Studies in Australasian Cinema最新文献_第5页

Watching The Hobbit in Aotearoa/New Zealand: the affective resonance of landscape, race and greed 在新西兰观看《霍比特人》:风景、种族和贪婪的情感共鸣

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Studies in Australasian Cinema Pub Date : 2020-09-01 DOI: 10.1080/17503175.2020.1845285

Joost de Bruin

引用次数: 0

The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema 祖先的模糊性：澳大利亚哥特式电影的古代、废墟和融合传统

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Studies in Australasian Cinema Pub Date : 2020-09-01 DOI: 10.1080/17503175.2020.1845284

A. Craven

{"title":"The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema","authors":"A. Craven","doi":"10.1080/17503175.2020.1845284","DOIUrl":"https://doi.org/10.1080/17503175.2020.1845284","url":null,"abstract":"ABSTRACT ‘Gothic’ is identified as a prominent mode of Australian cinema since the 1970s. In commentary on Australian Gothic films, the aesthetic ancestry is often traced to literary conventions in colonial and pre-colonial British or European literatures. This article draws attention to the convergence of these literary and cinematic traditions and compares the prevalence of landscape as a Gothic figure in Australian films with the architectural elements of historical Gothic literature. The discussion proceeds through the British Gothic novel and its history as analogue of Gothic architecture of the time, and several recent accounts of ‘Australian Gothic’ cinema that invoke this history of the Gothic novel, and the dissonant description of ‘Australian Gothic’ in Susan Dermody and Elizabeth Jacka’s account of Australian Revival films. Two recent productions, Celeste [Hackworth 2018. Australia: Unicorn Films] and the television remake of Picnic at Hanging Rock [Rymer, Kondracki and Brotchie 2018. TV Mini-Series. Australia: Amazon Studios/FremantleMedia/Screen Australia], are compared as recent parodies of Gothic aesthetics that foreground architectural features over landscape. It is argued that while it is important to identify antecedents, the colonial connotations of ancestry are ambiguous and potentially overpower attention to the generative visions in Australian Gothic cinema.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"162 - 177"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1845284","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44403160","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

The real gaze in Australian cinema 澳大利亚电影中的真实凝视

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Studies in Australasian Cinema Pub Date : 2020-09-01 DOI: 10.1080/17503175.2020.1858572

A. Horbury

{"title":"The real gaze in Australian cinema","authors":"A. Horbury","doi":"10.1080/17503175.2020.1858572","DOIUrl":"https://doi.org/10.1080/17503175.2020.1858572","url":null,"abstract":"ABSTRACT This paper takes up Todd McGowan’s rethinking of psychoanalytic film theory to consider what such approaches might disclose in the work of a national cinema. I focus on Australia’s national cinema where it is caught, I argue, between the Imaginary gaze of an aestheticized nationalism and a traumatic ‘Real’ gaze that disturbs the field of cultural vision. I show how Ted Kotcheff’s 1971 Wake in Fright introduces the Real gaze to Australia’s cinematic vocabulary where it is taken up in the film Renaissance and disturbs the aesthetic inquiry into nationalism with the traumatic Real frequently repressed in national discourses. Here I suggest that if a national cinema can be seen to function as a form of ‘public dreaming,’ this Real gaze functions as a national symptom that, as in the psychoanalytic clinic, troubles the story the subject tells about itself. After mapping the emergence of this Real gaze in Wake in Fright, I consider where this visual trope is reworked in more recent Gothic landscape films, such as Joel Anderson’s Lake Mungo (2008), before considering how post-Mabo history films reverse the terms of this gaze such that what haunts the national Imaginary is put before the viewer without relent.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"194 - 214"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1858572","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42050534","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

Regional screen cultures: the precarity and significance of Queensland’s film festival landscape 区域银幕文化:昆士兰电影节景观的不稳定性和重要性

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1834226

E. Ellison, T. van Hemert

{"title":"Regional screen cultures: the precarity and significance of Queensland’s film festival landscape","authors":"E. Ellison, T. van Hemert","doi":"10.1080/17503175.2020.1834226","DOIUrl":"https://doi.org/10.1080/17503175.2020.1834226","url":null,"abstract":"ABSTRACT In the midst of drought in Central Queensland, the small town of Winton triples its population for the Vision Splendid Outback Film Festival. Even when facing challenges, the local community values the way the festival brings the community together, injects tourist dollars into the local economy and provides visibility to the local screen industry. However, staging a film festival in a regional location can be challenging. There are often less local funding and sponsorship opportunities available and the geographical distances involved increase pressure on time, resources and costs. Combined with increasingly accessible digital content and changing audience habits, regional film festivals face significant disadvantages in comparison to their metropolitan counterparts. This article examines the role of Queensland's film festival network, focusing on how regional festivals are central to the development of the screen industry beyond the metropolitan centres. The research is based on a mapping project of film festivals in Queensland undertaken in 2018, which included interviews with festival organisers and industry professionals. 68 active festivals were identified across Queensland, of which 45% took place in Brisbane. This article investigates both the value of film festivals and the challenges for their economic sustainability in Queensland's screen culture and industry.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"95 - 110"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1834226","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43367405","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: 2

Working with the Australian cinema industry to understand the movie-going experience 与澳大利亚电影业合作，了解电影体验

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1810459

Simon Weaving, C. Hight, Karen Nobes, Claire Pasvolsky

{"title":"Working with the Australian cinema industry to understand the movie-going experience","authors":"Simon Weaving, C. Hight, Karen Nobes, Claire Pasvolsky","doi":"10.1080/17503175.2020.1810459","DOIUrl":"https://doi.org/10.1080/17503175.2020.1810459","url":null,"abstract":"ABSTRACT Although box office receipts for the theatrical release of movies have remained consistently high over the past decade, this tends to mask a slow erosion in the frequency of movie-going among the Australia population. Australians, it appears, are gradually losing the habit of going to the movies. This decline sits in marked contrast to increasing numbers of audiences preferring to engage with cinematic content through VOD and other digital platforms. Our engagement with industry stakeholders highlights the concerns of the Australian distribution and exhibition sectors of the industry about competition from a range of competing leisure and entertainment opportunities for Australian consumers. In this paper we argue that it is vital for the local industry to revise its current model of movie-going audiences, in order to better understand what consumers think about the ‘cinematic experience’ and how they value this experience in relation to the variety of competition from other leisure and entertainment experiences. We outline the opportunities to draw from insights across multiple disciplinary fields, in particular to explore the implications of applying ‘the customer journey’ to understanding the variety of social and material factors which may be in play in informing the decision-making of movie-going audiences.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"80 - 94"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1810459","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44786416","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

‘Don’t Read This on a Plane’: a case study in microbudget feature filmmaking “不要在飞机上读这个”：微预算故事片制作的案例研究

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1834517

Stuart McBratney, Mario Minichiello, M. Roxburgh

{"title":"‘Don’t Read This on a Plane’: a case study in microbudget feature filmmaking","authors":"Stuart McBratney, Mario Minichiello, M. Roxburgh","doi":"10.1080/17503175.2020.1834517","DOIUrl":"https://doi.org/10.1080/17503175.2020.1834517","url":null,"abstract":"ABSTRACT This paper presents demonstrable insights from the creation of a microbudget feature-length narrative drama film with high production values. As a case study, I am using a feature film I have written and directed titled “Don't Read This on a Plane”, which was filmed in 10 countries, produced on a budget of A$125,000 including all post-production, fees, and deliverables, and has been acquired for international distribution. I argue that by practicing pragmatism and bricolage, and by utilising a small professional crew who handle multiple roles, a microbudget filmmaker is able to transcend financial limitations. To support my argument, I detail my lived experience as a filmmaker from the project's conception in 2016 to its completion in 2020. In additional to describing my roles as the film's writer, co-financer, co-producer, director, editor, composer, and sound mixer, I also outline the involvement of key crew members. “Don't Read This on a Plane” embodies my tacit understanding of pragmatism and bricolage, and this paper shares my demonstrable approach to microbudget filmmaking.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"144 - 159"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1834517","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43249379","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: 2

Pushing the boundaries: creativity and constraint in Australian screen production 突破界限:澳大利亚银幕制作中的创意与约束

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1822051

J. John, Hester Joyce

{"title":"Pushing the boundaries: creativity and constraint in Australian screen production","authors":"J. John, Hester Joyce","doi":"10.1080/17503175.2020.1822051","DOIUrl":"https://doi.org/10.1080/17503175.2020.1822051","url":null,"abstract":"ABSTRACT Screen production is risky business. Significant sums of money are invested in a process that is subject to myriad precarious variables. Effective completion of a screen project is achieved through the instigation and monitoring of strict parameters which bound its creative process. However, filmmaker David Lynch states that ‘any restriction is a sadness and can kill creativity’ (Stratton 2015. David Lynch in Conversation. https://www.youtube.com/watch?v=jGd6lnYTTY8). The tension between flow and constraint in creative practice negotiates a delicate balance between efficiency and futility. At its most productive, limitations can provide a catalyst for innovation, whereas restrictions that are not sympathetic to the project’s creative intention can cause unproductive conflict and power struggles. Examination of this inherent tension deepens our understanding of the screen production process and offers broader insight into the nature of practice in the creative arts. Anecdotal evidence is drawn from interviews with screen practitioners and the author’s own experience working in various Australian film and television productions between 1994 and 2018. Findings are then examined alongside theories of creative work.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"130 - 143"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1822051","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48083852","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

A Note from the Editor-in Chief 总编辑的注释

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1826161

A. Lambert

引用次数: 0

Editorial 社论

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1826162

S. Kerrigan, Simon Weaving

引用次数: 0

The creative sustainability of screen business in the Australian regions 澳大利亚地区屏幕业务的创造性可持续性

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Studies in Australasian Cinema Pub Date : 2020-05-03 DOI: 10.1080/17503175.2020.1811486

S. Kerrigan, Mark David Ryan, P. McIntyre, Stuart Cunningham, M. McCutcheon

{"title":"The creative sustainability of screen business in the Australian regions","authors":"S. Kerrigan, Mark David Ryan, P. McIntyre, Stuart Cunningham, M. McCutcheon","doi":"10.1080/17503175.2020.1811486","DOIUrl":"https://doi.org/10.1080/17503175.2020.1811486","url":null,"abstract":"ABSTRACT Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory support – feature films, documentaries and television drama, with more recent interest in short-form content intended for streaming and online platforms and games. The expansion of the notion of screen business has led to a series of Screen Australia reports that focused the debate on value frameworks that included cultural, economic and audience values. These reports informed the 2017 Federal Government inquiry into the Australian Film and Television Industry – they do not, however, provide insights into how screen business is incorporated into localised regional economies and they tend to downplay the cultural contributions from the television and advertising sectors. By looking at screen business in four regional Australia cities we demonstrate how four modes of screen production, which include commercial and corporate content, is being made sustainably in the regions and that regional screen content production activities are an important part of the national screen production ecosystem.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"111 - 129"},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1811486","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47744471","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: 2