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Journal articles on the topic 'Australian film'
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1
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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Horsley, Karen. "Australian genre film." New Review of Film and Television Studies 20, no. 1 (January 2, 2022): 140–43. http://dx.doi.org/10.1080/17400309.2021.2024419.
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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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Theodore F. Sheckels. "Australian Film in the Australian Literature Classroom." Antipodes 29, no. 1 (2015): 105. http://dx.doi.org/10.13110/antipodes.29.1.0105.
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Ryan, Mark David. "Whither Culture? Australian Horror Films and the Limitations of Cultural Policy." Media International Australia 133, no. 1 (November 2009): 43–55. http://dx.doi.org/10.1177/1329878x0913300109.
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Cultural policy that attempts to foster the Australian film industry's growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by ‘runaway’ horror film Saw (2004), Wolf Creek (2005) and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by public subsidy and valuing ‘quality’ and ‘cultural content’ over ‘entertainment’ and ‘commercialism’, horror films have generally been antithetical to these objectives. Consequently, the recent boom in horror films has occurred largely outside the purview and subvention of cultural policy. This paper argues that global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy — a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry's financial limitations; they are a growth strategy for producers and a training ground for emerging filmmakers.
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Lipton, Martina. "Jessie Matthews’ Construction of a Star Persona on her Post-war Australian Tours." New Theatre Quarterly 31, no. 2 (April 28, 2015): 116–28. http://dx.doi.org/10.1017/s0266464x15000238.
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Jessie Matthews’ post-war tours to Australia were part of a sequence of commercially successful imported productions then heralded as a great boom era in Australian theatre. However, Matthews’ waning popularity in Britain since the 1940s meant that she was no longer recognizable as the screen darling of the 1930s. Indeed, the Australian press had to remind its readers of ‘evergreen Jessie’s’ succession of British film hits such as The Good Companions (1933) and Evergreen (1934). This article examines the critical and public reception of Matthews’ tours with a focus on the strategic management of her star persona, both on and off stage, including her public criticism of Australian theatre management and employment opportunities for Australian theatre performers. Martina Lipton is an Honorary Associate Lecturer at the University of Queensland and was recently the Research Fellow (Australia) on the Leverhulme Research Project ‘British-Australian Cultural Exchange: Live Performance 1880–1960’. Her publications include the chapter ‘Localism and British Modern Pantomime’ in A World of Popular Entertainments (Cambridge Scholars Publishing, 2012) and articles for Australasian Drama Studies, Contemporary Theatre Review, New Theatre Quarterly, and Popular Entertainment Studies.
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Griff, Catherine, and Drew MacRae. "Flexible Vision: Emerging Audiovisual Technologies and Services, and Options to Support Australian Content." Media International Australia 111, no. 1 (May 2004): 23–33. http://dx.doi.org/10.1177/1329878x0411100105.
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The Australian audiovisual industry is facing two significant policy challenges — rapid technological change and trade liberalisation — both of which have the potential to limit the scope of government regulatory action to support local content. The Australia–United States Free Trade Agreement (AUSFTA) brought into focus both of these challenges, with Australia's ability to regulate future audiovisual delivery services becoming a central issue of the services negotiations. This article draws upon recent research by the Australian Film Commission on regulatory options to ensure the ongoing availability of Australian content via new media. Internationally, many new media technologies are now regulated to support local content, and many governments are reviewing content regulation options on digital and interactive delivery systems. This article discusses the merits of the key policy levers available to government in order to support the continued presence of Australian content in new services and delivery technologies.
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Zvegintseva, Irina A. "A Criminal as the Main Movie Character, or Old Themes and New Solutions." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 115–25. http://dx.doi.org/10.17816/vgik83115-125.
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The former British colony, emerged as a place of exile for the most dangerous criminals and unreliable people from the metropolis, Australia began its existence very unenviable, appearing on the world map called "The Earths hell", which was used to frighten children in Europe. The fact is: the gene fund of the nation - the convicts, their guards, and adventurers came from all over Europe in hope of a better life. The first half of the 19th century Australia, in fact, remained a giant reforming home, a jail. And whatever paradoxical it might explain the significant number of films shot in the 20th and in 21st centuries with criminals as protagonists. When touching upon permanent plots and problems in Australian cinema, it should be noted that the "eternal" love of the inhabitants of the Green continent to the favorite national hero Ned Kelly, a former convict and burglar has not disappeared. In the minds of the Australians the burglar has become a symbol of the fighter against injustice, a sort of "Australian Robin Hood". The main characters of the movies were bushrangers in Australia called escaped convicts, pariahs of the society, hunting armed robberies and burglaries, hiding from justice in the vast valleys of the Australian Bush. Here, incidentally, there is a parallel with the American film industry that also has surpasses the rank of the most beloved and popular criminals in the country from Al Capone, Bonnie Parker and Clyde Barrow up to Bugsy Siegel and John Dillinger. But soon such films were banned because of the monopolies of the USA and the UK movies on the Australian market. However, life itself has started to supply filmmakers with the stories that hardly could come to the minds of writers with the wildest imagination. The real horrible crimes and not less real maniacs, sadists, pedophiles, whose actions have forced to shudder the whole society, both in the past and the present, formed the basis of a number of films shot in Australia. The analysis of these movies, the authors' position, the artistic value of works have become the target of this article.
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Pearce, Sharyn. "‘Just Every-day Arabs Having Fun’: Representing Race in Jammin' in the Middle E." International Research in Children's Literature 3, no. 1 (July 2010): 15–27. http://dx.doi.org/10.3366/ircl.2010.0003.
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This article looks at the Australian film, Jammin' in the Middle E, which was televised in Australia in 2006 on the multicultural channel SBS. It explores the ways in which rap music is appropriated in the film, and subsequently used as a collective form of expression at a time of increased public and media hostility towards Muslims. While it argues that rap helps to develop an alternative cultural space, developing a Lebanese-Australian subject position still quite rare in Australian cultural texts, it also contends that Jammin', like the rap music which frames it and occurs throughout the narrative, is not a clear-cut and emancipatory text, but is fraught with the particular tensions of its time and place.
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Summerhayes, Catherine. "Haunting Secrets: Tracey Moffatt's beDevil." Film Quarterly 58, no. 1 (2004): 14–24. http://dx.doi.org/10.1525/fq.2004.58.1.14.
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Abstract In her vividly textured, complicated, and passionate film, beDevil, Australian Aboriginal artist and filmmaker Tracey Moffatt avoids easy stereotypes of victims and oppressors. She not only inspects some of the repressed stories of indigenous Australians, but also looks at the bewildered, bedeviled ways in which non-indigenous and indigenous Australians live with each other. Moffatt draws on all aspects of her artistic practice in this feature-length film.
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Aisbett, Kate. "Production of Australian Children's Drama: Is There a Future?" Media International Australia 93, no. 1 (November 1999): 41–50. http://dx.doi.org/10.1177/1329878x9909300106.
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To mark the twentieth anniversary of the introduction of the children's programs classification scheme (1979–99), the Australian Broadcasting Authority, the Australian Children's Television Foundation and the Australian Film Finance Corporation commissioned a joint research project on C classification programs. The research investigated trends in programming over the 20 years of the classification scheme and current issues related to the financing of children's programs. This paper explores current developments in the production and broadcast of children's television in Australia and the place of regulation in facilitating the community's desire for quality Australian children's programs.
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O'Regan, Tom. "Australian film in the 1950s." Continuum 1, no. 1 (January 1988): 1–25. http://dx.doi.org/10.1080/10304318809359316.
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Goldsmith, Ben. "Review: Australian Film 1900–1977." Media International Australia 90, no. 1 (February 1999): 178. http://dx.doi.org/10.1177/1329878x9909000126.
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Goldsmith, Ben. "Review: Australian Film: A Bibliography." Media International Australia 90, no. 1 (February 1999): 181–82. http://dx.doi.org/10.1177/1329878x9909000129.
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Cunningham, Stuart. "Regionalism in Audiovisual Production: The Case of Queensland." Queensland Review 1, no. 1 (June 1994): 47–54. http://dx.doi.org/10.1017/s1321816600000490.
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A great deal has been made of the boom in audiovisual production based in southern Queensland (and to some extent in northern Queensland) in the 1990s. This follows a pattern throughout the so-called ‘revival’ period (since the early 1970s) in Australia which has seen successive moments of regional upsurge. In the 1970s, it was South Australia, under the energetic leadership of the South Australian Film Corporation, that saw many of the best feature films and several of the early historical mini-series of the early revival period made in that state (see, for example, Moran). During the early to mid-1980s, Western Australia, with the location of bold production houses such as Barron Films and strong independent documentary traditions, offered robust regional opportunities, culminating in such memorable films as Shame and Fran.
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Zvegintseva, Irina Anatolyevna. "The Silent Era in Australian Cinema." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 88–97. http://dx.doi.org/10.17816/vgik6188-97.
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The article focuses on the first period in the history of Australian cinema. It is well-known that the present is always rooted in the past. This is true of any national cinema, and the Australian one is no exception. This subject is relevant in the light of the fact that, in the first place, the reasons for the contemporary boom in Australian cinema are impossible to understand and analyze unless they are derived from the awareness of the first steps of Australian cinema. It was in the very first years of the existence of Australian cinema that there emerged a special worldview, inherent in the cinematographic messages of this nation, that would later become iconic of Australian cinema: addressing the reality of Australia, love for its wild and beautiful nature and for the people who civilize this severe land. In their works the filmmakers of the Green Continent have almost always unflaggingly introduced two protagonists, an animate one, a manly, daring human being, and an inanimate one, the nature, magnificent, powerful, unexplored... At the same time, there was formed an image of a Hero: a fair, proud man, for whom honor and dignity are closely linked to striving for freedom. A conflict between the Individual and a soulless system is manifested in the early bushranger films and in the contemporary ones alike, now that the films by the Australian filmmakers come out again and again featuring the Individuals attempts at breaking his bondage. The novelty of this research lies in the fact that while the contemporary period of Australian cinema is well-covered in the global film criticism, the past of this national cinema is almost unknown. Considering the interest in the phenomenon of the contemporary cinema of the Green Continent, the author concludes that the global success of the Australian films today is largely linked to the accomplishments of the cinema pioneers, who against tough competition from American and English films, have laid a foundation for the future victories of this special national cinema.
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Kennedy, Rosanne. "Soul music dreaming:The Sapphires, the 1960s and transnational memory." Memory Studies 6, no. 3 (May 20, 2013): 331–44. http://dx.doi.org/10.1177/1750698013485506.
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In memory studies, concepts of cosmopolitan, transnational and transcultural memory have been identified as a means of studying mnemonic symbols, cultural forms and cultural practices that cross national, ethnic and territorial borders. However, what do these concepts deliver for memory work that originates in an ‘off-centre’ location such as Australia, where outsiders often lack an understanding of the history and cultural codes? A recent Indigenous Australian film, The Sapphires, set in 1968, provides an opportunity to consider some of the claims that are made for the transnational travels of memory. The film tells the story of an Aboriginal girl group that travels to Vietnam to perform for the American troops. I discuss the mnemonic tropes and transcultural carriers of memory, particularly soul music, that enable this popular memory to circulate nationally and internationally. While global tropes and icons of the 1960s can be imported into Australia, and used to construct Australian cultural memory and identity, how effectively does cultural memory travel transnationally from Australia?
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Zhang, Chunyan. "The Countryside as an Inhospitable Frontier in Australian and Chinese Films." English Language and Literature Studies 10, no. 3 (July 14, 2020): 39. http://dx.doi.org/10.5539/ells.v10n3p39.
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The Countryside as an inhospitable frontier, as a place where human beings live a harsh life, frequently appeared in both Australian film and Chinese leftist films in the period of nationalism, the 1920s and 1930s. In Australia, this construction manifests itself in the old idea of human beings in conflict with nature, working in an unfriendly environment to make the barest living. In China, it is a new construction, differing from the old motif of a “pastoral” countryside blessed by nature. In Australia, despite its challenges, the countryside was still regarded as a peaceful homeland for human beings to return to, but in Chinese leftist culture, the construction of a negative image of the countryside was so extreme that it was depicted as a totally wretched world.
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Barrett, Marc. "Moving beyond the ‘shot-type list’ towards the ‘Meaning Model’: Placing meaning at the centre of film education." Film Education Journal 3, no. 2 (November 26, 2020): 218–30. http://dx.doi.org/10.14324/fej.03.2.08.
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In 1990 Kress and Van Leeuwen’s Reading Images began a conversation based upon the practice of teaching image-orientated texts in Australian classrooms. Since then, however, little of this important conversation has been translated into meaningful pedagogical change for the teaching of kineikonic (moving image) texts in Australia. From state-run primary schools to national postgraduate film education institutions, the primary tool used to initiate students into the potential to create meaning through film – the shot-type list – has remained relatively unchanged. This article proposes an updated pedagogical tool – identified as the ‘Meaning Model’ – which draws from contemporary discourses around how films make meaning in seeking to bring understandings of the kineikonic mode into the classroom, in a practical and accessible way.
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Wimmer, Adi. "81. Australian film: cultures, identities, texts." English and American Studies in German 2009, no. 2010 (October 15, 2010): 143–45. http://dx.doi.org/10.1515/9783484431225.143.
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Watson, Janet. "Representations of Bisexuality in Australian Film." Journal of Bisexuality 8, no. 1-2 (September 2008): 97–114. http://dx.doi.org/10.1080/15299710802142267.
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O’Regan, Tom, and Huw Walmsley-Evans. "The Emergence of Australian Film Criticism." Historical Journal of Film, Radio and Television 38, no. 2 (June 2, 2017): 296–321. http://dx.doi.org/10.1080/01439685.2017.1300409.
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Dermody, Sue, and Liz Jacka. "An Australian film reader in question." Continuum 1, no. 1 (January 1988): 140–55. http://dx.doi.org/10.1080/10304318809359326.
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Verevis, Constantine, and Deane Williams. "Contemporary Australian Film Theory and Criticism." Media International Australia 136, no. 1 (August 2010): 177–90. http://dx.doi.org/10.1177/1329878x1013600118.
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Bradford, Clare. "The Stolen Generations of Australia: Narratives of Loss and Survival." International Research in Children's Literature 13, no. 2 (December 2020): 242–58. http://dx.doi.org/10.3366/ircl.2020.0356.
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Australian texts for the young run the gamut of representational approaches to the removal of Indigenous children. Early colonial texts treated child removals as benign acts designed to rescue Indigenous children from savagery, but from the 1960s Indigenous writers produced life writing and fiction that pursued strategies of decolonisation. This essay plots the history of Stolen Generation narratives in Australia, from the first Australian account for children in Charlotte Barton's A Mother's Offering to Her Children to Doris Pilkington Garimara's Follow the Rabbit-Proof Fence, Philip Noyce's film Rabbit-Proof Fence, and pedagogical materials that mediate the book and film to children. Garimara's book and Noyce's film expose the motivations of those responsible for child removal policies and practices: to eliminate Indigenous people and cultures and to replace them with white populations. Many pedagogical materials deploy euphemistic and self-serving narratives that seek to ‘protect’ non-Indigenous children from the truths of colonisation.
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Eisenhuth, Susan. "Telling stories that nobody wants to hear." Pacific Journalism Review : Te Koakoa 16, no. 1 (May 1, 2010): 205–8. http://dx.doi.org/10.24135/pjr.v16i1.1018.
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Australian director Robert Connolly’s aspiration for his film Balibo—and the challenge of bringing it to a wider audience—was similar. As was his take on our propensity for not wanting to know. Certainly the death of the six Australian-based journalists—including New Zealander Gary Cunningham—seeking to tell the truth about Indonesia’s invasion of East Timor in 1975 was an episode that Australians, or more particularly their politicians, didn’t want to know about. Not then, not now, and not over the intervening period, when dreadful crimes were being perpetrated in Timor and Australian governments were averting their eyes, shamefully, in our name.
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Ryan, Mark David. "Australian cinema's dark sun: the boom in Australian horror film production." Studies in Australasian Cinema 4, no. 1 (January 2010): 23–41. http://dx.doi.org/10.1386/sac.4.1.23_1.
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Muna, Nalal. "Indonesia dalam Film Balibo Five." Jurnal Penelitian Pers dan Komunikasi Pembangunan 21, no. 1 (June 20, 2017): 1–19. http://dx.doi.org/10.46426/jp2kp.v21i1.52.
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Indonesia is described as cold-blooded, brutal, sadistic, cruel and inhumanity like a monster in Australian film, Balibo Five. This research aims to describe the representation of Indonesian in cinematography package and to find the dominant ideology. Semiotic is used to answer these objectives by observing three level of signs e.g. reality, representations and ideology. The result shows that there are some forms of violation which committed by Indonesian special forces troops such as assassination, torture, persecution and other cruel and human degrading treatment that violate human rights and accused them as war criminal. In addition, dominant ideology which operates is in form of demonization, dehumanization and sentiment towards Indonesia. Based on the result, this film become propaganda which potentially influence its viewer the spirit of anti-Indonesia especially amongst Australian to sympathize and uphold justice for the victims.Keywords: indonesia, balibo five, film, representation, semiotics
ABSTRAKIndonesia dalam film Balibo Five digambarkan sebagai yang kejam, brutal dan tidak manusiawi seperti sosok monster. Penelitian ini mengungkap penggambaran Indonesia dan makna di balik penggambaran sinematografi film. Analisis semiotika digunakan untuk membaca tanda-tanda sinematografi yang menyusun film tersebut dengan melihat pada tigal level tanda yakni level reality, representations dan ideology. Hasil penelitian ini menunjukkan bahwa dalam Balibo Five banyak sekali menonjolkan tindak kekerasan yang dilakukan oleh tentara Indonesia seperti pembunuhan, penyiksaan, penganiayaan dan lain sebagainya yang merujuk pada pelanggaran HAM dan kejahatan perang. Dominan ditampilkan dalam bentuk penyerupaan terhadap setan, merendahkan martabat manusia dan penyebaran kebencian. Ini merupakan media propaganda anti-Indonesia yang menyulut sentimen terhadap Indonesia serta mempengaruhi warga Australia agar bersimpati dan berpartisipasi untuk menegakkan keadilan terhadap para korban tersebut.Kata kunci : indonesia, balibo five, film, representasi, semiotika
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Zhang, Chunyan. "The Theme of “Progress” in Australian and Chinese Cultures." Asian Culture and History 12, no. 1 (April 8, 2020): 35. http://dx.doi.org/10.5539/ach.v12n1p35.
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This paper discusses the theme of “progress” in Australian and Chinese cultures in the period of 1920s and 1930s. During this period, both cultures had an outpouring of patriotic and sentimental feelings. In this social context, both cultures constructed a theme of “progress” – the transformation of natural environment with human power, or the active participation in social life, for the purpose of “civilization”, a concept closely connected with the idea of social engagement, transformation and modernization. In Australia, this ideology was a continuation of the old idea of transforming “untamed” nature and bringing material progress through human labour; in China, it was a new theme which betrayed the old “reclusive” spirit. In Australia, it is represented most clearly in film, in China, it is represented in both film and painting.
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McKenzie, Jordi, and W. David Walls. "File Sharing and Film Revenues: Estimates of Sales Displacement at the Box Office." B.E. Journal of Economic Analysis & Policy 16, no. 1 (January 1, 2016): 25–57. http://dx.doi.org/10.1515/bejeap-2015-0004.
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Abstract This study examines the impact of peer-to-peer (P2P) file sharing on the Australian theatrical film industry. Using a large data set of torrent downloads observed on three popular P2P networks, we find evidence of a sales displacement effect on box office revenues. However, although statistically significant, the economic significance of this displacement appears relatively small. To establish causality, we make use of the state-day-level panel data structure permitting the use of film fixed effects to help mitigate the endogeneity between film revenues and downloads. To further assist identification, we propose a downloading cost function that considers other states’ downloading activities as a proxy for the number of peers in the download swarm; the US DVD release date as a supply shock to P2P networks; and the substantial structural progression within the Australian internet service provision industry that occurred over the sample period. We observe that the release gap between the US and Australian markets is a key contributor to piracy early in a film’s theatrical life. This finding provides a partial explanation for the industry’s move towards coordinated worldwide releases.
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Teare, Sheldon, and Danielle Measday. "Pyrite Rehousing – Recent Case Studies at Two Australian Museums." Biodiversity Information Science and Standards 2 (June 13, 2018): e26343. http://dx.doi.org/10.3897/biss.2.26343.
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Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.
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Yecies, Brian, Ae-Gyung Shim, and Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema." Media International Australia 141, no. 1 (November 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.
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Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starring in films made in other countries. Korea has hosted major international industry events. These milestones have facilitated an unprecedented international expansion of the Korean film industry. With the advent of the ‘digital wave’ in Korea – the film industry's transition to digital production practices – this expansion has accelerated. Korean film agencies – the pillars of the national cinema – have played important parts in this internationalisation, particularly in promoting Korean films and filmmakers outside Korea and in facilitating international events in Korea itself. Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses working outside official channels. That is, they are often better understood as ‘transnational’ rather than ‘national’ or ‘international’ projects. In this article, we focus on a range of collaborations involving Korean, Australian, New Zealand and Chinese filmmakers and firms. These collaborations highlight some of the forces that have shaped the digital wave in the Korean film industry, and illustrate the increasingly influential role that the digital expertise of Korean filmmakers is playing in film industries, both regionally and around the world.
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Vagg, Stephen, and Daniel Reynaud. "Alfred Rolfe: forgotten pioneer Australian film director." Studies in Australasian Cinema 10, no. 2 (May 3, 2016): 184–98. http://dx.doi.org/10.1080/17503175.2016.1170950.
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Collins, Felicity. "Review: Second Take: Australian Film-Makers Talk." Media International Australia 95, no. 1 (May 2000): 261–62. http://dx.doi.org/10.1177/1329878x0009500123.
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Thomas, Julian. "Reframing culture: Stuart Cunningham's legacies." Media International Australia 182, no. 1 (November 17, 2021): 44–47. http://dx.doi.org/10.1177/1329878x211043895.
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This essay offers an appreciation of Stuart Cunningham's substantial and diverse contributions to ‘reframing culture’ in Australian research, policy and industry practice, from his early reformulations of Australian film history to his recent work on digital media disruption. The essay discusses the range of Cunningham's institutional and intellectual legacies, suggesting that his advocacy for cultural policy and the creative industries together with his leadership of major collaborative research initiatives in the humanities and social sciences have been especially important for media and cultural studies in Australia. Further, his approach to the project of ‘reframing culture’ is likely to remain a critical task.
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van Erp, Judith. "Anti-cartel thrillers as a new film genre: How regulator-produced films portray and problematize cartels and communicate deterrence." Crime, Media, Culture: An International Journal 14, no. 2 (January 11, 2017): 229–46. http://dx.doi.org/10.1177/1741659016685377.
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This article directs the ‘visual turn’ in criminology to corporate crime, a topic that has been understudied by cultural criminologists. A recent trend of corporate crime movies suggests that film can compellingly critique economic crime and unethical business cultures. This article studies how law enforcement agencies, particularly competition authorities, have connected with this trend by using film in their communicative strategy. This article introduces the emerging genre of anti-cartel enforcement thrillers: regulator-produced realistic docudramas in which fictional cartels are exposed and punished. These films’ narratives about cartel enforcement are reconstructed by studying how the films portray cartels, perpetrators and their motives, and the regulator. An analysis of four films produced in four jurisdictions demonstrates that the films deter only to the extent that the local legal and political-economic context allows: the British film reflects that country’s neoliberal ‘pro-business’ climate, while the Swedish film depicts businesses as socially responsible and the Dutch film is pragmatic rather than moralistic. Only the Australian film is explicitly punitive in its narrative as well as its imaginary, and exemplifies the persuasive potential of film in enforcement.
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Henry, Claire. "Awakening the film censors’ archive in [CENSORED] (2018)." Frames Cinema Journal 19 (February 18, 2022): 260–76. http://dx.doi.org/10.15664/fcj.v19i0.2388.
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[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Australian Film Censorship Board between 1958 and 1971, which historian and artist Sari Braithwaite uncovered in the National Archives of Australia. While the censored clips were archived alphabetically, Braithwaite curates them by motif, capturing the numbness generated by archivists’ and censors’ processes through repetitive bombardment of similar imagery in various categories of sex and violence. Compiling and re-categorising this trove of censored fragments produces a new perspective not only into past practices of censorship but more insightfully, into patterns of gendered dynamics and action in narrative cinema. Through feminist critical practice, Braithwaite deploys a ‘layered gaze’ and expands a critique of censorship to a critique of cinema. Braithwaite’s film mobilizes ‘productive misuse’ (Baron 2020), not for her original goal of damning censorship, but to reflect on cinematic fixations (including female nudity and sexual violence) and spectatorial implication. By suturing the censors’ excisions, Braithwaite draws attention to her own growing feminist ‘disenchantment’ (Elsaesser 2005) with cinema culture as she engages with the censors’ offcuts. [CENSORED] documents an awakening of – and from – the censors’ archive. The film evolves through sensory engagement with this archive, and in doing so, provides insight into the comparable – and sometimes complicit – processes of film spectatorship, censorship, and audio-visual archival research.
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Conor, Liz, and Ann McGrath. "Xavier Herbert: Forgotten or Repressed?" Cultural Studies Review 23, no. 2 (November 27, 2017): 62–69. http://dx.doi.org/10.5130/csr.v23i2.5818.
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Xavier Herbert is one of Australia’s outstanding novelists and one of the more controversial. In his time, he was also an outspoken public figure. Yet many young Australians today have not heard of the man or his novels. His key works Capricornia (1938) and Poor Fellow My Country (1975) won major awards and were judged as highly significant on publication, yet there has been relatively little analysis of their impact. Although providing much material for Baz Luhrmann’s blockbuster film Australia (2008), his works are rarely recommended as texts in school curricula or in universities. Gough Whitlam took a particular interest in the final draft of Poor Fellow My Country, describing it as a work of ‘national significance’ and ensuring the manuscript was sponsored to final publication. In 1976 Randolph Stow described it as ‘THE Australian classic’. Yet, a search of the Australian Literature database will show that it is one of the most under-read and least taught works in the Australian literary canon. In our view, an examination of his legacy is long overdue. This collection brings together new scholarship that explores the possible reasons for Herbert’s eclipse within public recognition, from his exposure of unpalatable truths such as interracial intimacy, to his relationship with fame. This reevaluation gives new readings of the works of this important if not troublesome public intellectual and author.
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Bainbridge, Jason. "‘Rafferty's Rules’: Australian Legal Dramas and the Representation of Law." Media International Australia 118, no. 1 (February 2006): 136–49. http://dx.doi.org/10.1177/1329878x0611800116.
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This paper explores the problems involved in representing the Australian legal system on film and television, how these problems are addressed, and what commentary these texts are making about the practice of law in Australia. It is suggested that the formal and dress requirements of the Australian legal system make the trial process a ritual based around the reification of the lawyer and the stigmatisation of the accused — in short, a degradation ceremony — and that Australian legal dramas reflect this. But because of this lack of dynamism in the courtroom, Australian legal dramas must seek alternative sits of drama — often domestic, and invariably outside the courtroom. In this way, they present a more holistic view of the lawyer/judge's life, reinterpreting court proceedings (and the institution of law itself) as a repressed set-up by actively displacing dramatic tension outside the courtroom, thus denying the courtroom the centrality it occupies in American representations and, by extension, American culture.
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Dooley, Kath, Margaret McHugh, Marsha Berry, Craig Batty, and James Verdon. "Approaches to gender diversity behind the camera in Australian student screen productions." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 118–31. http://dx.doi.org/10.33178/alpha.24.07.
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This article asks how educators at tertiary level might attempt to address gender diversity behind the camera in student productions. The 2020 Australian Screen Production Education and Research Association (ASPERA) report Diversity On and Off Screen in Australian Film Schools outlines the results of a national survey measuring levels of gender diversity behind the camera in Australian university capstone (major project-based) screen production units. The survey results reveal that, while close to even numbers of male and female students are completing capstone projects in screen production departments and film schools in Australia, crew roles are highly gendered. A gendered skew is most pronounced in the roles of cinematographer and sound designer (male dominated), and producer and production designer (female dominated). We argue that an investigation of this subject calls for an examination of the specificity of the tertiary screen production environment. The crewing of student projects can be fraught, involving competition for popular roles such as that of director, and choices are made based on student likes and dispositions. In this article, we further drill into quantitative and qualitative data from the ASPERA survey to examine educator attitudes and approaches towards the gendered nature of some student production roles.
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Hitchens, Peta L., Rachael H. Booth, Kirsten Stevens, Annabelle Murphy, Bidda Jones, and Lauren M. Hemsworth. "The Welfare of Animals in Australian Filmed Media." Animals 11, no. 7 (July 2, 2021): 1986. http://dx.doi.org/10.3390/ani11071986.
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Animals play a significant role in the production of film and television in Australia and globally. Given this, regulating and monitoring their welfare on- and off-set is imperative. We therefore aim to compare Australia’s state and territory-based legislation and regulation to those in the United States and the United Kingdom and assess regulations against the Five Domains Model of animal welfare. Historical examples of animal incidents in Australian film are used to illustrate potential deficiencies. We reviewed archived media for animal welfare incidents on and off production sets. We demonstrate a lack of uniformity, with 37.5% (3/8) of states and territories providing targeted Codes of Practice for animals in filmed media, and partially addressing behavioural interactions or mental state within the Five Domains Model. Three themes of welfare concerns were identified including incidents on-set, incidents off-set, and effects of portrayal on perception or ownership of specific species. This highlights the need for standardised national legislation and improved monitoring and regulation. Further research should quantify the number of animals used in productions, describe the type and duration of the work the animals undertake, investigate the frequency of animal welfare incidents, and explore alternative methods to the use of live animals in film and television.