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Re-reading Indigenous Cinema : Criticism, White Liberal Guilt and OthernessStephen Gaunson,
2013single work criticism — Appears in:
Continuum : Journal of Media & Cultural Studies,vol.
27no.
62013;(p. 763-769)'In this paper, I will advance a critical perspective of some methodologies on appraising Indigenous films, in terms of their aesthetic as well as their cultural value. In doing this, I propose a cultural and textual approach that gives the films a context for which they can be critically understood. With a heavy emphasis on the political content of many Indigenous films, here I argue for a more critical pedagogical evaluation that considers the challenges of Indigenous films and problems that arise when we ignore to discuss them as ‘cinema’. Through surveying a number of recent Indigenous films, and the criticism that surrounds them, I concentrate on how they can be better used as texts to enhance the study of world cinema and cultural issues of Aboriginality.' (Author's abstract)
Dual Occupancy : Melbourne and the Feminist Drama of Dwelling in Monkey GripAllison Craven,
2012single work criticism — Appears in:
Studies in Australasian Cinema,Marchvol.
5no.
32012;(p. 333-342)'Monkey Grip is viewed as a film that evokes the sexual politics of feminism and of city life, and can thus be seen as both a feminist film and a 'Melbourne film', a convergence that emerges in other films made and set in Melbourne, including Love and Other Catastrophes. The city appears as a centre of dwelling and habitation, with attention drawn to the spectacle of the interiors of the residences, in which much of the action occurs, and with reflection on the conditions and values of production. Bachelard's notion of the house image is applied to distinguish the performances of gender from those in films in non-urban settings.' (Editor's abstract)
Dual Occupancy : Melbourne and the Feminist Drama of Dwelling in Monkey GripAllison Craven,
2012single work criticism — Appears in:
Studies in Australasian Cinema,Marchvol.
5no.
32012;(p. 333-342)'Monkey Grip is viewed as a film that evokes the sexual politics of feminism and of city life, and can thus be seen as both a feminist film and a 'Melbourne film', a convergence that emerges in other films made and set in Melbourne, including Love and Other Catastrophes. The city appears as a centre of dwelling and habitation, with attention drawn to the spectacle of the interiors of the residences, in which much of the action occurs, and with reflection on the conditions and values of production. Bachelard's notion of the house image is applied to distinguish the performances of gender from those in films in non-urban settings.' (Editor's abstract)
Re-reading Indigenous Cinema : Criticism, White Liberal Guilt and OthernessStephen Gaunson,
2013single work criticism — Appears in:
Continuum : Journal of Media & Cultural Studies,vol.
27no.
62013;(p. 763-769)'In this paper, I will advance a critical perspective of some methodologies on appraising Indigenous films, in terms of their aesthetic as well as their cultural value. In doing this, I propose a cultural and textual approach that gives the films a context for which they can be critically understood. With a heavy emphasis on the political content of many Indigenous films, here I argue for a more critical pedagogical evaluation that considers the challenges of Indigenous films and problems that arise when we ignore to discuss them as ‘cinema’. Through surveying a number of recent Indigenous films, and the criticism that surrounds them, I concentrate on how they can be better used as texts to enhance the study of world cinema and cultural issues of Aboriginality.' (Author's abstract)
