Relevant bibliographies by topics / Australian film

Contents

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

Academic literature on the topic 'Australian film'

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

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Journal articles on the topic "Australian film"

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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry." Problems of World History, no. 11 (March 26, 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.

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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.
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Elder, Catriona. "The Proposition: Imagining Race, Family and Violence on the Nineteenth-Century Australian Frontier." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 165. http://dx.doi.org/10.5007/2175-8026.2016v69n2p165.

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http://dx.doi.org/10.5007/2175-8026.2016v69n2p165This article analyses John Hillcoat’s 2005 film The Proposition in relation to a spate of Australian films about violence and the (post)colonial encounter released in the early twenty-first century. Extending on Felicity Collins and Therese Davis argument that these films can be read in terms of the ways they capture or refract aspects of contemporary race relations in Australia in a post-Mabo, this article analyses how The Proposition reconstructs the trauma of the Australian frontier; how from the perspective of the twenty-first century it worries over the meaning of violence on the Australian frontier. It also explores what has become speakable (and remains unspeakable) in the public sphere about the history of the frontier encounter, especially in terms of family and race. The article argues that The Proposition and other early twenty-first century race relations films can be understood as post-reconciliation films, emerging in a period when Indigenous and non-Indigenous Australians were rethinking ideas of belonging through a prism of post-enmity and forgiveness. Drawing on the theme of violence and intimate relations in the film, this article argues that the challenges to the everyday formulation of Australian history proffered in The Proposition reveal painful and powerful differences amongst Australian citizens’ understanding of who belongs and how they came to belong to the nation. I suggest that by focusing on violence in terms of intimacy, relationships, family and kin, it is possible to see this film presented an opportunity to begin to refigure ideas of belonging.
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Peng, Weiying. "Chasing the dragon’s tail: Sino-Australian film co-productions." Media International Australia 159, no. 1 (May 2016): 73–82. http://dx.doi.org/10.1177/1329878x16638939.

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Sino-Australian film co-production was founded on a treaty signed in 2007 and implemented in 2008. This article looks at the impetus for Australian and Chinese film-makers to work together and analyses the challenges of Sino-Australia treaty co-production. It addresses the question of why only a few low-profile films have been made after several years. The rewards from the Chinese market remains elusive, but valuable lessons have been learnt. The two case studies examined by this article illustrate Australia’s junior partnership with China.
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Laughren, Pat. "Debating Australian Documentary Production Policy: Some Practitioner Perspectives." Media International Australia 129, no. 1 (November 2008): 116–28. http://dx.doi.org/10.1177/1329878x0812900112.

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On 1 July 2008, Screen Australia commenced operation as the main Australian government agency supporting the screen production industry. This article considers some of the policy issues and challenges identified by the ‘community of practitioners’ as facing Australian documentary production at the time of the formation of that ‘super-agency’ from the merger of its three predecessor organisations — the Australian Film Commission, the Film Finance Corporation and Film Australia. The article proceeds by sketching the history of documentary production in Australia and identifying the bases of its financial and regulatory supports. It also surveys recent debate in the documentary sector and attempts to contextualise the themes of those discussions within the history of the Australian documentary.
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McKnight, David. "Australian Film and the Cultural Cold War." Media International Australia 111, no. 1 (May 2004): 118–30. http://dx.doi.org/10.1177/1329878x0411100112.

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This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television.
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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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Crowley, Ben, Brian Dollery, and Lin Crase. "A Comparative Analysis of Australian Film Assistance, 1997–2001." Media International Australia 113, no. 1 (November 2004): 124–39. http://dx.doi.org/10.1177/1329878x0411300114.

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Considerable time has elapsed since the last comprehensive review of Australian film assistance policy. Despite the fact the no universal agreement exists on the aims of national film assistance policies, it is nonetheless timely to consider the overall effectiveness of present film assistance programs in Australia. Accordingly, the limited objective of this paper is to examine some aggregative outcomes of the Australian film assistance program in comparison to similar programs in Canada and the United Kingdom in the areas of film development, film production, film distribution, film exhibition and film performance.
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Bahfen, Nasya. "1950s vibe, 21st century audience: Australia’s dearth of on-screen diversity." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 29–38. http://dx.doi.org/10.24135/pjr.v25i1and2.479.

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The difference between how multicultural Australia is ‘in real life’ and ‘in broadcasting’ can be seen through data from the Census, and from Screen Australia’s most recent research into on screen diversity. In 2016, these sources of data coincided with the Census, which takes place every five years. Conducted by the Australian Bureau of Statistics, this presents a ‘snapshot’ of Australian life. From the newest Census figures in 2016, it appears that nearly half of the population in Australia (49 percent) had either been born overseas (identifying as first generation Australian) or had one or both parents born overseas (identifying as second generation Australian). Nearly a third, or 32 percent, of Australians identified as having come from non-Anglo Celtic backgrounds, and 2.8 percent of Australians identify as Indigenous (Aboriginal or Torres Strait Islander). Nearly a fifth, or 18 percent, of Australians identify as having a disability. Screen Australia is the government agency that oversees film and TV funding and research. Conducted in 2016, Screen Australia’s study looked at 199 television dramas (fiction, excluding animation) that aired between 2011 and 2015. The comparison between these two sources of data reveals that with one exception, there is a marked disparity between diversity as depicted in the lived experiences of Australians and recorded by the Census, and diversity as depicted on screen and recorded by the Screen Australia survey.
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Freebury, Jane. "Screening Australia: Gallipoli — A Study of Nationalism on Film." Media Information Australia 43, no. 1 (February 1987): 5–8. http://dx.doi.org/10.1177/1329878x8704300102.

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Before Crocodile Dundee it seemed that only the frenzied energy of a film like Mad Max could get results in the lucrative markets outside Australia. Now it seems a feature film with Australian content in large measure can do this after all. Now is probably a good time to ask ourselves some questions: Do we want to produce films made to a formula for international success? Or do we want to produce films that have special meaning for us, films that we can ‘participate’ in? Is it possible to make films that trade in both currencies, national and international?
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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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

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Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15999/1/Rosalind_Nugent-Williams_Thesis.pdf.

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"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.
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Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15999/.

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"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.
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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18351/1/Thesis.pdf.

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18351/.

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Chircop, Dean. "Branded Content and Australian Hybrid Film Financing." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366859.

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This exegesis proposes an alternative strategy for financing feature films in Australia, one centred on working to create a fictional narrative screenplay in conjunction with commercial brand partners. The studio project at the heart of this reflective practice research is the writing and development of King of Speed, a feature film script set in the realm of competitive automobile racing. I argue that the alignment of this milieu and industry with my narrative interests has provided a unique opportunity to partner with key corporations and brands without ceding creative control. I suggest that a major challenge confronted in the design of the project is the aesthetic contextualisation of commercial content. A key aim of the script development is to provide opportunities for sponsorship and the showcasing of ‘products’ that appear to be contextually naturalised and hence not to violate the integrity of the artwork. This research contributes to the field of screen producing and filmmakers who are seeking ways to finance feature films that are outside entrenched and established models. The exegesis investigates the process of script development; the financial advantages and disadvantages that can be gained from associating films with brands; the ethical and aesthetic limits of product placement; the complex issues surrounding artists’ rights; and the commercial challenges to influences on creative integrity.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Enders, Michael Leonard. "Gettin' acquainted : film, ethnicity and Australian society." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36279/1/36279_Enders_1996.pdf.

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This thesis uses a cultural studies- based social- cultural- historical methodology to compare changes in depictions of ethnicity in selected Australian feature films produced from 1930 to 1995 to changes in Australian immigration policy over the same period. The aim is to identify the relationship between feature film depictions and the societies which produced them. The study will show that depictions of ethnicity in Australian feature films have progressed through three phases in line with the changes in Australian immigration policy from 'white Australia' (1930-1946) to assimilation (194 7 -1971) to multiculturalism (1972- present) . The study also proposes a model of 'cultural absorption' as better alternative than 'reflection' to explain the means by which social-cultural beliefs and values are transferred from society to feature films. The results of this study confirm that the myths and social cultural beliefs and values of a society can be identified by analysing the cultural artefacts, such as feature films, produced by that society. This means that it is possible to identify the myths, beliefs and values of past moments in Australian social history by analysing feature films produced by that society. Identifying changes in society and culture and the mechanisms which brought them about provides a means of better understanding contemporary society and culture and how future changes may affect social and cultural evolution.
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Faithfull, Denise. "Adaptations : Australian literature to film, 1989-1998." Thesis, Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.
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Faithfull, Denise. "Adaptations Australian literature to film, 1989-1998 /." Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.
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Ellison, Elizabeth Rae. "The Australian beachspace : flagging the spaces of Australian beach texts." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63468/1/Elizabeth_Ellison_Thesis.pdf.

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The Australian beach is a significant component of the Australian culture and a way of life. The Australian Beachspace explores existing research about the Australian beach from a cultural and Australian studies perspective. Initially, the beach in Australian studies has been established within a binary opposition. Fiske, Hodge, and Turner (1987) pioneered the concept of the beach as a mythic space, simultaneously beautiful but abstract. In comparison, Meaghan Morris (1998) suggested that the beach was in fact an ordinary or everyday space. The research intervenes in previous discussions, suggesting that the Australian beach needs to be explored in spatial terms as well as cultural ones. The thesis suggests the beach is more than these previously established binaries and uses Soja's theory of Thirdspace (1996) to posit the term beachspace as a way of describing this complex site. The beachspace is a lived space that encompasses both the mythic and ordinary and more. A variety of texts have been explored in this work, both film and literature. The thesis examines textual representations of the Australian beach using Soja's Thirdspace as a frame to reveal the complexities of the Australian beach through five thematic chapters. Some of the texts discussed include works by Tim Winton's Breath (2008) and Land's Edge (1993), Robert Drewe's short story collections The Bodysurfers (1987) and The Rip (2008), and films such as Newcastle (dir. Dan Castle 2008) and Blackrock (dir. Steve Vidler 1997). Ultimately The Australian Beachspace illustrates that the multiple meanings of the beach's representations are complex and yet frequently fail to capture the layered reality of the Australian beach. The Australian beach is best described as a beachspace, a complex space that allows for the mythic and/or/both ordinary at once.
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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.

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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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Books on the topic "Australian film"

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Stevens, Kirsten. Australian Film Festivals. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3.

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

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Hall, Sandra. Australian film index: A guide to Australian feature films since 1900. Port Melbourne, Vic: Thorpe, 1992.

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Albert, Moran, Griffith University. Institute for Cultural Policy Studies., and Film Policy Conference (1991 : Griffith University), eds. Film policy: An Australian reader. [Queensland], Australia: Institute for Cultural Policy Studies, Faculty of Humanities, Griffith University, 1994.

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Raffaele, Caputo, and Burton Geoff, eds. Second take: Australian film-makers talk. St Leonards, N.S.W., Australia: Allen & Unwin, 1999.

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1934-, McFarlane Brian, Mayer Geoff, and Bertrand Ina 1939-, eds. The Oxford companion to Australian film. Melbourne, Australia: Oxford University Press, 1999.

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Apocalypse in Australian fiction and film: A critical study. Jefferson, N.C: McFarland, 2011.

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National fictions: Literature, film, and the construction of Australian narrative. Sydney: Allen & Unwin, 1986.

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National fictions: Literature, film, and the construction of Australian narrative. 2nd ed. St Leonards, NSW: Allen & Unwin, 1993.

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Celluloid heroes down under: Australian film, 1970-2000. Westport, Conn: Praeger, 2002.

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Book chapters on the topic "Australian film"

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Ryan, Mark David, and Kelly McWilliam. "Australian Film Genre Studies." In Australian Genre Film, 1–25. Title: Australian genre film / edited by Kelly McWilliam and Mark David Ryan.Description: New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429469121-1.

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Stevens, Kirsten. "Introduction." In Australian Film Festivals, 1–16. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_1.

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Stevens, Kirsten. "Enthusiastic Amateurs: Origins of Australia’s Film Festival Movement." In Australian Film Festivals, 17–46. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_2.

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Stevens, Kirsten. "Growth and Change: Curator-Led Festivals, Fragmenting Audiences, and Shifting Film Exhibition Cultures." In Australian Film Festivals, 47–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_3.

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Stevens, Kirsten. "From Film Weeks to Festivals: The Spread of the Urban Film Festival After 1980." In Australian Film Festivals, 79–104. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_4.

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Stevens, Kirsten. "Between Success and Failure: Crisis and Recovery at the Melbourne International Film Festival." In Australian Film Festivals, 105–36. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_5.

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Stevens, Kirsten. "Programming Perceptions: Film Festivals and the Construction of Taste." In Australian Film Festivals, 137–69. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_6.

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Stevens, Kirsten. "A Festival for Every Occasion: Niche Programming, Event Culture, and Vertically Integrated Film Festivals." In Australian Film Festivals, 171–99. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_7.

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Stevens, Kirsten. "Conclusion." In Australian Film Festivals, 201–4. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_8.

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Couzens, Andrew. "Looking to the Future." In Australian Genre Film, 153–69. Title: Australian genre film / edited by Kelly McWilliam and Mark David Ryan.Description: New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429469121-10.

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Conference papers on the topic "Australian film"

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Komatsu, Daisuke, Ai Hosoki, Michiko Nishiyama, Hirotaka Igawa, and Kazuhiro Watanabe. "Response characteristics of annealed Pd film on hetero-core optical fiber structure." In Australian Conference on Optical Fibre Technology. Washington, D.C.: OSA, 2016. http://dx.doi.org/10.1364/acoft.2016.jm6a.8.

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Wilksch, Philip, and Farhad Forouzandeh. "Hartmann screen test for measurement of stress during thin film deposition." In 2006 Australian Conference on Optical Fibre Technology (ACOFT). IEEE, 2006. http://dx.doi.org/10.1109/acoft.2006.4519323.

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Alony, Irit, Greg Whymark, and Michael Jones. "Sharing Tacit Knowledge: A Case Study in the Australian Film Industry." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3119.

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This paper explores tacit knowledge sharing. This case demonstrates the significance of knowledge sharing to organizational performance, by exploring the contribution of tacit knowledge sharing to the success of projects in the Australian Film Industry (AFI). The differences between knowledge sharing, collaboration and communication, and their interrelations are addressed. We also explore the concepts of knowledge, information, and data. In the interchanges reported here the knowledge shared is almost entirely tacit, and the “raw” data and information do not exist without the context that makes them knowledge. The paper includes the identification of many factors affecting knowledge sharing, not all of which have been identified by previous researchers. This research contributes to a better understanding of tacit knowledge and how that knowledge is shared. This in turn contributes to a better understanding of how knowledge management can be supported in a modern organization, where often the technology is used in ways not well understood by system managers and software developers. A better understanding can lead to better ICT design and support of knowledge sharing both within and across organizations.
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Wei, Hsiang-Chun, Chung-Lun Kuo, and Chih-Shang Liu. "The microscope type spectral reflectometry design for large dynamic range thin film thickness measurement in RDL processes." In AOS Australian Conference on Optical Fibre Technology (ACOFT) and Australian Conference on Optics, Lasers, and Spectroscopy (ACOLS) 2019, edited by Arnan Mitchell and Halina Rubinsztein-Dunlop. SPIE, 2019. http://dx.doi.org/10.1117/12.2541896.

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Jun Matsui, Koji Terada, and Hiroyuki Nobuhara. "10-Gbps x 4-ch small optical transmitter modules using VCSEL on thin FPC film." In 2008 Joint Conference of the Opto-Electronics and Communications Conference (OECC) and the Australian Conference on Optical Fibre Technology (ACOFT). IEEE, 2008. http://dx.doi.org/10.1109/oeccacoft.2008.4610380.

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Melchers, R. E., X. L. Jiang, and K. J. Lu. "Coating Life Prediction for Water Ballast Tank." In ASME 2005 24th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2005. http://dx.doi.org/10.1115/omae2005-67425.

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Corrosion is the key factor responsible for the degradation of ship structures and in no place is this truer than water ballast tanks. Coating protection system is a continual research interest for classification societies and coating industries. Up to now, most coating performance analyses are qualitative not quantitative. Coating life prediction is almost always based on experience and various assumptions, due to unavailability of practical data support systems. This paper describes a preliminary impartial investigation of coating life carried out with interviewees from the Australian Defence Science and Technology Organization (DSTO), shipyards, coating supplier and an independent expert. Plate surface, edges and welds in ballast tank were considered and the influences of dry film thickness (DFT) and surface preparation (SP) are addressed. The investigation gives some insight into the life of practical coating systems for water ballast tanks. Coating life is proposed to be representable by a normal distribution when corrosion breakdown is below 10% of plate thickness, which is of practical implication.
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Kennel, Glen. "Colour Calibration in Digital Film Systems." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001201.

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Banks, Jonathon. "Latest Technology and Developments in Film Cleaning." In SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001121.

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Christensen, Leigh. "Molecular Sieves - An Aid to Film Preservation." In SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001123.

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Mitchell, Boris. "A New High Speed Motion Picture Film." In SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001125.

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Reports on the topic "Australian film"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Lewis, Courtney-Elyce, Jose Alarco, Joshua Watts, Michael Horn, and Maggie Gulbinska. Fundamentals of Standard Cell Formats, Fabrication and Formation Equipment. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.236407.

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This document provides an overview of standard cell format trends, cell fabrication and formation equipment as well as best practices established worldwide for Li-ion cell/battery fabrication and formation equipment. The purpose of this report is to fill the knowledge and essential capability gap pertaining to testing and qualification workflow of Lithium-ion cell materials in reliable, reproducible cell formats that are also representative of industry standards. The target audience for this report are domestic battery-grade materials suppliers and prospective suppliers as well as members of the emerging Australian battery industry.
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Marshall, Amber, Krystle Turner, Carol Richards, Marcus Foth, Michael Dezuanni, and Tim Neale. A case study of human factors of digital AgTech adoption: Condamine Plains, Darling Downs. Queensland University of Technology, December 2021. http://dx.doi.org/10.5204/rep.eprints.227177.

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As global agricultural production methods and supply chains have become more digitised, farmers around the world are adopting digital AgTech such as drones, Internet of Things (IoT), remote sensors, blockchain, and satellite imagery to inform their on-farm decision-making. While early adopters and technology advocates globally are spruiking and realising the benefits of digital AgTech, many Australian farmers are reluctant or unable to participate fully in the digital economy. This is an important issue, as the Australian Government has said that digital farming is essential to meeting its target of agriculture being a $100billion industry by 2030. Most studies of AgTech adoption focus on individual-level barriers, yielding well-documented issues such as access to digital connectivity, availability of AgTech suppliers, non-use of ICTs, and cost-benefit for farmers. In contrast, our project took an ‘ecosystems’ approach to study cotton farmers in the Darling Downs region in Queensland, Australia who are installing water sensors, satellite imagery, and IoT plant probes to generate data to be aggregated on a dashboard to inform decision-making. We asked our farmers to map their local ecosystem, and then set up interviewing different stakeholders (such technology providers, agronomists, and suppliers) to understand how community-level orientations to digital agriculture enabled and constrained on-farm adoption. We identified human factors of digital AgTech adoption at the macro, regional and farm levels, with a pronounced ‘data divide’ between farm and community level stakeholders within the ecosystem. This ‘data divide’ is characterised by a capability gap between the provision of the devices and software that generate data by technology companies, and the ability of farmers to manage, implement, use, and maintain them effectively and independently. In the Condamine Plains project, farmers were willing and determined to learn new, advanced digital and data literacy skills. Other farmers in different circumstances may not see value in such an undertaking or have the necessary support to take full advantage of the technologies once they are implemented. Moreover, there did not seem to be a willingness or capacity in the rest of the ecosystem to fill this gap. The work raises questions about the type and level of new, digital expertise farmers need to attain in the transition to digital farming, and what interventions are necessary to address the significant barriers to adoption and effective use that remain in rural communities. By holistically considering how macro- and micro-level factors may be combined with community-level influences, this study provides a more complete and holistic account of the contextualised factors that drive or undermine digital AgTech adoption on farms in rural communities. This report provides insights and evidence to inform strategies for rural ecosystems to transition farms to meet the requirements and opportunities of Agriculture 4.0 in Australia and abroad.
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Ben, Jehonathan, Amanuel Elias, Rachel Sharples, Kevin Dunn, Craig McGarty, Mandy Truong, Fethi Mansouri, Nida Denson, Jessica Walton, and Yin Paradies. Identifying and filling racism data gaps in Victoria: A stocktake review. Centre for Resilient and Inclusive Societies, June 2022. http://dx.doi.org/10.56311/mqvn2911.

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Despite Australia’s and Victoria’s stated commitment to promoting multiculturalism and equality, and to eradicating racism, our knowledge about the nature, extent and impact of different forms of racism on diverse populations is not as well-developed as it should be. Stakeholders addressing racism increasingly recognise that anti-racism initiatives must rely on robust scholarly evidence and high-quality data. Yet existing data have serious limitations. We report on a stocktake review of racism data collected nationally in Australia and with a specific focus on Victoria. We provide a comprehensive overview, summary and synthesis of quantitative data on racism, identify gaps in racism data collection, analysis and uses, and make recommendations on bridging those data gaps and informing anti-racism action and policy. Overall, the review examines data collected by 42 survey-based, quantitative studies, discussed in over 120 publications and study materials, and 13 ongoing data collection initiatives, platforms and projects. Based on the review, we identified eight gaps to racism data collection and analysis and to collection methodologies. We recommend four interconnected ways to fill racism data gaps for anti-racism researchers, organisations and policymakers: 1) Further analyse existing data to address critical questions about racism; 2) Collect and analyse additional data; 3) Enhance data availability and integration; and 4) Improve policies that relate to the collection, analysis, reporting and overall management of racism data.
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Mahat, Marian, and Wesley Imms. A Day in the Life of a Student: Facilitator Guide. University of Melbourne, 2020. http://dx.doi.org/10.46580/124325.

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A Day in the Life of a Student workshop is a design thinking workshop developed by DLR Group (an integrated design firm) and adapted by the Innovative Learning Environment and Teacher Change project at the University of Melbourne, Australia. The activities involve educators mapping out how one student spends his/her day in school and building a model of the learning environment based on this one student. With an emphasis on the visual learning that comes from modelling experiences, this workshop helps participants develop student-improvement focused practices in innovative learning environments.
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Research Department - Government Finance - Australian Public Debt - Australian Public Debt General Memoranda - File 1 - 1930 - 1944. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_2006/17119.

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Research Department - Government Finance - Australian Public Debt - Australian Public Debt, General Memoranda - File 2 - 1931 - 1943. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_2006/17121.

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Research Department - Central Bank - General - Bankers' Administrative Staff College - File 2 - The Australian Economy - 1954. Reserve Bank of Australia, September 2021. http://dx.doi.org/10.47688/rba_archives_2006/16226.

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