Issue Details: First known date: 2020... 2020 The Ambiguities of Ancestry : Antiquity, Ruins and Converging Traditions of Australian Gothic Cinema
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AbstractHistoryArchive Description

‘Gothic’ is identified as a prominent mode of Australian cinema since the 1970s. In commentary on Australian Gothic films, the aesthetic ancestry is often traced to literary conventions in colonial and pre-colonial British or European literatures. This article draws attention to the convergence of these literary and cinematic traditions and compares the prevalence of landscape as a Gothic figure in Australian films with the architectural elements of historical Gothic literature. The discussion proceeds through the British Gothic novel and its history as analogue of Gothic architecture of the time, and several recent accounts of ‘Australian Gothic’ cinema that invoke this history of the Gothic novel, and the dissonant description of ‘Australian Gothic’ in Susan Dermody and Elizabeth Jacka’s account of Australian Revival films. Two recent productions, Celeste [Hackworth 2018. Australia: Unicorn Films] and the television remake of Picnic at Hanging Rock, are compared as recent parodies of Gothic aesthetics that foreground architectural features over landscape. It is argued that while it is important to identify antecedents, the colonial connotations of ancestry are ambiguous and potentially overpower attention to the generative visions in Australian Gothic cinema.' (Publication abstract)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Studies in Australasian Cinema vol. 14 no. 3 2020 20904699 2020 periodical issue

    'To say that 2020 has been a strange year is an understatement. Many who work in screen production, the arts, and the the creative sectors more broadly have suffered from cancellations, loss of income, delays, disconnection, and the associated stresses of pandemic life. At the same time screen texts and cultures have saved most of us – taken us through lockdown, entertained and engaged us, inspired, and sustained us perhaps more so now and in more ways than ever before. As life has changed, we see the foregrounding of the adaptability of screen works and screen culture, from COVID safe production practices to virtual audiences and the prominence of independent filmmaking, digital content creation, and online film festivals and screen events. The films, series and performances from Australasian auteurs, groups, teams, production cohorts and scholars have produced a range of cinematic, televisual and online stories and images worthy of celebration and interrogation. It is with this sense of inspiration and renewed interest that we look towards 2021.' (Anthony Lambert, Goodbye to 2020 introduction)

    2020
    pg. 162-177
Last amended 21 Dec 2020 13:14:23
162-177 The Ambiguities of Ancestry : Antiquity, Ruins and Converging Traditions of Australian Gothic Cinemasmall AustLit logo Studies in Australasian Cinema
Subjects:
  • Celeste Bille Brown , Ben Hackworth , 2018 single work film/TV
  • Picnic at Hanging Rock Beatrix Christian , Alice Addison , 2017 series - publisher film/TV
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