Studies in Australasian Cinema最新文献

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By way of North: reorienting the feminine other in Australian film 北上:重新定位澳大利亚电影中的女性他者
IF 0.1
Studies in Australasian Cinema Pub Date : 2024-07-22 DOI: 10.1080/17503175.2024.2376306
Jane Hampson
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引用次数: 0
The impacts of ethnic and mainstream culture on Māori-themed films 民族文化与主流文化对Māori-themed电影的影响
Studies in Australasian Cinema Pub Date : 2023-10-26 DOI: 10.1080/17503175.2023.2271255
Sandor Klapcsik, Monika Bartoňová
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引用次数: 0
‘Falling leaves return to their roots’? The reception of Chinese blockbusters by Chinese university students in New Zealand “落叶归根”?在新西兰的中国大学生对中国大片的欢迎程度
Studies in Australasian Cinema Pub Date : 2023-09-11 DOI: 10.1080/17503175.2023.2256607
Ian Huffer, Yuan Gong
{"title":"‘Falling leaves return to their roots’? The reception of Chinese blockbusters by Chinese university students in New Zealand","authors":"Ian Huffer, Yuan Gong","doi":"10.1080/17503175.2023.2256607","DOIUrl":"https://doi.org/10.1080/17503175.2023.2256607","url":null,"abstract":"ABSTRACT This article examines the extent to which the films Wolf Warrior 2 (战狼2) (Wu 2017) and The Wandering Earth (流浪地球) (Guo 2019) might help to cultivate pride in the dream of a revitalised China among Chinese university students in New Zealand. A combination of state oversight, private capital and market forces have led to the People’s Republic of China’s (PRC) increased production of blockbuster films that promote the ‘Chinese Dream’. These films receive regular theatrical release within New Zealand but our understanding of how PRC university students in New Zealand respond to these films remains limited. Understanding this response is vital given the state’s view of these students as ‘civil ambassadors’ and ‘a diaspora in the making’. Using focus group data, the article shows how the reception of these films is complicated by the pluralised context of these films’ production and consumption, with the engagement of some participants pivoting upon issues of genre more than ethno-national identification. Nevertheless, for some of the participants these films do help to affirm their identities as Chinese and generate pride in a rejuvenated China via the complex ways in which these films connect to their lives.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135982623","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}
引用次数: 0
Mad Max and the Western 疯狂的麦克斯和西部片
Studies in Australasian Cinema Pub Date : 2023-09-11 DOI: 10.1080/17503175.2023.2256610
Martin Holtz
{"title":"<i>Mad Max</i> and the Western","authors":"Martin Holtz","doi":"10.1080/17503175.2023.2256610","DOIUrl":"https://doi.org/10.1080/17503175.2023.2256610","url":null,"abstract":"ABSTRACT The Mad Max films were among the most successful exports of the Australian New Wave and had an enormous impact on shaping what the cinematic post-apocalyptic landscape looks like around the world. In line with Tom O'Regan's argument about Australian cinema's dialogue with Hollywood cinema, I argue that a productive way of looking at how the films create meaning is in the way they position themselves in relation to a genre that looks back in time rather than into future: the Western. Using as analytical frame the works of two key theorists of the Western, Will Wright and Richard Slotkin, I want to show that the films individually and collectively invert certain structural elements and developments of the genre. The first film subverts ideas of regenerative violence, questioning the justification and social value of self-defense and vigilantism. The second film echoes classical Western tropes regarding mobility and sedentary life, individual and community, savagery and civilization, garden and desert, which the third film further explores. In this way the films contribute to a dialogical identity of Australian cinematic identity in relation to the dominant Hollywood cinema as a critical interrogation of its national(ist) mythologies.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135981774","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}
引用次数: 0
The forgotten history of the Australian film musical: tracking the production and development of the genre in Australia 被遗忘的澳洲歌舞片历史:追踪澳洲歌舞片的制作与发展
Studies in Australasian Cinema Pub Date : 2023-09-02 DOI: 10.1080/17503175.2023.2256608
Phoebe Macrossan
{"title":"The forgotten history of the Australian film musical: tracking the production and development of the genre in Australia","authors":"Phoebe Macrossan","doi":"10.1080/17503175.2023.2256608","DOIUrl":"https://doi.org/10.1080/17503175.2023.2256608","url":null,"abstract":"While Australian film studies has located various genres, including horror, comedy, action/adventure, science fiction, and crime within the broader ‘Ozploitation’ discourse and the increase in Australian genre production in the 2010s, there has been little discussion of how a variety of song- and music-based Australian cinema operates in dialogue with the classical Hollywood musical and the global musical genre. Existing scholarship on the Austrlian musical has largely focused on singular well-known examples, including Strictly Ballroom (1992), The Adventures of Priscilla: Queen of the Desert (1994), Moulin Rouge! (2001), Bran Nue Dae (2009) and The Sapphires (2012). Specific film studies on successful musicals, particularly on Moulin Rouge! and The Sapphires, are often framed in popular and academic circles as ‘reviving’ the genre for Australian audiences, due in large part to their box office success. This does not account for the long history of Australian musical films, and their popularity. This article posits a theoretical re-evaluation of the Australian film musical genre through its unusual variations and lesser-known examples, including dance films, animations, and musical biopics. It traces the Australian film musical genre in detail, considering its rich history, numerous subgenres, and its interconnections with Australian national cinema and the global musical genre.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969436","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}
引用次数: 0
Editor’s Note Editor’s音符
Studies in Australasian Cinema Pub Date : 2023-09-02 DOI: 10.1080/17503175.2023.2273582
Anthony Lambert
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引用次数: 0
Introduction 介绍
IF 0.1
Studies in Australasian Cinema Pub Date : 2023-05-04 DOI: 10.1080/17503175.2023.2228612
G. Hambly, Anna. Dzenis
{"title":"Introduction","authors":"G. Hambly, Anna. Dzenis","doi":"10.1080/17503175.2023.2228612","DOIUrl":"https://doi.org/10.1080/17503175.2023.2228612","url":null,"abstract":"Welcome to this special dossier on ‘Disruptive Narrative Practices’ for the Studies in Australasian Cinema journal. In contemporary screen culture and screen production, we are very familiar with the phrase ‘digital disruption’ which is currently going through exponential upheavals and disruptions with the recent widespread uptake of AI technologies. However, ‘disruption’ in cinema storytelling has a lineage as long as cinema itself. ‘Disruption’ in cinema’s forms and storytelling modes have pushed the boundaries of how narratives are constructed, presented on screen, and disseminated, throughout cinema’s history. In the call for papers for this dossier, we were interested in examining disruption across the spectrum of traditional industry narrative frameworks and script development approaches. We invited essays on disruptive narrative practices in terms of diversity, the border of the factual and the fictive, concepts of authenticity and inauthenticity, intermediality in narrative projects, auto-fiction and the new uses of archival practices in screen forms. The essays selected for this dossier explore disruptions in multiple ways, in experimental films, feature films and television series. In ‘Disrupting the Self: Fictive Dialogic Inquiry into Transformative Screenwriting Practices’, Louise Sawtell and Sue Cake weave the notion of disruption into the form of the essay itself. Drawn from conversations between them conducted on zoom and written up as a lively, informal interchange, the essay critically reflects on their personal experience of script development within the academy. They argue it provides a creative haven for writers to discover new possibilities and reinvent their voice free of the pressures imposed by prescriptive industrial practices. Phoebe Hart brings a similar, personal approach to her essay ‘Playful Hybrids: Documentary Filmmakers Forging Disruptive Narratives’, in which she reflects on her teaching practice in relation to hybrid documentaries. The disruptive docufiction form, which merges fact and fantasy, throws up thorny questions for teachers and students alike: How do you balance creativity and ethics in a period deemed ‘post truth’? What are the practical and ethical challenges of doing so? In her paper, Hart outlines her approach to answering these difficult questions. The theme of disruption and hybridity in documentary continues in Sean Maher and Sue Cake’s ‘Innovation in True Crime Series: Generic Transformations in Documentary Series’. The authors chart how streaming, bingeing, big data and content-based algorithms combined to create a new multi-episode documentary form within the true crime genre. This docuseries form employs narrative conventions from long series","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48913717","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}
引用次数: 0
Disrupting the self: script development within the academy 颠覆自我:学院内部的剧本开发
IF 0.1
Studies in Australasian Cinema Pub Date : 2023-05-04 DOI: 10.1080/17503175.2023.2229167
Susan Cake, Louise Sawtell
{"title":"Disrupting the self: script development within the academy","authors":"Susan Cake, Louise Sawtell","doi":"10.1080/17503175.2023.2229167","DOIUrl":"https://doi.org/10.1080/17503175.2023.2229167","url":null,"abstract":"ABSTRACT Screenwriting within the Academy creates opportunities for female writers to question and challenge traditional and industrial approaches to script development. The two writer-researchers use critical conversation as a form of collaborative reflection to examine how personal experiences inform their script development processes. Situating the creative practice within the context of research reveals how the reflexive approach to script development can unearth broader concerns regarding agency and representations of female characters on screen. Sue Cake identifies how writing narrative comedy became an act of disruption against the neoliberal corporatisation of education. A kind of self-disruption occurred as the insights gained from parodying powerful emotional experiences led to a transformative shift in her perspective of those experiences. For Louise Sawtell, reflecting on key memories and experiences prompted her to develop female-driven narratives that expand the scope of representation for under-represented female protagonists. She weaves memory and imagination together to innovate the form and structure of an anthology film. This article argues that the Academy is a critical site for female screenwriting researchers to explore and disrupt dominant script development practices.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46503609","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}
引用次数: 0
Investigating older women as lead protagonists: an Australian case study of Stateless (2020) 调查老年女性作为主要主角:澳大利亚无国籍人案例研究(2020)
IF 0.1
Studies in Australasian Cinema Pub Date : 2023-05-04 DOI: 10.1080/17503175.2023.2228608
J. Tindale
{"title":"Investigating older women as lead protagonists: an Australian case study of Stateless (2020)","authors":"J. Tindale","doi":"10.1080/17503175.2023.2228608","DOIUrl":"https://doi.org/10.1080/17503175.2023.2228608","url":null,"abstract":"ABSTRACT Screen Australia’s Gender Matters Program (2015–2023) addresses the underrepresentation of women in the screen industry. Older women continue to be less visible and stereotyped on screen which will be examined in this paper on the Australian television mini-series Stateless (Freeman and Moorhouse 2020). Stateless is an award-winning series commissioned and screened by the Australian Broadcasting Corporation and acquired by Netflix. This case study will apply a framework comprised of five guiding principles to writing older women to analyse the portrayal of the two major female characters. The five principles are based on unpublished Honours research data addressing the representation of older women: as the lead protagonist; as authentic, capable, complex characters; in powerful leadership positions; depicted at work in an occupation in a non-traditional role; and as flawed imperfect characters. Lauzen’s 2021 Boxed In report highlights the underrepresentation of women forty and over on broadcast and streaming services. The case study reveals that the female protagonists in Stateless are two contrasting complex, authentic characters who actively pursue their respective goals.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43530931","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}
引用次数: 0
Disruptive docs: teaching hybrid documentary filmmaking in Australia 颠覆性纪录片:在澳大利亚教授混合纪录片制作
IF 0.1
Studies in Australasian Cinema Pub Date : 2023-05-04 DOI: 10.1080/17503175.2023.2224616
Phoebe Hart
{"title":"Disruptive docs: teaching hybrid documentary filmmaking in Australia","authors":"Phoebe Hart","doi":"10.1080/17503175.2023.2224616","DOIUrl":"https://doi.org/10.1080/17503175.2023.2224616","url":null,"abstract":"ABSTRACT As a documentary educator and practitioner in Australia, ‘truth’ is an area of concern for both my students and I in undertaking the risky capturing and the representation of the lives of others. Documentaries are deceptively difficult to make, especially for the novice, and most especially when considering hybrid non-fiction genre forms. The questions my students pose often centre on how much can they blend reality in the ‘post truth’ moment, and what are the practical and ethical challenges of doing so? This paper urges teachers and makers alike to refer to established documentarians who investigate at truthful depictions that often transcend the didactic recitation of facts. Citing the examples of Conjuring the Rolling Thunder Revue: A Bob Dylan Story (directed by Martin Scorsese, 2019) and The Rehearsal (created by and starring Nathan Fielder, 2022), I present a pragmatic discussion as to how disruptive non-fiction form a pure triadic relationship between participants, audiences, and filmmakers, which necessarily involves the overlap of ethics and creativity. I refer to a recent student hybrid documentary film Bustard Head (directed by Lucy Lakshman, 2021) as an example outcome of this pedagogically oriented approach.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41274991","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}
引用次数: 0
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