Stephen Crofts Stephen Crofts i(A126565 works by)
Gender: Male
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Works By

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1 Cross-Cultural Differences between Neighbours : Teaching Australian Cinema in New Zealand Stephen Crofts , 2004 single work criticism
— Appears in: Thinking Australian Studies : Teaching Across Cultures 2004; (p. 349-365)
1 The Adventures of Barry McKenzie : Comedy, Satire and Nationhood in 1972 Stephen Crofts , 1996 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 10 no. 2 1996; (p. 123-140)
1 Cross-Cultural Reception Studies : Culturally Variant Readings of Crocodile Dundee Stephen Crofts , 1993 single work criticism
— Appears in: Literature/Film Quarterly , vol. 21 no. 2 1993; (p. 157-168)
1 y separately published work icon Cross-Cultural Reception Studies : Culturally Variant Readings of 'Crocodile Dundee' Stephen Crofts , Perth : Centre for Research in Culture and Communication (Murdoch University) , 1996 Z1618437 1992 single work criticism

'The cultural knowledges which a given film-viewing community brings to a given text will clearly affect both the readings made of it as well as its popularity,' writes Stephen Crofts in the introduction to this paper. using Crocodile Dundee as a case study, primarily because of its extraordinary international success, Crofts works hypothesises that 'a properly constructed comparison of two countries' reviews of the same film may yield significant conclusions about national cultural differences, and in particular about foreign constructions of the film's country of origin.'
1 y separately published work icon Re-imaging Australia: 'Crocodile Dundee' Overseas Stephen Crofts , Perth : Centre for Research in Culture and Communication (Murdoch University) , 1996 Z1617950 1989 single work criticism Crofts examines the international life of the film Crocodile Dundee. The paper essentially looks at four particular aspects of importing Australian films, using Dundee as an example. These issues are: Hollywood's controlling interest in Australian film distribution and exhibition; US cultural uninterest in Australia and its limited distribution of Australian film; Exporting Australian film to the US; and the precedence of aesthetic criteria over those of cultural specificity in the re-editing of the film.
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