to Australia, occurs in at least nine sites in South Australia and Western Australia. Australian sea lions haul out on several offshore islands in the Perth region.
Carnac Island Nature Reserve is one of the main sites where people can view sea lions near Perth, either during recreational activities or on commercial tours.
This study sought: (1) to investigate the potential impact of human visitors on Australian sea lions hauled out on Carnac Island, (2) to consider implications of the results for the management of Carnac Island Nature Reserve, and (3) to examine under which conditions tourism and recreation around sea lions can be sustained in the long term.
Sea lion numbers, rate of return to the site, behavioural response to human presence and incidents of disturbances of sea lions by visitors were recorded over a period of four months on Carnac Island. A survey of 207 visitors was also carried out.
Findings indicated that there were two main types of human impacts on the sea lions:
* A specific state of sea lion vigilance induced by low level, but ongoing, repetitive disturbances from human presence, sustained at various approach distances ranging to more than 15 m, vigilance that is different from the behaviour profile observed in the absence of human disturbance,
* Impacts resulting from incidental direct disturbances of sea lions by visitors from inappropriate human recreational activities or from visitors trying to elicit a more 'active' sea lion response than the usual 'sleeping or resting' behaviour on display; these impacts included sea lions retreating and leaving the beach, or displaying aggressive behaviour.
Impacts on sea lions from these disturbances may range from a potential sea lion physiological stress response to sea lions leaving the beach, a reduction in the time sea lions spend hauling out, and, in the longer term, the risk of sea lions abandoning the site altogether. Repeated instances of visitors (including unsupervised young children) approaching sea lions at very short distances of less than 2.5 m represented a public safety risk.
Results also indicated that (1) the numbers of sea lions hauled out and their rate of return to the beach did not appear to be affected by an increase in the level of human visitation (although longer-term studies would be required to confirm this result); and (2) there appeared to be a high turnover rate of sea lions at the site from day to day, suggesting that there are frequent arrivals and departures of sea lions to and from Carnac Island.
The visitor survey indicated that many visitors to Carnac Island had a recreational focus that was not primarily directed towards sea lion viewing ('incidental ecotourists'). Although many visitors witnessed incidental disturbance caused by humans to sea lions, they did not seem to recognise that they themselves could disturb sea lions through their mere presence. Visitors also seemed to have a limited awareness of the safety risk posed by sea lions at close range. Visitors expressed support for the presence of a volunteer ranger on the beach and for more on-site information about sea lions. Finally, visitors indicated that they greatly valued their sea lion viewing experience. It is anticipated that the continued increase in visitation to Carnac Island from recreation and from tourism will result in intensified competition for space between humans and sea lions. Long-term impacts of human disturbances on sea lions are unknown, but a physiological stress response and/or the abandonment of haulout sites has been observed in other pinniped species.
The findings of this study highlight the need to implement a long-term strategy to reduce disturbance levels of sea lions by visitors at Carnac Island to ensure that tourism and recreation around sea lions can be sustained in the long term. Recommendations include measures to control visitor numbers on the island through an equitable allocation system between various user groups, the development of on-site sea lion interpretation and a public education and awareness program, the setting up of a Sea Lion Sanctuary Zone on the main beach, ongoing monitoring of sea lion and visitor numbers and other data, and a system of training and accreditation of guides employed by tour operators.
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Gales, Nicholas John. "Breeding biology of the Australian sea lion Neophoca cinerea." Thesis, Gales, Nicholas John (1995) Breeding biology of the Australian sea lion Neophoca cinerea. PhD thesis, Murdoch University, 1995. https://researchrepository.murdoch.edu.au/id/eprint/53087/.
Full textAbstract:
The breeding biology of the Australian sea lion was investigated throughout its geographic range between December 1987 and February 1992. Sea lions breed on at least 51 islands, 28 in Western Australia and 23 in South Australia. Thirty one of these islands had not been previously reported as sea lion breeding sites. A predictive model is developed to estimate the population size from pup production estimates from these locations. It indicates that pup numbers should be multiplied by between 3.81 and 4.81 to estimate the total population size just before the pupping season begins. Pup production was estimated at 2,432 which led to a total population estimate of 9,300-11,700, considerably greater than earlier estimates. Approximately half of the pup production occurs on five colonies near Kangaroo Island, South Australia. An unusual breeding cycle of 17-18 months has been reported for N. cinerea at Kangaroo Island; this study reports for the first time this unusual breeding cycle on islands throughout this species’ range. No evidence was found for breeding seasons shorter or longer than 17-18 months. The breeding season is not synchronised between islands, as it is in other pinnipeds, and the timing of breeding appeared random between sites.
Investigations of the reproductive physiology of this species conducted on Kangaroo Island, South Australia, revealed a 4-5 month embryonic diapause and an 11-12 month placental gestation. This unusually long placental gestation was not associated with the production of a precocious pup, but rather, I hypothesise in this study that foetal growth rate is retarded. Because of the non-seasonal, asynchronous reproductive cycle of N. cinerea the present results indicate that cues for the physiological events of gestation must be endogenous, rather than the exogenous cues hypothesised for other pinnipeds. Throughout the lactation that accompanies gestation, N. cinerea produces milk that is lower in fat (energy) than all but the tropical otariids (30.82 +/- 9.84% SD).
Analysis of scats and stomach contents indicate that N. cinerea has a broad diet and feeds on primarily benthic species. Such a diet is well suited to the low energy marine environment exploited by this species, in which there are few, if any, seasonal changes in food availability. Feeding trials indicated that analysis of scats alone is a poor methodology for quantifying diet.
In this study I hypothesise that the unique reproductive cycle and physiology of N. cinerea results from living in a stable climate in some of the most biologically poor waters of the world.
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Marcus, Alan David. "Hookworm infection in the Australian sea lion (Neophoca cinerea)." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13606.
Full textAbstract:
For the Australian sea lion (Neophoca cinerea), an endangered keystone predator that demonstrates high rates of pup mortality and limited population recovery, an understanding of the role of infectious disease in influencing pup health, and how it may contribute towards shaping population demography, is a key knowledge gap. This thesis investigated the taxonomy, epidemiology, clinical impact, and management of hookworm infection in N. cinerea to address the hypothesis that hookworm infection is a significant cause of disease and mortality in this species. Hookworms collected from N. cinerea pups were identified and described as a novel species (Uncinaria sanguinis). Transmammary transmission in the immediate post-parturient period was implicated as the predominant route leading to patent hookworm infection in pups; however, in contrast to the fundamental role that colony substrate appears to play in shaping the epidemiology of hookworm infection in other otariid hosts, this thesis determined that all N. cinerea pups are infected with U. sanguinis irrespective of the type of colony substrate and that the intensity of hookworm infection appears to be influenced by colony-specific seasonal differences in host behaviour. The clinical impact of hookworm infection in pups was quantified and the occurrence of seasonal patterns in health parameters and the magnitude of colony pup mortality were related to the dynamics of hookworm infection. In addition, the effectiveness of ivermectin to eliminate hookworm infection was investigated. This thesis determined that U. sanguinis is an important cause of disease and mortality in N. cinerea; this thesis contributes towards an improved understanding of the role of infectious disease in influencing the health status and population demography of this endangered species, informing conservation management and providing a solid foundation for further investigations of the effect of disease on the health status of free-ranging species.
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O'Reilly, Sean D. "Re-Viewing the Past: The Uses of History in the Cinema of Japan, 1925-1945." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467187.
Full textAbstract:
In this thesis I use historical films to construct a social history of Japan's tumultuous interwar
and wartime periods. I analyze filmic depictions of the Bakumatsu period (1853-1868), Japan's rocky
transition to modernity, from the perspective of the audiences of 1925-1945, an era in which societal
interest in representations of the Bakumatsu period soared.
Methodologically, I use close visual analysis but move beyond an aesthetically-minded film
studies approach to raise issues of audience reception, war and society, empire, sexuality and gender,
censorship, urban spaces and popular culture in modern Japan. I have thereby intervened in the
existing scholarship, which has either largely ignored films or focused overmuch on film's aesthetic
merits. I seek to reclaim films, especially popular films, as historical sources. Close visual analysis
illuminates aspects of visual texts that a solely historiographic approach might overlook. And a
'history-as-experience' focus on the audience, and the history of the period in which a given visual text
was produced, is critical to the process of historical contextualization. The body of films I analyze
offers vital evidence of then-current socio-cultural conditions and perspectives on history.
I analyze commercially successful films, produced from 1925 to the war's end, in five
chapters, on revisionism, comedy, serial history, hate the enemy films, and romances, respectively,
and highlight the ambivalence of each type over the significance of the Bakumatsu period. Despite
increasing pressure on the film industry to produce deadly serious hegemonic narratives supportive of
the state and later the war effort, the hit films I examine contain many potentially subversive
undercurrents. Their box office success indicates that covert resistance to Japan's militaristic course
won favor with audiences. Those who lived through the 'dark valley' of 1925-1945 used Bakumatsu
films to create a popular culture that was lighter in tone, and more resistant to state goals, than prior
research on interwar Japan suggests.East Asian Languages and Civilizations
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Wierucka, Kaja. "Multimodal mother-offspring recognition in the Australian sea lion, Neophoca cinerea." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLS432.
Full textAbstract:
La reconnaissance joue un rôle important dans les systèmes de communication animale et plusieurs modalités sensorielles sont impliquées à cette fin. Bien que la reconnaissance mère-jeune ait été largement étudiée, il y a un manque d'information sur la reconnaissance multimodale et l'importance relative des différentes modalités dans ce processus. Dans cette thèse, j'ai exploré la communication multimodale chez un mammifère colonial - le lion de mer Australien (Neophoca cinerea). La reconnaissance mère-jeune est connue pour être multimodale chez cette espèce, mais les processus sous-jacents de la reconnaissance olfactive et visuelle, ainsi que les interactions entre les indices acoustiques, visuels et olfactifs, et leurs contributions relatives restent inconnues. Des analyses chimiques ont permis de déterminer si les profils chimiques diffèrent selon le sexe et l'âge, les colonies et les régions corporelles des animaux. La présence de similarités chimiques entre la mère et son petit suggèrent que l'appariement des phénotypes pourrait être utilisé pour la reconnaissance olfactive. J'ai examiné le rôle des indices visuels lors de la reconnaissance mère-jeune et j'ai constaté que les indices visuels spécifiques à l'âge sont utilisés par les femelles pour affiner la recherche de leur petit dans la colonie. Les jeunes ont également la capacité de distinguer divers indices visuels, qui peuvent être utilisés pour identifier les différentes classes de congénères. Enfin, j’ai pu aussi déterminer comment les indices acoustiques, olfactifs et visuels sont utilisés de manière synergique dans le processus d’identification individuel, et les résultats sont interprété dans une perspective coûts-avantages pour démêler les pressions évolutives sur chaque composante de ce système de communication. Si les différents indices sensoriels ont la capacité de transmettre des informations en isolation, leur rôle peut être différent lorsque d'autres indices sensoriels sont présents. Les résultats de cette recherche fournissent des résultats sans précédent, contribuant à une meilleure compréhension de la reconnaissance mère-jeune chez les mammifères, ainsi que des règles générales de communication chez les vertébrésRecognition plays an important role in animal communication systems and individuals often employ different sensory modalities to enact this activity. Although recognition has been widely investigated, especially for mother-offspring interactions, there is a dearth of information about multimodal recognition and the relative importance and interactions of various sensory cues. In this thesis, I explored multimodal communication in a colonial mammal – the Australian sea lion (Neophoca cinerea). Communication during mother-pup reunions is known to be multimodal in this species, yet the underlying processes of olfactory and visual recognition, as well as the interactions between acoustic, visual and olfactory cues remain unclear. Through chemical analyses, I determined whether chemical profiles differ among sex and age classes, colonies, and body regions of animals. Chemical similarities between mothers and pups indicate that phenotype matching may be used by Australian sea lions for olfactory recognition. I examined the role of visual cues in mother-pup recognition and found that age-specific visual cues assist mothers to refine their search for their offspring in the colony. Pups are capable of distinguishing various visual cues that can be used in the assessment of conspecifics. Having provided baseline information about the role of sensory cues in isolation, I determined how acoustic, olfactory, and visual cues are used in a synergistic way to ensure accurate mutual recognition and then interpreted the results using a cost-benefit perspective to disentangle the evolutionary pressures on each component of this communication system. I showed that although cues have the ability to convey given information in isolation, their role may be different when other sensory cues are present. Furthermore, there is a mutual dependency in the communication system, where the limitations imposed on one participant of the dyad affect cue use by the other. These findings contribute to a better understanding of mammal mother-offspring recognition and communication mechanisms in vertebrates
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Robespierre, Claire de. "La renaissance du mythe d'Anzac dans l'Australie contemporaine : la représentation de la Grande Guerre dans les films de cinéma et de télévision des années quatre-vingt et son emprise sur l'imagination nationale." Paris 4, 1996. http://www.theses.fr/1996PA040069.
Full textAbstract:
Né dans les tranchées de la Première Guerre Mondiale, Anzac est le plus grand mythe de l’Australie blanche. La participation des troupes de l'Anzac (Australian and New Zealand Army Corps) au conflit a marqué la véritable naissance de la nation et a laissé une empreinte indélébile dans la conscience australienne. La fascination exercée par ANZAC sur l'imagination nationale a été particulièrement évidente dans les années quatre-vingt, durant lesquelles plusieurs films de cinéma et de télévision ayant la Grande Guerre pour sujet ont été produits. Ces représentations obéissent à une volonté commune de réillustrer le mythe dans sa forme traditionnelle et de résister à la démythification, révélant l'état d'esprit de l’Australie durant cette périodeBorn in the trenches of World War I, Anzac is white Australia’s greatest myth. The involvement of troops from the Anzac (Australian and New Zealand army corps) in the conflict is considered as the turning point in the nation's history and has made a lasting impression on the Australian consciousness. The fascination which Anzac exerts on the national imagination was particularly obvious in the 1980's, when the great war was the subject of a few films and television series. These portrayals show a common will to reillustrate the myth in its traditional form and to resist demythification, thus revealing Australia’s state of mind during this period
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Findlay, James Daniel. "Caught on Screen: The Convict Experience in Film and Television." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17582.
Full textAbstract:
Since the origins of Australian cinema, filmmakers have told stories about convicts: those men, women and children transported from their homelands whose role as founding settlers was often viewed as a stain on the country’s reputation. This thesis argues that with the rise of screen culture, convicts emerged as key historical figures who shaped and defined ideas and attitudes about Australia’s colonial past. It navigates a way through the popular representation of the convict experience in an unprecedented collection of convict-related film and television programs, from silent epics to musical melodramas and reality television. The thesis demonstrates the critical role their production and reception has played in ascribing meaning to convictism, and more broadly to the processes of colonisation that established white Australia. The research focuses on a range of important mythologies appearing on screen and examines their interaction with other cultural works such as literature, visual art and theatre, as well as intellectual thought. These include a focus on convict victimology, convicts as nation builders and convicts as agents of colonisation. As filmmakers negotiated, and audiences responded to, these often problematic histories, their visions of the past powerfully shaped a wide range of historical discourses relating to race, class and gender in Australia. Their mass appeal disrupts the historical orthodoxy that a desire to suppress the convict ‘birth stain’ was a dominant force shaping Australian history-making during the first half of the twentieth century. For many Australians, going to the movies or watching television defined the convict era and its legacies for modern nationhood.
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Campbell, Richard. "Demography and population genetic structure of the Australian sea lion, neophoca cinerea." University of Western Australia. School of Animal Biology, 2003. http://theses.library.uwa.edu.au/adt-WU2005.0058.
Full textAbstract:
The Australian sea lion, Neophoca cinerea, is Australia?s only endemic pinniped, and one of the rarest sea lions in the world. This species suffered localised extinction events, and a probable population decline during the commercial sealing era of the 18th to 20th centuries. This species also has a unique reproductive cycle and breeding system compared with all other pinnipeds. Unlike the usual annual, synchronous cycle, this species has a 17.5 month breeding cycle which is asynchronous across its range. Small groups of proximate colonies appear to breed synchronously, but otherwise the timing appears randomly distributed. It was proposed that this system is endogenously controlled and maintained by exclusive female natal site fidelity (Gales et al. 1994). This would have a discernible impact on the population genetic structure, and would be directly applicable to conservation management practices. Investigation of population genetic structure of the Australian sea lion using mtDNA and microsatellite markers revealed a highly subdivided population that showed strong patterns of sex-biased dispersal, and strong regional divisions. The level of female natal site fidelity was extreme, resulting in very high levels of genetic differentiation, unparalleled in other marine mammal populations. Significant divisions existed across both macro and micro geographic scales, with fixed differences occurring between colonies separated by as little as 20 kilometres. Strong phylogeographic patterning suggested that divisions between populations are of some antiquity. High levels of fixation in mtDNA markers among the many small colonies in Western Australia was attributed to the high rate of genetic drift in small populations, especially for these markers. Genetic subdivison, as measured by microsatellite markers, revealed a malebiased dispersal pattern. Levels of male dispersal were sufficient in overcoming the female natal site fidelity and rendering small groups of colonies effectively panmictic. However, the range of male dispersal was limited to approximately 200 kilometres and resulted in a regional population structure best defined by geographic distance. This level of subdivision was perhaps greater than expected given the dispersal capabilities of this species, and suggested that some behavioural processes may limit dispersal. Historical processes of extinction and colonisation are thought to have had a strong influence on the current pattern of population subdivision as well.
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Ahonen, Heidi. "Population structure and mating system of the Australian sea lion (Neophoca cinerea)." Thesis, Paris 11, 2013. http://www.theses.fr/2013PA11T059/document.
Full textAbstract:
Le lion de mer Australien a un cycle de reproduction non-annuel et asynchrone entre les colonies.Contrairement aux autres pinnipèdes, ce système unique offre l’opportunité aux mâles de se reproduiredans plusieurs sites lors d’une saison de reproduction. L’accès des mâles à plusieurs sites dereproduction pourrait contrecarrer le fort degré de structure génétique de population chez les femellesdûe à une fidélité extrême au site de reproduction. J'ai utilisé deux méthodes indépendantes maiscomplémentaires, moléculaire et acoustique, afin d’étudier la structure de la population et le systèmede reproduction. Pour l'analyse moléculaire, j'ai développé une banque de microsatellites spécifiques àl'espèce. Ces marqueurs ont été utilisés pour examiner le flux génétique des mâles dans les différentescolonies de reproduction, le succès reproducteur, et les taux de paternité inter- et intra-colonies. Deplus, j'ai mesuré la variation géographique dans les cris des mâles, ce qui représente une approchealternative pour mesurer les convergences/divergences entre colonies. J'ai montré que si les mâlesprésentent une certaine dispersion entre colonies, elle est limitée à une courte échelle en dépit del’opportunité des mâles de se reproduire dans différents sites. Les analyses acoustiques des cris demâles ont révélé des variations géographiques significatives entre colonies, qui ne reflètent pas lastructure génétique. Les analyses de paternité indiquent un faible taux de polygynie, la majorité desmâles ne produisant qu’un ou deux jeunes par saison. Des stratégies alternatives de reproduction(nomade ou sédentaire) sont présentes dans cette espèce, certains mâles se déplaçant activement entredifférentes colonies proches. Le système de reproduction unique du lion de mer Australien semblefortement influer à la fois les modalités de dispersion, mais aussi la structure de population et lesystème de reproductionThe Australian sea lion has a non-annual and asynchronous breeding cycle across geographically closecolonies. In contrast to other pinnipeds, this unique reproductive system provides the opportunity formales to breed in different colonies during one breeding cycle. Male mating success across differentcolonies could counteract the high degree of structure driven by extreme site fidelity in females. I usedtwo, independent but complementary methods, molecular and acoustic to investigate their populationstructure and mating system. For molecular analysis I developed a species-specific microsatellitelibrary. These markers were used to examine the extent and rate of male mediated gene-flow acrossbreeding colonies but also to determine the breeding success and paternity both within and acrossspatially close colonies. Also, I investigated the geographical variation in male barking call. Thisrepresents an alternative approach to measure boundaries and relationships between colonies. Malesexhibit dispersal; however, this is limited to remarkably small scale in regards to the high potential fordispersal and opportunity to breed in different colonies. Acoustic analyses of the male barking callsrevealed significant geographical variation across sites; however this observed acoustic variation didnot reflect the genetic structure. Paternity analyses revealed that males display relatively modest ratesof polygyny with the majority of successful males siring only one or two pups per breeding cycle. Thepresence of alternative mating strategies (roaming vs staying) is apparent in this species with somemales actively moving and breeding between close colonies. It appears that the unique breedingbiology of Australian sea lion influences dispersal patterns, population structure and mating system
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Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.
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Pitcher, Benjamin James. "Individual recognition systems and multimodal signalling in the Australian sea lion, Neophoca cinerea." Paris 11, 2010. http://www.theses.fr/2010PA11T056.
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