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

* Contents derived from the 2007 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Remembering Our Ancestors: Cross-Cultural Collaboration and the Mediation of Aboriginal Culture and History in Ten Canoes (Rolf de Heer, 2006), Therese Davis , single work criticism
'In 2000, maverick Australian director Rolf de Heer began a collaboration with Australian Aboriginal screen legend David Gulpilil to make a film set in Gulpilil's traditional lands in North Eastern Arnhem Land. The result of the collaboration is the new feature Ten Canoes (2006). For Gulpilil the project represented an opportunity to launch careers in film for members of his community, including his son Jamie Gulpilil (who plays the lead role). He has also stated that "the film will allow people from the community and around the world to know how our ancestors lived and to understand them". In order to try to achieve this, de Heer took on the challenging task he describes as "fusing two very different storytelling traditions". Drawing on the documentary Balanda and the Bark Canoes (2006) (also known as Making Ten Canoes) and other sources, this article goes behind the scenes to examine processes of cross-cultural collaboration and intercultural fusion. It argues the film shows that while stories have different forms and functions in different societies, one story can be made to serve two different cultural requirements and, further, in doing so can expand possibilities for both cross-cultural recognition and cinema.' Source: Studies in Australasian Cinema 1.1 (2007): 5.
(p. 2-14)
Historicizing Transition in Australian Cinema : The Moment of Emerald City, Ian Craven , single work criticism
'This article maps a series of connections between the feature film Emerald City (1988) and a range of contexts seen as informing its generation, operation and reception. Emphasis is placed upon the synchronicity of the movie's appearance with key shifts in government film policy, and the emergence of new critical paradigms within the academy, which reorganized dominant understandings of Australian cinema, and questioned the cultural value assigned to particular works and genres. Through this 'conjunctural' analysis, Emerald City is reread as not only a symptomatic work, marking transitions between "new wave" film-making and the 'post-national' cinema of the 1990s, but is re-evaluated as a significant film, provocative of fresh approaches to both the historiography and practical management of Australian cinema, detectable within more recent archaeologies of screen 'content' and the rhetorics of film policy formulated in its wake. Source: Studies in Australasian Cinema 1.1 (2007): 29. (Sighted 01/09/2009).
(p. 29-46)
Head On : Multicultural Representations of Australian Identity in 1990s National Cinema, James Bennett , single work criticism
'Suffused with a sense that earlier filmic imaginings of Australian identity were "beginning to look threadbare" (Turner 1994a: 68), 1990s Australian cinema provides a key site for the examination of Australian identity in multicultural terms. Drawing on the work of Ghassan Hage (1998, 2003), Stuart Hall (1990, 1993) and Daniel Nourry (2005), this article investigates how notions of Australian identity in a multicultural society are played out (and with) by Australian cinema of the 1990s. Particular attention is paid to Head On (Kokkinos, 1998) and Strictly Ballroom (Lurhmann, 1992), as examples of different approaches to this issue. Enlisting a Bakhtinian approach, whereby identity is conceived in terms of "thinking from the margins", I argue that whilst films such as Strictly Ballroom enlist a "good multiculturalism" to extend, through tolerance, the boundaries of Australian identity to the Other, Head On provides a way of thinking about Australian-ness that refuses to simply assimilate or incorporate its Greek-Australian protagonist. By co-opting the audience to a position on the margins of society, Head On opens up a notion of Australian identity that is not only or simply hybrid, but also never finally fixed (Hall 1990).

Source: Studies in Australasian Cinema 1.1 (2007): 61. (Sighted 01/09/2009).

(p. 61-78)
The Overlanders : Between Nations, Deane Williams , single work criticism
'This article argues that Harry Watt's The Overlanders (1946), an Ealing Studios film shot in Australia, should be understood as an international film product, one with a foot in the post-war cultural histories of both Australia and Britain. In this sense the film requires different reading strategies to those used within a national cinema framework. The article resists 'settling' the account, or justifying the film's raison d'être with respect to only one of nationalist discourse, arguing that a reliable and truthful account of The Overlanders will always be a composite one.' Source: Studies in Australasian Cinema 1.1 (2007): 79. (Sighted 01/09/2009).
(p. 79-89)
Dad Rudd, M. P. and the Making of a National Audience, Julieanne Lamond , single work criticism
This article contextualizes Ken G. Hall's 1940 film Dad Rudd, M.P. with the history of Dad Rudd, a fictional character who pervaded Australian popular culture throughout the first half of the twentieth century. It argues that the fiction, theatre, film, cartoon and radio narratives in which he appeared have been instrumental in the creation of the idea of a popular Australian audience that can be defined in relation to a particular set of national symbols. Addressing Hall's film as well as the promotional material and public debate surrounding it, the article demonstrates that conceptualizations of an Australian national audience have been influenced by the genres and narratives of popular culture, historical circumstance and American cultural production. Source: Studies in Australasian Cinema 1.1 (2007): 91. (Sighted 01/09/2009).
(p. 91-105)
Live and Dangerous? The Screen Life of Steve Irwin, Jonathan Rayner , single work criticism

'This article examines the star status and screen persona of the late Steve Irwin. Through reference to his appearances in television series, but principally in relation to his performance in his only feature film (Crocodile Hunter: Collision Course, 2002) it offers an analysis of the nature and construction of his star image, its integration within other incarnations of Australian cultural identity, and its significance in national terms. This star persona is compared with other character types and embodiments of national identity propagated by the Australian cinema. On the basis of this analysis, the significance, pervasiveness and popularity of the Irwin image as a national icon, consumed by an international audience, is considered within its global media context.'

Source: Publisher's blurb.

(p. 107-117)
Review, Cath Ellis , single work review
— Review of The Barry McKenzie Movies Tony Moore , 2005 single work criticism ;
(p. 119-121)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 15 Jun 2017 12:25:17
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