Studies in Australasian Cinema最新文献_第6页

Uncanny parallels: Jennifer Kent’s the Nightingale, violence, and the Vandemonian past 不同寻常的相似之处：詹妮弗·肯特的《夜莺》、《暴力》和《范德莫尼亚的过去》

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1756172

K. Harman

引用次数: 2

The Nightingale Sings in a New Year … 夜莺在新的一年里歌唱 …

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1757014

A. Lambert

引用次数: 1

‘I can’t stand the noise of it’: the figure of the child and the critique of colonialism in Jennifer Kent’s the Nightingale “我不能忍受它的噪音”:詹妮弗·肯特《南丁格尔》中孩子的形象和对殖民主义的批判

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1756171

Joanne Faulkner

引用次数: 1

A critical introduction to The Nightingale: gender, race and troubled histories on screen 《夜莺》的批判性介绍:银幕上的性别、种族和麻烦的历史

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1740404

Michelle Arrow, James F. Findlay

{"title":"A critical introduction to The Nightingale: gender, race and troubled histories on screen","authors":"Michelle Arrow, James F. Findlay","doi":"10.1080/17503175.2020.1740404","DOIUrl":"https://doi.org/10.1080/17503175.2020.1740404","url":null,"abstract":"ABSTRACT Acclaimed Australian filmmaker Jennifer Kent’s film The Nightingale has generated intense debate since its premiere at the 2018 Venice Film Festival. Set during the Black War in Van Diemen’s Land in 1825, the film is an unflinching depiction of colonial and sexual violence. Kent told The Saturday Paper that she ‘wanted to tell a story that is relevant to my history and my country’. Her vision of British colonisation, and its consequences for those caught in its wake, taps into a conversation with a strong presence in Australia’s public, political and cultural life over the last three decades. This article critically introduces The Nightingale as an historical film; that is, a film set in the past which offers an interpretation of history. We ask: how does The Nightingale represent the past? How might we situate it within longer traditions of historical representation of frontier conflict, and the convict experience? How did audiences respond to the film? And finally, how might we situate The Nightingale in the moment of its reception? What does it mean to make a film about colonial violence at the same moment as the Uluru statement called for truth-telling about our history?","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"14 - 3"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1740404","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44536511","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

‘I just felt sad and angry all in one thing’: Jim Everett in conversation with Rebe Taylor on making the Nightingale 吉姆·埃弗雷特在拍摄《南丁格尔》时与瑞贝·泰勒谈话时说:“我只是觉得又伤心又生气。

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1757013

Rebe Taylor, J. Everett

引用次数: 1

Convict/Aboriginal partnerships and ruptured histories in The Nightingale 《夜莺》中囚犯/土著的伙伴关系和破裂的历史

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1756173

James F. Findlay

引用次数: 1

‘Brutal’ and ‘Grisly’: exploring the (non-Indigenous) critical reception to two Australian postcolonial films of the frontier, The Nightingale (2018) and The Proposition (2005) 《野蛮》和《悲伤》：探索（非土著）对两部澳大利亚后殖民边境电影《南丁格尔》（2018）和《命题》（2005）的批评接受

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Studies in Australasian Cinema Pub Date : 2020-01-02 DOI: 10.1080/17503175.2020.1757836

C. Elder

{"title":"‘Brutal’ and ‘Grisly’: exploring the (non-Indigenous) critical reception to two Australian postcolonial films of the frontier, The Nightingale (2018) and The Proposition (2005)","authors":"C. Elder","doi":"10.1080/17503175.2020.1757836","DOIUrl":"https://doi.org/10.1080/17503175.2020.1757836","url":null,"abstract":"ABSTRACT This article explores the marketing and non-Indigenous critical responses to the film The Nightingale (2018) by reading it alongside the reception and responses to a similar film, made over a decade earlier, a film that also studies the multi-layers of colonial violence. Using the film The Proposition (2005) as a foil this article considers the ways that violence figured by two non-Indigenous directors working in a postcolonial Australian context is interpreted by the critics reviewing films. The articles considers the different tropes, non-Indigenous critics offer viewers of the film. How do they suggest consumers interpret or experience the film? The argument is that the tropes, and cues can be understood both in terms of the immediate film experience, but also, for Australian viewers in terms of two ‘events’ – Reconciliation and the Uluru Statement – that help shape what national and counter histories of Australia have power at different times. The objectives of the article are therefore twofold. The first is to catalogue some of the ways each films’ marketing machine and then some key critics explained or described the plot and narrative of the two films, in particular how they explained the idea of colonial trauma in relation to the two events. The second objective is to examine how the reviewers/marketing material explained how each film deployed these ideas in order to challenge historically powerful understandings of history and belonging – in its multiple meanings – in Australia.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"14 1","pages":"47 - 62"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1757836","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41868217","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

Migrant and diasporic film and filmmaking in New Zealand 新西兰的移民和流散电影和电影制作

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Studies in Australasian Cinema Pub Date : 2019-09-02 DOI: 10.1080/17503175.2019.1700010

A. Lambert

引用次数: 2

Editor’s introduction 编者简介

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Studies in Australasian Cinema Pub Date : 2019-09-02 DOI: 10.1080/17503175.2019.1700051

A. Lambert

引用次数: 0

More than just a gay pun: the changing nature of Australian queer film criticism 不仅仅是同性恋双关语：澳大利亚酷儿电影批评性质的变化

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Studies in Australasian Cinema Pub Date : 2019-09-02 DOI: 10.1080/17503175.2019.1693481

Stuart Richards

{"title":"More than just a gay pun: the changing nature of Australian queer film criticism","authors":"Stuart Richards","doi":"10.1080/17503175.2019.1693481","DOIUrl":"https://doi.org/10.1080/17503175.2019.1693481","url":null,"abstract":"ABSTRACT This essay looks at the critical reception of Australian queer cinema demonstrating the difference in reviews of queer Australian films. The Adventures of Priscilla, Queen of the Desert (Elliot, Stephan. 1994. The Adventures of Priscilla, Queen of the Desert. Sydney: Roadshow Distribution) and The Sum of Us (Dowling, Kevin, and Geoff Burton. 1994. The Sum of Us. Sydney: Southern Star) will be compared to films that came later in the 1990s, notably Love and Other Catastrophes (Croghan, Emma-Kate. 1996. Love and Other Catastrophes. Sydney: Fox Searchlight), The Well (Lang, Samantha. 1997. The Well. Sydney: Southern Star) and Head On (Kokkinos, Ana. 1998. Head On. Melbourne: Umbrella Entertainment). These later films managed to generate buzz on the queer film festival circuit as well as at general international film festivals. Their queerness attracts international LGBTQ audiences while, secondly, genre-related elements have the potential to attract a wider cinephile audience. I will utilise paratextual elements, particularly reviews during their film festival and theatrical runs, to demonstrate how they cross-over to wider audiences. In investigating their framing and reception, these films increasingly engage audiences through their genre signifiers. This essay demonstrates that the discourse around Australian queer cinema has matured to offer multi-faceted perspectives.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"13 1","pages":"51 - 66"},"PeriodicalIF":0.1,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2019.1693481","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43096688","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