Greg Dolgopolov Greg Dolgopolov i(A138827 works by)
Born: Established: St Petersburg,
c
Russia,
c
c
Former Soviet Union,
c
Eastern Europe, Europe, ;
Gender: Male
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Works By

Preview all
1 New Australian Crime Drama Greg Dolgopolov , 2021 single work criticism
— Appears in: Australian Genre Film 2021;
1 Ghosting in the Outback Noir Greg Dolgopolov , 2021 single work criticism
— Appears in: Coolabah , no. 29 2021; (p. 4-16) 'Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secrets in order to solve a current problem is a common trend in Outback Noir cinema. I examine Patrick Hughes’ 2010 film Red Hill as an early provocative example of Outback Noir and as modern reimaging of the Waltzing Matilda narrative with the swagman’s avenging ghost exposing the social fractures and corruption that are destroying rural communities. I argue that the Outback Noir genre with its focus on revenge-redemption narratives shapes the cultural dialogue around putting the ghosts of the colonial past to rest.'  (Publication abstract)
1 Strange Colours, Venice Triumphs Greg Dolgopolov , 2017 single work column
— Appears in: FilmInk , 2 September 2017;
1 Will to Truth : Adaptation and the Uncanny in Simon Stone's The Daughter Greg Dolgopolov , 2016 single work essay
— Appears in: Metro Magazine , Autumn vol. 188 no. 2016; (p. 6-11) Most hidden truths always come to light, despite adverse consequences, and what should our role be in their unearthing? This question underpins Simon Stone's rendition of The Wild Duck, which recounts the conflict between two families and its effect on the teenage girl caught in the crossfire. Greg Dolgopolov evaluates the adaptation in terms of its adherence to the source text, its treatment of the original's themes, and its place within the 'secret family history' film subgenre.
1 Balancing Acts : Ivan Sen's Goldstone and Outback Noir Greg Dolgopolov , 2016 single work criticism
— Appears in: Metro Magazine , Spring no. 190 2016; (p. 8-13) 'In his follow-up to 2013’s gripping mystery road, writer/director Ivan Sen maintains political momentum by depicting the corruptive influence of power on small-town life and the trauma it can inflict on both its victims and those seeking redress. A unique example of ‘outback noir’, Goldstone confronts viewers with some of Australia’s most persistent problems, including indigenous dispossession, historical amnesia and the abuse of women, writes Greg Dolgopolov.'
1 Inside Looking Out – Film Festival Reports Kirsten Stevens , Lauren Carroll Harris , Greg Dolgopolov , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 9 no. 2 2015; (p. 187-189)

'Look about. From big cities to rural centres, tourist towns to sheep farms, film festivals are everywhere. Hardly a weekend now passes without some celebration lighting up screens somewhere around Australia. While 2015 marks yet another bumper year of film festival offerings, the proliferation of festivals is not a new phenomenon. For going on three decades, Australia has experienced an exponential increase in the range and number of celebrations on offer, with the boom in events showing no sign of slowing in the near future. Despite what is arguably a surplus of events, however, Australian audiences seem not to have tired (yet) of the opportunities film festivals present. While traditional networks of film exhibition and distribution are in a state of flux, struggling to navigate an ever-expanding array of content delivery and consumption platforms that are disrupting established patterns of viewing and the money-streams attached to them, festivals seem to have retained the public's interest. As digital distribution channels, online content providers and media on demand technologies open new avenues for film lovers to access the titles they desire, festivals seem to have maintained their allure, continuing to entice audiences away from their personal screens and into more communal viewing experiences.' (Publication abstract)
1 The Petrov Affair : An Ambivalent Migrant Narrative Greg Dolgopolov , 2011 single work criticism
— Appears in: Studies in Australasian Cinema , 24 August vol. 5 no. 2 2011; (p. 121-130) 'Well after the end of the Culture Wars, the televisual representations of The Petrov Affair continue to flourish. `The Petrov Affair' profoundly changed the Australian ideals of modernity and conception of Communism, political espionage and migration in the 1950s. The 1987 miniseries The Petrov Affair (Michael Carson) was released at the height of the 1980s promotion of multiculturalism and the historical miniseries boom. It is not a spy thriller, nor a courtroom drama about the Royal Commission. The Petrov Affair is a delicate character study of the difficulties of deciding to immigrate and the ambivalence that lies at the nexus between modernity and migration. This article seeks to rehabilitate this forgotten docudrama and examine the relationship between modernity, mobility and migration in the cultural production that explored emerging multicultural policies. (Editor's abstract)
1 Excess in Oz : The Crazy Russian and the Quiet Australian Greg Dolgopolov , 2009 single work criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 83-92)

'How are Russians portrayed in Australian cinema? In contrast to their proportionally small population and minor, non -cohesive multicultural grouping, there hove been numerous representations of Russians in Australian Films and television serials. These are exoticized images that use Russians as catalysts of narrative conflict and cultural excess. Russia occupies on ambivalent space in the Australian cinematic imagination: romantic, mysterious, dangerous, emotional and dramatic. It is imagery informed by literary classics, especially the psychological lavishness of Leo To!stay and the spiritual inordinateness of Fyodor Dostoyevsky. While there is a long history of Russian migration, there is a relatively recent record of the representation of Russians on Australian screens. Russians are not cast as villains in the same way that we come to expect from American cinema during the Cold War, nor are Russians portrayed as 'normal', assimilated members of a brood multi -ethnic nation. They are more often cast as exotic, passionate and radical, dangerous and excessive.' (Publication abstract)
X