The Real Gaze in Australian Cinema single work   criticism  
Issue Details: First known date: 2020... 2020 The Real Gaze in Australian Cinema
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'This paper takes up Todd McGowan’s rethinking of psychoanalytic film theory to consider what such approaches might disclose in the work of a national cinema. I focus on Australia’s national cinema where it is caught, I argue, between the Imaginary gaze of an aestheticized nationalism and a traumatic ‘Real’ gaze that disturbs the field of cultural vision. I show how Ted Kotcheff’s 1971 Wake in Fright introduces the Real gaze to Australia’s cinematic vocabulary where it is taken up in the film Renaissance and disturbs the aesthetic inquiry into nationalism with the traumatic Real frequently repressed in national discourses. Here I suggest that if a national cinema can be seen to function as a form of ‘public dreaming,’ this Real gaze functions as a national symptom that, as in the psychoanalytic clinic, troubles the story the subject tells about itself. After mapping the emergence of this Real gaze in Wake in Fright, I consider where this visual trope is reworked in more recent Gothic landscape films, such as Joel Anderson’s Lake Mungo (2008), before considering how post-Mabo history films reverse the terms of this gaze such that what haunts the national Imaginary is put before the viewer without relent.' (Publication abstract)

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    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. 194-214
Last amended 21 Dec 2020 13:17:48
194-214 The Real Gaze in Australian Cinemasmall AustLit logo Studies in Australasian Cinema
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