'Set against the shifting social and political backdrop of a nation throwing off the shackles of one war yet faced with the instability of the new world order, Reel Men probes the concept of 1950s masculinity itself, asking what it meant to be an Australian man at this time. Offering a compelling exploration of the Australian fifties, the book challenges the common belief that the fifties was a 'dead' era for Australian filmmaking. Reel Men engages with fourteen Australian feature films made and released between 1949 and 1962, and examines the multiple masculinities in circulation at this time. Dealing with beloved Australian films like Jedda (1955), Smiley (1956), and The Shiralee (1957), and national icons of the silver screen including Chips Rafferty, Charles 'Bud' Tingwell, and Peter Finch, Reel Men delves into our cultural past to dismantle powerful assumptions about film, the fifties, and masculinity in Australia.' (Publication summary)
'Reel Men is about blokes. More specifically, Chelsea Barnett’s text explores representations of masculinity in postwar Australian films. In doing so, Barnett aims to unsettle some of the erroneous but commonly held assumptions about gender relations and cinema in the Australia of that period.' (Introduction)
'In Reel Men, Chelsea Barnett provides an original interpretation of films of the fifties, that screened different understandings of Australian masculinity, when men felt the responsibilities of breadwinner, father and husband that were not easy to disentangle or reconcile. It is part of Barnett’s innovative approach to argue that films that dealt with Australian personalities, histories and settings conveyed Australian meanings, even when they were co-produced with British or American cinema companies.' (Introduction)
'Reel Men is an excursion into a realm of Australian cinematic history many might have considered quite barren. Against the celebrated colour and belligerence of the cinema of the 1970s, the productions of the 1950s have come to be seen as stultified and dreary affairs, but Barnett’s book is a lively overturning of any such assumption. It offers a rich analysis of 14 feature films made during the period to achieve this, looking at the content and consumption of movies such as Sons of Matthew (1949), The Shiralee (1957), Smiley (1956), King of the Coral Sea (1954), Jedda (1955) and On the Beach (1959). Reel Men is primarily concerned to show the way in which this catalogue reveals the multiplicity of and tensions within masculine identity, and each chapter details the ways in which these dynamics were implicated in the broader social, cultural and political concerns of 1950s Australia: the national character, the responsibilities of breadwinning, the strength of family life and the role of the father within it, the imperatives of White Australia, and the maintenance of (hetero)sexuality.' (Introduction)
'Reel Men is an excursion into a realm of Australian cinematic history many might have considered quite barren. Against the celebrated colour and belligerence of the cinema of the 1970s, the productions of the 1950s have come to be seen as stultified and dreary affairs, but Barnett’s book is a lively overturning of any such assumption. It offers a rich analysis of 14 feature films made during the period to achieve this, looking at the content and consumption of movies such as Sons of Matthew (1949), The Shiralee (1957), Smiley (1956), King of the Coral Sea (1954), Jedda (1955) and On the Beach (1959). Reel Men is primarily concerned to show the way in which this catalogue reveals the multiplicity of and tensions within masculine identity, and each chapter details the ways in which these dynamics were implicated in the broader social, cultural and political concerns of 1950s Australia: the national character, the responsibilities of breadwinning, the strength of family life and the role of the father within it, the imperatives of White Australia, and the maintenance of (hetero)sexuality.' (Introduction)
'In Reel Men, Chelsea Barnett provides an original interpretation of films of the fifties, that screened different understandings of Australian masculinity, when men felt the responsibilities of breadwinner, father and husband that were not easy to disentangle or reconcile. It is part of Barnett’s innovative approach to argue that films that dealt with Australian personalities, histories and settings conveyed Australian meanings, even when they were co-produced with British or American cinema companies.' (Introduction)
'Reel Men is about blokes. More specifically, Chelsea Barnett’s text explores representations of masculinity in postwar Australian films. In doing so, Barnett aims to unsettle some of the erroneous but commonly held assumptions about gender relations and cinema in the Australia of that period.' (Introduction)
