Cirrus@Austlit

'These statements seem to contradict each other, suggesting that a concern with landscape and location has not only been central to the Australian feature film industry but can also be considered a key marker of alternative cinemas. The first, from an essay by Ross Gibson, leads into a discussion of the ways in which images of landscape have been used to consolidate Australian myth, national identity and a sense of belonging. The revival of the feature industry in the 1970s saw films such as Sunday Too Far Away (Ken Hannam, 1975), Picnic at Hanging Rock (Peter Weir, 1975), The Man from Snowy River (George Miller, 1982) and We of the Never Never (Igor Auzins, 1982) trying to 'create a cohesive view of national character through the rendition of Australian landscape as if it were the one thing that all factions of the society held in common'.' (Introduction)