y separately published work icon Studies in Australasian Cinema periodical issue   peer reviewed assertion
Issue Details: First known date: 2013... vol. 7 no. 1 March 2013 of Studies in Australasian Cinema est. 2007 Studies in Australasian Cinema
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Contents

* Contents derived from the , 2013 version. Please note that other versions/publications may contain different contents. See the Publication Details.
An Australasian Lens?, Anthony Lambert , single work criticism

'The uses and understandings of the category ‘Australasian’ seem to shift and vary within the multiple contexts of the term’s application. Each new

volume of Studies in Australasian Cinema, for example, not only negotiates the elasticity of screen culture, production, and scholarship as critical ‘objects’, but also speaks simultaneously (often in the broadest and even tangential senses) to regional experiences of, or responses to, all of these. ' (Author's introduction)

(p. 3-7)
Too Close to the Bone : The International Critical Reception of Jane Campion's In the Cut, Lucy , single work criticism

'This article examines the international critical reception of Australasian Director Jane Campion’s In the Cut (2003). It suggests that the loaded language of reviews, and the pervasive reading of the film’s female characters as masochistic, deluded or sex-crazed, ironically amplify the themes that In the Cut self-consciously explores, namely the relation of romantic love to language, knowledge and narrative violence. Campion’s critique of the popular mythology of romantic love and her depiction of a complex adult female sexuality, a sexuality of private experience rather than display, is in productive tension with the serial-killer thriller format. An opaque female narrative perspective that refuses revelation and complicates (rather than inverts) the predator-prey dichotomy provokes deep unease within the genre. Ultimately, it is the stark vulnerability of the female characters as they risk their limits in real embodied connection that has been reviled by many reviewers, provoking a discourse of disgust and a characterization of the erotic content of the film as perverse or ‘kinky’ when there is little in the film to support this reading. The clichés of female sexuality mobilized in the mainstream critical debate surrounding In the Cut underline the importance of Campion’s demythologizing project and illustrate the continued relevance of feminist-oriented film scholarship, even as some reviews pre-emptively mock or reject such readings.' (Author's abstract)

(p. 9-22)
Heritage Enigmatic : The Silence of the Dubbed in Jedda and The Irishman, Allison Craven , single work criticism

'The dubbing of the voices of Aboriginal actors in The Irishman (Crombie, 1978) and Jedda (Chauvel, [1955] 2004) is discussed, first in a general context of the prevalence of post-sychronization of cinema sound in past and contemporary practices. The Irishman is thereafter considered through the spectacle of DVD packaging with commentary, a para-cinematic device that works – through a similar mechanism to dubbing – to influence the reception of the feature film; then Jedda is approached with reference to the various accounts that have emerged of the dubbed voices, none of which seem to conclusively indicate the grounds or status. Concluding reflections on these histories are drawn to wider institutional and industrial conditions, and also to contemporary films that address the voices and silences of Indigenous people.' (Author's abstract)

(p. 23-34)
Out in the Outback : Queering Nationalism in Australian Film Comedy, Peter Kunz , single work criticism
'The ‘ocker film’ was one of the defining subgenres of the revitalized Australian cinema of the 1970s. Characterized by bawdy humor and roguish escapades, these picaresque films satirically perpetuated an image of folksy Australian masculinity that countered and antagonized a queered image of British masculinity. To this end, these popular comedies rebuked the lingering British cultural influence in Australia while underscoring its distinctive humor and cultural identity, albeit one that was often sexist, anti-intellectual, and homophobic. In the 1990s, a series of Australian film comedies took up (and took on) the ocker tradition to revise this problematic image of Australian masculinity. In this essay, I argue that The Adventures of Priscilla, Queen of the Desert (Elliott, 1994) re-appropriates and revises the ocker tradition, especially its pervasive heteronormativity. Though it falters in its treatment of women and ethnic minorities, Priscilla promotes a message of diversity that queers what I call the ‘andronationalism’ – that is, masculinized nationalism – touted in the ocker film tradition to envision a more modern and more inclusive image of Australia.' (Author's abstract)
(p. 49-59)
[Untitled], Kristina Gottschall , single work review
— Review of Jedda Jane Mills , 2012 single work criticism ;
(p. 87-90)
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