Issue Details: First known date: 2022... 2022 The Larrikin Girl : Challenging Archetypes in Australian Cinema
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'Australian cinema has travelled a varied trajectory since its initial development in the late 19th century. The cinema reflected the developing social and cultural tropes of its time, as the concept of a distinct Australian identity began to form. But it is clear that a colonial history of Australian film focuses very clearly and emphatically along lines of class and gender. Rose Lucas notes that there is a “cluster of dominant, recognisable images in our cinema” which consists of the bushman, the ocker, the ‘mate’, and the ‘battler’, a series of male coded tropes which are stubbornly pervasive within this national cinema. These archetypes have trained a concentrated gaze upon masculinity in Australian cinema, but there has been little space in this cultural landscape for the development of archetypical women in Australia’s cultural history with very few valued traits that are specifically coded female. This resolutely masculine perspective seems to have shaped the nation and the national cinema, and Lucas’s observation highlights the key archetypes as embodied as masculine. But these archetypes, long the sole domain of masculine representation, also have historically encompassed female experiences. In this paper we identify the need to broaden such a framework, and by taking the most Australian and most masculine of forms – the larrikin – we argue that the larrikin girl has been hiding in plain sight across Australian film history.'  (Introduction)

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    y separately published work icon Senses of Cinema no. 103 October 2022 25399450 2022 periodical issue

    'This All Hallows Eve, Senses of Cinema is publishing our first sustained inquiry into nonfiction cinema from the territories of former Yugoslavia. At a time when new nationalisms are again on the horizon, what tactics do documentary cineastes employ in an effort to fight back? Guest editor Nace Zavrl collates articles examining the importance and inexhaustible grit of recent nonfiction from the ex-Yugoslav region. In the context of ideological mystification, documentary images play a privileged role, tasked and entrusted with offering adequate, just depictions of our world. Precisely due to their experiences with virulent ethnonationalism and an assortment of obfuscatory political techniques, ex-socialist filmmakers and artists have offered viewers of contemporary nonfiction much to think through. Form, as these articles argue, is inextricable from politics; the aesthetic devices that filmmakers choose to employ (or to omit) have consequences in life outside cinema. ' (Editorial introduction)

    2022
Last amended 4 Nov 2022 07:48:42
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