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Journal articles on the topic 'Australian cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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2

Zvegintseva, Irina Anatolyevna. "The Silent Era in Australian Cinema." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 88–97. http://dx.doi.org/10.17816/vgik6188-97.

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

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3

Griffin, Lynn, Steven Griffin, and Michelle Trudgett. "At the Movies: Contemporary Australian Indigenous Cultural Expressions – Transforming the Australian Story." Australian Journal of Indigenous Education 47, no. 2 (June 21, 2017): 131–38. http://dx.doi.org/10.1017/jie.2017.15.

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Cinema is an art form widely recognised as an agent to change the social condition and alter traditional norms. Movies can be used to educate and transform society's collective conscience. Indigenous Australian artists utilise the power of artistic expression as a tool to initiate change in the attitudes and perceptions of the broader Australian society. Australia's story has predominately been told from the coloniser's viewpoint. This narrative is being rewritten through Indigenous artists utilising the power of cinema to create compelling stories with Indigenous control. This medium has come into prominence for Indigenous Australians to express our culture, ontology and politics. Movies such as Samson and Delilah, Bran Nue Dae, The Sapphires and Rabbit-Proof Fence for example, have highlighted the injustices of past policies, adding new dimensions to the Australian narrative. These three films are just a few of the Indigenous Australian produced films being used in the Australian National Curriculum.Through this medium, Australian Indigenous voices are rewriting the Australian narrative from the Indigenous perspective, deconstructing the predominant stereotypical perceptions of Indigenous culture and reframing the Australian story. Films are essential educational tools to cross the cultural space that often separates Indigenous learners from their non-Indigenous counterparts.

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4

Yue, Audrey. "Asian‐Australian cinema, Asian‐Australian modernity." Journal of Australian Studies 24, no. 65 (January 2000): 189–99. http://dx.doi.org/10.1080/14443050009387603.

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5

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

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Cinemas have an important place in the social and cultural life of many Australian rural towns. They are valued as spaces around which residents of isolated communities can gather and interact, and have a role in mediating concepts of identity and in promoting positive emotional attachment to place. Rural cinema histories suggest these aspects of non-metropolitan movie-going have been significant since the very early days of this screen format. This article examines the role of geography in shaping the circumstances and meaning of cinema-going in contemporary rural Australia. It also explores the connections between modern and historical film attendance practices, which hitherto have been obscured by scholarly neglect of the rural. These interrelationships suggest a basis for rethinking the ways in which cinema audiences are categorised and studied.

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6

Williams, Deane. "Australian (post) national cinema." Media International Australia 180, no. 1 (July 24, 2021): 24–31. http://dx.doi.org/10.1177/1329878x211010776.

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This article proposes that Tom O’Regan’s Australian National Cinema book is best understood among the contexts from which it emerged and, in this process, repositions the magnum opus of his scholarly career, as a post-national theorising of the national cinema formation in terms of ‘an unprincipled assemblage’ and a discursive multiplicity.

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7

Goldsmith, Ben. "Outward-looking Australian cinema." Studies in Australasian Cinema 4, no. 3 (January 2010): 199–214. http://dx.doi.org/10.1386/sac.4.3.199_1.

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8

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

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9

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

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10

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

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11

Khoo, Olivia. "Cinemas of value: multicultural realism in Asian Australian cinema." Studies in Australasian Cinema 2, no. 2 (January 2008): 141–56. http://dx.doi.org/10.1386/sac.2.2.141_1.

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12

Bowles, Kate. "Limit of Maps? Locality and Cinema-Going in Australia." Media International Australia 131, no. 1 (May 2009): 83–94. http://dx.doi.org/10.1177/1329878x0913100110.

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Cinema-going is a cultural experience shaped by logistics and mobility, as film distributors and exhibitors operate to enable films to be screened in places and at times when audiences can physically assemble to view them together. A historical understanding of the geography of cinema distribution, exhibition and attendance can therefore help us to understand what factors other than the choice of film title may have shaped the experience of the cinema audience. This article uses samples of trade commentary on small country cinemas in the late 1920s from the Australian trade journal Everyones, and suggests that historical GIS maps could help us to understand regional differences in the cinema-going experience, or track phenomena such as the diffusion of racial and social segregation in cinemas. Nevertheless, we need to remain mindful of the limits of maps to adequately explain the cultural experience of encountering these phenomena.

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13

Zvegintseva, Irina Anatolyevna. "World War II in the Cinema of Green Continent." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 106–14. http://dx.doi.org/10.17816/vgik72106-114.

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Despite its remote location from the major theatre of operations, Australia participated in the war siding with the Anti-German Coalition from the outbreak of World War II up to its end. Naturally, this impacted upon economic, social and cultural life of the country. The war was broadly covered by the Australian filmmakers and took a significant place in Australian cinema. For Australia World War II began on September 3rd, 1939. A million of Australian men and women fought against Germany in 19391945. Talking of the war theme in the Australian cinema, one should firstly pay tribute to the memory of dozens of Australian cameramen sent to the World War front alongside with soldiers, who covered the events in the newsreels. As for feature filmmakers, they were not able to cover the war due to poor production funding. Only after resuscitation of the national filmmaking in 1970s Australian filmmakers got an opportunity of shooting a number of interesting films dedicated to the events that had taken place seventy years ago. The theme of World War II was covered in many films. A lot of the best national filmmakers paid tribute to it, ranging from Brendan Mahers Sisters of War (2010) with its unprecedented harsh and truthful depiction of the role of Australian women in the war, to Jonathan Teplitzkys The Railway Man (2013), based on the bestselling autobiography of Eric Lomax (co-produced with Great Britain). The relevance of this article and its innovative contribution comes down to proof, that, although the number of films dedicated to World War II is relatively limited, their quality is extremely high and noteworthy. Its also noteworthy, that Australian filmmakers have brought back in the viewers minds the heroism of their fathers and forefathers, thus paying tribute to the memory of those who saved the world from Nazism seventy years ago.

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14

Turner, Graeme. "Review: Australian Cinema after Mabo." Media International Australia 118, no. 1 (February 2006): 156–57. http://dx.doi.org/10.1177/1329878x0611800121.

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15

Barber, Susan. ": Australian National Cinema . Tom O'Regan." Film Quarterly 51, no. 4 (July 1998): 33–35. http://dx.doi.org/10.1525/fq.1998.51.4.04a00060.

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16

Mitchell, Tony. "Review: Diasporas of Australian Cinema." Media International Australia 138, no. 1 (February 2011): 167–69. http://dx.doi.org/10.1177/1329878x1113800126.

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17

Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (May 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.

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18

Smaill, Belinda. "Asianness and Aboriginality in Australian Cinema." Quarterly Review of Film and Video 30, no. 1 (January 2013): 89–102. http://dx.doi.org/10.1080/10509208.2011.562128.

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19

Horbury, Alison. "The real gaze in Australian cinema." Studies in Australasian Cinema 14, no. 3 (September 1, 2020): 194–214. http://dx.doi.org/10.1080/17503175.2020.1858572.

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20

Lealand, Geoff. "Review: Sheep and the Australian Cinema." Media International Australia 124, no. 1 (August 2007): 197–98. http://dx.doi.org/10.1177/1329878x0712400135.

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21

Cunningham, Stuart. "Australian Cinema Studies: Writing the Revival." Media Information Australia 45, no. 1 (August 1987): 38–43. http://dx.doi.org/10.1177/1329878x8704500109.

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22

Tulloch, John. "The Social Imaginary of Australian Cinema." Media Information Australia 51, no. 1 (February 1989): 22–27. http://dx.doi.org/10.1177/1329878x8905100106.

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23

Collins, Felicity. "Review & Booknote: Australian National Cinema." Media International Australia 84, no. 1 (May 1997): 145–46. http://dx.doi.org/10.1177/1329878x9708400134.

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24

Barnes, Anne. "Mapping the Landscape with Sound: Tracking the Soundscape from Australian Colonial Gothic Literature to Australian Cinema and Australian Transcultural Cinema." Critical Arts 31, no. 5 (September 3, 2017): 156–70. http://dx.doi.org/10.1080/02560046.2017.1386702.

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25

McQuire, Scott. "Slow Train Coming? The Transition to Digital Distribution and Exhibition in Cinema." Media International Australia 110, no. 1 (February 2004): 105–19. http://dx.doi.org/10.1177/1329878x0411000112.

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Throughout the 1990s, digital technology entered film production and rapidly altered both the production process and the audience's experience, as complex soundscapes and special effects became the hallmark of cinematic blockbusters. By 1999, the prospect of an end-to-end digital cinema, or cinema without celluloid, seemed to be in sight. Digital distribution and exhibition were extolled as particularly attractive prospects, and a number of test sites were established in the United States. However, the last four years have demonstrated that significant issues need to be resolved before there will be broader implementation of digital cinema. Working from a series of interviews with key industry practitioners in Australia and the United States, this article examines the struggles currently affecting the rollout of digital cinema, and assesses the likely impact on Australian exhibition practices.

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26

Aveyard, Karina. "Australian Films at the Cinema: Rethinking the Role of Distribution and Exhibition." Media International Australia 138, no. 1 (February 2011): 36–45. http://dx.doi.org/10.1177/1329878x1113800106.

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Australian films are criticised regularly for their failure to engage local audiences and for their lack of commercial success. Academic and industry analysis of these shortcomings has tended to focus on problems in production and financing, but has given inadequate attention to the role of distribution and exhibition. This article examines how the commercial and cultural situation of Australian films is fundamentally shaped by the manner in which they are circulated and screened. It highlights the complex interrelations between the production, distribution and exhibition sectors, and addresses the implications of these issues for contemporary film policy and practice in Australia.

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27

Barber, Susan. "Review: Australian National Cinema by Tom O'Regan." Film Quarterly 51, no. 4 (1998): 33–35. http://dx.doi.org/10.2307/1213243.

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28

Zvegintseva, Irina A. "Australian cinema: transforming youth issues over time." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 100–108. http://dx.doi.org/10.17816/vgik111100-108.

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Long ago, Australian filmmakers discovered that it was the issues of universal interest that could ensure worldwide success of their films. One of such issues was the leftwing youth protests expressing the unwillingness of the young people to live according to the rules of the older generation. These protests peaked in the late 1960s and immediately found their way onto the screen. The importance of the problem ensured an almost inevitable international success of the films which dealt with those events. Yet there was another reason for the close attention paid by Australian filmmakers to the May 1968 events. Many of them (including the authors of the analyzed films) matured during those tempestuous years. Like many young people in Europe, they were fed up with the hypocrisy and lies of the older generation. They wanted to believe that changes were about to come. What interests the filmmakers of today is not so much the leftist movement itself or the revolt of the young against the society of their fathers but the results which transpired twenty years after the events, following the disillusionment and the shipwreck of youthful hopes. Some found solace in conformism and indifference, others in despair and nihilism. But luckily the filmmakers saw a third path: that of love and care for the destitute; and, by consequence, that of the belief in the coming changes for the better.

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29

Zvegintseva, Irina A. "The Theme of Apocalypse in Australian Cinema." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 111–20. http://dx.doi.org/10.17816/vgik74111-120.

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The article analyses the Australian apocalypse films. Apocalypse is often used as a synonym to the worlds end or a world scale catastrophe. The world knows hundreds of motion pictures of different talent and artistry, where the set takes place either before, during or after a global catastrophe. Reasons for the apocalypse vary: nuclear war, alien invasion, riot of the machines, a gigantic meteor, a disease unknown to science, etc. Nevertheless, the result always remains the same: humanity ceases to exist. Australian filmmakers, too, have not stood out of their foreign colleagues and made a large amount of films, that tell about the worlds end, out of which many are impressive and significant, indeed.

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30

Collins, F. "HISTORY, MYTH AND ALLEGORY IN AUSTRALIAN CINEMA." Trames. Journal of the Humanities and Social Sciences 12, no. 3 (2008): 276. http://dx.doi.org/10.3176/tr.2008.3.03.

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31

French, Lisa. "David Gulpilil, Aboriginal humour and Australian cinema." Studies in Australasian Cinema 8, no. 1 (January 2, 2014): 34–43. http://dx.doi.org/10.1080/17503175.2014.925319.

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32

Khoo, Olivia, Belinda Smaill, and Audrey Yue. "Editorial: Transnational Asian Australian cinema, Part 1." Studies in Australasian Cinema 2, no. 2 (January 2008): 97–102. http://dx.doi.org/10.1386/sac.2.2.97_2.

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33

Khoo, Olivia, Belinda Smaill, and Audrey Yue. "Editorial: Transnational Asian Australian cinema, Part 2." Studies in Australasian Cinema 2, no. 3 (January 2008): 173–75. http://dx.doi.org/10.1386/sac.2.3.173_2.

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34

Cook, Pam. "Transnational utopias: Baz Luhrmann and Australian cinema." Transnational Cinemas 1, no. 1 (January 2010): 23–36. http://dx.doi.org/10.1386/trac.1.1.23/1.

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35

Verhoeven, Deb, Alwyn Davidson, and Bronwyn Coate. "Australian films at large: expanding the evidence about Australian cinema performance." Studies in Australasian Cinema 9, no. 1 (January 2, 2015): 7–20. http://dx.doi.org/10.1080/17503175.2014.998098.

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36

Ryan, Mark David. "Australian Cinema Studies: How the Subject Is Taught in Australian Universities." Journal of Australian Studies 41, no. 4 (October 23, 2017): 518–35. http://dx.doi.org/10.1080/14443058.2017.1380685.

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37

Milner, Johnny. "Australian Gothic Soundscapes: The Proposition." Media International Australia 148, no. 1 (August 2013): 94–106. http://dx.doi.org/10.1177/1329878x1314800111.

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While recent studies demonstrate a significant increase in the level of interest in the soundtracks of Australian cinema, very little attention has focused on the way soundtracks can convey the ‘gothic’ within an outback-cinematic context. This article attempts to begin to address this issue by providing a close reading of the Australian gothic Western The Proposition – looking specifically to its sonic dimensions, namely the amalgam of score, dialogue and sound effects. The article argues that the film's soundtrack draws from a range of Australian literary and cinematic tropes, and draws specifically on the aural and epistemological gothic traits of Australia, the outback and its perception as unfamiliar space during the time of settlement. Following this discussion, the focus shifts to ways in which The Proposition's soundtrack foregrounds significations that offer new, and complex, articulations of a specifically ‘Australian gothic’.

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38

Barber, Susan. ": Images of Australia: 100 Films of the New Australian Cinema . Neil Rattigan." Film Quarterly 46, no. 3 (April 1993): 60–61. http://dx.doi.org/10.1525/fq.1993.46.3.04a00130.

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39

Barnett, Chelsea. "Catherine Kevin combines family history with Australian cinema." History Australia 18, no. 4 (October 2, 2021): 900–901. http://dx.doi.org/10.1080/14490854.2021.1988653.

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40

Khoo, Olivia. "Telling Stories: The Sacrificial Asian in Australian Cinema." Journal of Intercultural Studies 27, no. 1-2 (February 2006): 45–63. http://dx.doi.org/10.1080/07256860600607587.

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41

Yew, Leong. "Transnational Australian Cinema: Ethics in the Asian Diasporas." Asian Studies Review 38, no. 2 (April 3, 2014): 312–14. http://dx.doi.org/10.1080/10357823.2014.902740.

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42

Barnett, Chelsea. "‘It is Our Film’: Rethinking Australian Postwar Cinema." Historical Journal of Film, Radio and Television 40, no. 2 (September 16, 2019): 349–72. http://dx.doi.org/10.1080/01439685.2019.1664071.

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43

Freiberg, Freda. "Lost in OZ?: Jews in the Australian cinema." Continuum 8, no. 2 (January 1994): 196–205. http://dx.doi.org/10.1080/10304319409365675.

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44

Gerster, Robin, and Daniel Reynaud. "Celluloid Anzacs: The Great War through Australian Cinema." Labour History, no. 94 (2008): 202. http://dx.doi.org/10.2307/27516296.

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45

Siemienowicz, Rochelle. "Globalisation and home values in New Australian cinema." Journal of Australian Studies 23, no. 63 (January 1999): 49–55. http://dx.doi.org/10.1080/14443059909387532.

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46

Weik von Mossner, Alexa. "Empathy, Emotion, and Environment in Alternative Australian Landscape Cinema: The Case of Rabbit-Proof Fence." Emotions: History, Culture, Society 3, no. 2 (November 15, 2019): 245–65. http://dx.doi.org/10.1163/2208522x-02010059.

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Abstract The article aims to complement contextual analyses of the political, ideological and commercial uses of natural environments in Australian landscape cinema by exploring from a cognitive perspective exactly how such environments are foregrounded in ways that affect viewers’ emotional relationships to both characters and the environments themselves. Phillip Noyce’s Rabbit-Proof Fence (2002) serves as an example of a film that aims for a realistic portrayal of the physical hardship of the Australian outback, while also using that cinematic environment strategically to reinforce viewers’ emotional attachment to its young heroines and, ultimately, to push a political argument that runs counter to the conservative national ideology that informs much of traditional Australian landscape cinema.

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47

Douglas, James. "Kennedy Miller Mitchell and the relationality of Australian cinema – global film practice in Australia." Studies in Australasian Cinema 15, no. 1-2 (May 3, 2021): 17–30. http://dx.doi.org/10.1080/17503175.2021.1921405.

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48

Barber, Susan. "Review: Images of Australia: 100 Films of the New Australian Cinema by Neil Rattigan." Film Quarterly 46, no. 3 (1993): 60–61. http://dx.doi.org/10.2307/1212909.

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49

Kuhlenbeck, Britta. "Collins, Felicity; Davis, Therese (2004): Australian Cinema after Mabo." Zeitschrift für Australienstudien / Australian Studies Journal 20 (2006): 112–17. http://dx.doi.org/10.35515/zfa/asj.20/2006.15.

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50

Starrs, D. Bruno. "Fourth Formation Cinema and Aboriginal Australian/Aboriginal Canadian Sovereignty." Quarterly Review of Film and Video 33, no. 4 (March 3, 2016): 362–76. http://dx.doi.org/10.1080/10509208.2015.1135673.

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