{"title":"Ecological Relations","authors":"Belinda Smaill","doi":"10.1002/9781118942567.CH25","DOIUrl":"https://doi.org/10.1002/9781118942567.CH25","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115931974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jane Campion","authors":"L. French","doi":"10.1002/9781118942567.CH8","DOIUrl":"https://doi.org/10.1002/9781118942567.CH8","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115100403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Index","authors":"","doi":"10.1002/9781118942567.index","DOIUrl":"https://doi.org/10.1002/9781118942567.index","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126333899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Where Am I?","authors":"N. Neumark","doi":"10.1002/9781118942567.CH26","DOIUrl":"https://doi.org/10.1002/9781118942567.CH26","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128548664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"You Are Here","authors":"Felicity Collins","doi":"10.1002/9781118942567.CH1","DOIUrl":"https://doi.org/10.1002/9781118942567.CH1","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125225904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Between Public and Private","authors":"Amanda Malel Trevisanut","doi":"10.1002/9781118942567.CH18","DOIUrl":"https://doi.org/10.1002/9781118942567.CH18","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116576412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Another Green World","authors":"C. Verevis","doi":"10.1002/9781118942567.CH6","DOIUrl":"https://doi.org/10.1002/9781118942567.CH6","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133130392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Spirits Do Come Back","authors":"S. Gaunson","doi":"10.1002/9781118942567.CH17","DOIUrl":"https://doi.org/10.1002/9781118942567.CH17","url":null,"abstract":"This chapter explores the ways in which The Babadook (Jennifer Kent 2014), in its deft and complex intertextual weaving, is not so much a Gothic narrative, as a story of a mother and son trapped inside a Gothic milieu. The film starts at the beginning of the end. Jennifer Kent\u0000inserts the audience into central character, Amelias (Essie Davis) nightmare, which conveniently also provides vital backstory exposition for the drama that will manifest into the monstrous form of Mister Babadook. The dream repeats the fateful night (seven years earlier)\u0000when Amelias husband, Oskar (Benjamin Winspear), died in a car accident on the night when she would give birth to their son, Samuel (Noah Wiseman). The backstory establishes the reasons for Amelias deep mourning, as well as motivating the guilt and resentment she\u0000feels towards her son; yet the film withholds definitive answers about this widowed mother and her relationship to the murderous and monstrous impulses unleashed in the story.","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129896485","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Over the Horizon","authors":"Stuart Cunningham, A. Swift","doi":"10.1002/9781118942567.ch23","DOIUrl":"https://doi.org/10.1002/9781118942567.ch23","url":null,"abstract":"This chapter looks over the horizon – at a major emerging global dynamic in screen culture in which Australia is beginning to be embedded. This nascent screen ecology is being shaped by a set of increasingly global online screen entertainment platforms, most prominently Google/YouTube, Apple, Amazon and Netflix. One of us has previously examined the global contours of this phenomenon (Cunningham & Silver, 2013). Here, we focus on how Australia fits into the explosive growth of arguably the most challenging and innovative element of this new screen ecology: a very low-budget tier of advertising-supported online channels driven mainly by the professionalisation and monetisation of previously amateur content creation. This part of the ecology consists predominantly of previously amateur creators, using platforms such as YouTube (but also others such as Facebook, Vine, Instagram, Snapchat, Vimeo, Vessel and increasingly cross- and multi-platform strategies), to develop subscriber/fan bases of significant size. These bases are always transnational in composition, often generating, as a consequence, significant advertising and sponsorship revenue and, increasingly, the attention of mainstream media.","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121079505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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