Cirrus@Austlit

'P.J. Hogan’s classic Australian film Muriel’s Wedding is 30 and it plays as well today as it did when it had its world premiere. Muriel might have been “terrible” – but the film was a great success.'  (Introduction)

'A 90s dark comedy and Australian conwoman Belle Gibson inspired directors Hannah Barlow and Kane Senes to create their camp gorefest that has fans around the world screaming for more.' 

'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)

'From Friends and Strangers to Hot Mess, there’s a new wave of self-funded films that celebrate the mundane and tap into ‘a national malaise’'