Studies in Australasian Cinema最新文献_第4页

Climbing Everest: the ‘national’ and ‘international’ in low budget feature film 攀登珠穆朗玛峰：低成本故事片中的“国家”和“国际”

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Studies in Australasian Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503175.2021.1993647

G. Hambly

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引用次数: 0

Disruptive poetics in The Five Provocations 五大挑衅中的颠覆性诗学

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Studies in Australasian Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503175.2021.1993648

Anna. Dzenis, N. Maloney

引用次数: 1

The Female Voice in Low budget, independent cinema of Australia: Strange Colours, The Second & Hot Mess 澳大利亚低成本独立电影《女声：奇怪的颜色》、《第二次和热门的混乱》

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Studies in Australasian Cinema Pub Date : 2021-09-02 DOI: 10.1080/17503175.2021.1993651

Phoebe Hart, Mary M. Leder

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引用次数: 0

Don’t call me grandma: how to write formidable country women over the age of 65 as lead protagonists in an Australian feature film 不要叫我奶奶：如何在澳大利亚故事片中写出65岁以上令人敬畏的乡村女性作为主角

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Studies in Australasian Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503175.2021.1952683

J. Tindale

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引用次数: 1

‘Just ask “what if?” and go from there’: the role of mainstream story structures in women’s web series script development 只要问“如果……会怎么样?”“从那里开始”:主流故事结构在女性网络剧剧本发展中的作用

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Studies in Australasian Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503175.2021.1922162

Stayci Taylor

{"title":"‘Just ask “what if?” and go from there’: the role of mainstream story structures in women’s web series script development","authors":"Stayci Taylor","doi":"10.1080/17503175.2021.1922162","DOIUrl":"https://doi.org/10.1080/17503175.2021.1922162","url":null,"abstract":"ABSTRACT This article investigates, through interviews, the script development processes of four female-identifying web series creators, contributing to scholarship around web series’ ability to serve diverse communities [Christian 2020. “Beyond Branding: The Value of Intersectionality on Streaming TV Channels.” Television & New Media 21 (5): 457–474; 2011. “Fandom as Industrial Response: Producing Identity in an Independent Web Series.” TWC – Transformative Works and Cultures, 8, ‘Race and Ethnicity in Fandom’ special issue; Monaghan 2017. “Starting From … Now and the Web Series to Television Crossover: An Online Revolution?” Media International Australia 164 (1): 82–91; Williams 2012. Web TV Series: How to Make and Market Them. Harpenden: Kamera Books], but from the perspective of the writing process. The three web series making up this small sample – Last Breath (2018), Love Songs (2019) and Phi and Me (2019-) – have all experienced notable levels of ‘success’ (defined here variously in terms of views, festival selections, and awards). This article offers a preliminary investigation into how women’s web series writing practices may – or may not – depart from conventions that are practiced in mainstream settings of episodic script development, and/or are circulated by the screenwriting ‘how-to’ market. Using the insights into these writing processes, this article builds upon web series scholarship (where, it has been argued, innovations around diversity are leading the way in terms of screen content and distribution) by exploring the extent to which gender and cultural diversity, platform and standardised story structures inform the script development processes.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"15 1","pages":"48 - 64"},"PeriodicalIF":0.1,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2021.1922162","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46110987","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: 3

Antipodean urban dystopias: documenting the New Zealand city 1965–1971 澳大利亚城市反乌托邦:记录1965-1971年的新西兰城市

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Studies in Australasian Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503175.2021.1952684

Diego Bonelli

引用次数: 0

Moving forward: issue 1–2 introduction 前言:第1-2期简介

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Studies in Australasian Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503175.2021.1961389

A. Lambert

引用次数: 0

A dark and dusty night: Razorback and the development of an environmentalist Australian Gothic cinema 一个黑暗而尘土飞扬的夜晚：剃刀背与环保主义者澳大利亚哥特式电影的发展

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Studies in Australasian Cinema Pub Date : 2021-05-04 DOI: 10.1080/17503175.2021.1938799

I. Rooks

{"title":"A dark and dusty night: Razorback and the development of an environmentalist Australian Gothic cinema","authors":"I. Rooks","doi":"10.1080/17503175.2021.1938799","DOIUrl":"https://doi.org/10.1080/17503175.2021.1938799","url":null,"abstract":"ABSTRACT This article argues that Razorback’s self-aware play with cinematic Australian Gothic tropes infuses the aesthetic with an environmentalist sensibility that resonates in the Anthropocene. The limited scholarship addressing Razorback typically positions the film as a crude expression of the same anxieties found in New Wave Australian Gothic cinema. This interpretation misunderstands the role industrial maleficence plays in Razorback’s horror. In order to reassess Razorback, I situate this creature feature in the history of the Australian Gothic, a sensibility grounded in the country’s settler colonial identity and focused on the unsettling qualities of the imposing natural landscape. Razorback draws on common tropes in Australian cinema – cultural anxiety around Americans, the tendency to idealize white rural life, and a fascination with the Outback – but it tweaks standard elements. Razorback offers a surreal take on the Outback, but it identifies its horror as stemming from human mismanagement and pollution of the natural world. The Outback becomes warped by the activities of the Baker Brothers, whose business breeds a monstrous manifestation of rapacious colonial capitalism and environmental degradation. This reassessment of an overlooked cult classic identifies Razorback as an important text to study in order to understand genre cinema’s role in engaging environmental concerns.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"15 1","pages":"3 - 16"},"PeriodicalIF":0.1,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2021.1938799","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44086318","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

Kennedy Miller Mitchell and the relationality of Australian cinema – global film practice in Australia Kennedy Miller Mitchell与澳大利亚电影的相对性——澳大利亚的全球电影实践

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Studies in Australasian Cinema Pub Date : 2021-05-03 DOI: 10.1080/17503175.2021.1921405

James Douglas

{"title":"Kennedy Miller Mitchell and the relationality of Australian cinema – global film practice in Australia","authors":"James Douglas","doi":"10.1080/17503175.2021.1921405","DOIUrl":"https://doi.org/10.1080/17503175.2021.1921405","url":null,"abstract":"ABSTRACT Recent work in Australian screen scholarship has been focused on expanding the limitations of our national cinema discourse. Terms like Deb Verhoeven’s ‘Industry 3’ or Ben Goldsmith’s ‘outward-looking Australian cinema’, and the discourse of ‘transnationality’ more generally, exemplify a contemporary tendency that seeks out new conceptual foundations from which to analyse Australian film as interrelated with international industrial contexts. US film historian Janet Staiger has proposed one potentially fruitful alternative conceptual schema. Staiger argues that the concept of ‘film practices’ offers a way to carry out the historiographical grouping of film texts without recourse to categories of nationality or transnationality. In this article, I examine the analytical possibilities of the film practice schema in the Australian context. I focus on the Australian production firm Kennedy Miller Mitchell, which I identify as operating within the contemporary classical Hollywood cinema practice. Scholars have previously encountered conceptual deficiencies in grouping the work of this firm under prevailing terms of national cinema discourse. I show how the application of the film practice schema can make better sense of Kennedy Miller Mitchell’s place in the Australian and international screen industries, and I assess some of the advantages and disadvantages of this approach for future scholarship.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"15 1","pages":"17 - 30"},"PeriodicalIF":0.1,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2021.1921405","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48592057","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: 1

Goodbye to 2020 再见2020

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Studies in Australasian Cinema Pub Date : 2020-09-01 DOI: 10.1080/17503175.2020.1858569

A. Lambert

引用次数: 0