Olivia Khoo Olivia Khoo i(A65638 works by)
Born: Established:
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Malaysia,
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Southeast Asia, South and East Asia, Asia,
;
Gender: Female
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Works By

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1 The Mukbang Controversy Is a Chance to Discuss Race and Australian Films. Let’s Not Squander It Olivia Khoo , 2020 single work column
— Appears in: The Conversation , 16 July 2020;

'Eliza Scanlen’s film Mukbang (2020) has become a flashpoint in race relations in the Australian screen industry. Scanlen’s film is famous not for winning Best Director in the short film category at this year’s Sydney Film Festival, but for the controversy it has sparked.' (Introduction)

1 A Post-Apology Carceral Regime : Encountering Refugee Art in Australia Olivia Khoo , 2017 single work criticism
— Appears in: Australian Humanities Review , May no. 61 2017;

On 13 February 2008, the newly-installed Australian Prime Minister of the day, Kevin Rudd, made a now-landmark speech saying ‘Sorry’ to the Stolen Generations. Symbolically, the Apology was considered ‘a turning-point in the process of reconciliation’ (Kossew 171), a way of righting a historical wrong that would lead to a new chapter in the nation’s history. We can compare this speech to statements made by Rudd on his brief return to leadership prior to the September 2013 elections, when he introduced a strict refugee resettlement policy whereby all refugees arriving to Australia by boat were to be resettled in Papua New Guinea, and none would be allowed to settle in Australia, even after their claims for asylum had been processed. Despite widespread criticism from members of his own party, Rudd refused to back down over his hardline refugee policy. He repeatedly said that he made ‘no apology’ for the fact that he had to make some tough decisions (Uhlmann; Scarr and Jones). Ostensibly the policy was to stop people perishing on the treacherous journey from Indonesia to Australia in unseaworthy boats but it was also clearly a political manoeuvre in an effort to appeal to more conservative forces in a last-ditch attempt to win an unwinnable election. Since then, Rudd’s political opponents have made similar statements of being ‘unapologetic’ for their own asylum seeker policies (Borello; Whyte). It is this period of Australian cultural and political life that I refer to as ‘post-apology’ (Introduction)

1 Missing Water : Imagination and Empathy in Asian Australian ‘Boat Stories’ on Screen Olivia Khoo , 2014 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 28 no. 5 2014; (p. 605-615)
'Australia's cultural and political life is dominated by the image of the boat, most recently in the form of border anxiety concerning asylum seekers arriving by boat from the north. In this context, it is surprising to note the cinematic refrain of a literal absence of boats in Asian Australian ‘boat stories’ on screen, by which the visual iconography of the boat (as a physical object) is disavowed at the same time as it is underscored and over-exploited in the service of a certain kind of politicized cinema...'
1 2 y separately published work icon Transnational Australian Cinema : Ethics in the Asian Diasporas Audrey Yue , Olivia Khoo , Lanham : Lexington Books , 2013 7990514 2013 single work criticism

'To date, there has been little sustained attention given to the historical cinema relations between Australia and Asia. This is a significant omission given Australia's geo-political position and the place Asia has held in the national imaginary, oscillating between threat and opportunity. Moreover, many accounts of Australian cinema begin with the 1970s film revival, placing 'Asian Australian cinema' within a post-revival schema of multicultural or diasporic cinema and ignoring Asian Australian connections prior to the revival. Transnational Australian Cinema charts a history of Asian Australian cinema, encompassing the work of diasporic Asian filmmakers, films featuring images of Asia and Asians, films produced by Australians working in Asia's film industries or addressed at Asian audiences, and Asian films that utilize Australian resources, including locations and personnel. Utilizing an interdisciplinary approach, the book considers diasporic Asian histories, the impact of government immigration and film policies on representation, and the new aesthetic styles and production regimes created by filmmakers who have forged links, both through roots and routes, with Asia. Our expanded history of Asian Australian cinema facilitated by the emphasis on transnational film practices allows for a renewed discussion of so called dormant periods in the nation's film history. In this respect, the mapping of an expanded history of cinema practices contributes to our broader aim to rethink the transnationalism of Australian cinema.' (Publication summary)

1 Australian Cinema up in the Air : Post-National Identities and Peter Duncan's Unfinished Sky Olivia Khoo , 2011 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 25 no. 4 2011; (p. 547–558)
'This paper examines Peter Duncan's film Unfinished Sky as an example of post-national Australian cinema. Addressing dominant frameworks in Australian film criticism that focus on the concept of the national, the paper argues that the 'national' has in fact been reconfigured in the cinema of the new millennium, placing it within a post-national or regional environment. In several recent Australian films there has been an increased engagement with the region, both in terms of the representation of regional areas outside Australia, such as Asia and the Middle East, as well as demonstrating a growing sense of openness to global influences and connections in remote or regional settings within the country. Addressing these various shifts, the paper questions how relevant is it to continue to define Australian cinema in terms of the 'national', as has long been dominant in Australian film scholarship, when aiming to take into account different races, ethnicities, and identities appearing on screen today. This is especially worth reconsidering since the demise of multiculturalism from the mid to late 1990s as an official cultural policy situated squarely within the framework of the national.' (Author's abstract)
1 Diasporic Hybridity on Australian Screens Olivia Khoo , 2010 single work review
— Appears in: Cultural Studies Review , vol. 16 no. 2 2010;

— Review of Diasporas of Australian Cinema 2009 anthology criticism
1 Tokyo Drifting : Toei Corporation's The Drifting Avenger and the Internationalization of the Australian Western Olivia Khoo , 2010 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 4 no. 3 2010; (p. 231-241)

'One of Japan's major film production companies, the Toei Corporation, produced a little-known (to most Australians) film entitled The Drifting Avenger in 1968. The film is unique in being a western set in America but shot in Australia with a predominantly Australian cast and produced for Japanese audiences. This article examines both the Japanese and Australian contexts surrounding the film, characterizing The Drifting Avenger an Asian Australian film in order to consider its place within the broader fields of study on Australian cinema and transnational Asian cinemas. The film is also considered within a historical trend of ‘international’ Australian westerns.'

Source: Abstract.

1 y separately published work icon Studies in Australasian Cinema Transnational Asian Australian Cinema, Part 1 vol. 2 no. 2 Olivia Khoo (editor), Belinda Smaill (editor), Audrey Yue (editor), 2008 Z1753400 2008 periodical issue
1 Marketing Asian-Australianness: Introduction Olivia Khoo , 2008 single work criticism
— Appears in: Australian Humanities Review , November no. 45 2008; (p. 97-99)
1 y separately published work icon Studies in Australasian Cinema Transnational Asian Australian Cinema, Part 2 vol. 2 no. 3 Olivia Khoo (editor), Belinda Smaill (editor), Audrey Yue (editor), 2008 11378520 2008 periodical issue
1 Whiteness and The Australian Fiance : Framing the Ornamental Text in Australia Olivia Khoo , 2001 single work criticism
— Appears in: Hecate , vol. 27 no. 2 2001; (p. 68-85)
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