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

IF 0.4 0 FILM, RADIO, TELEVISION
A. Craven
{"title":"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","authors":"A. Craven","doi":"10.1080/17503175.2020.1845284","DOIUrl":null,"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":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1845284","citationCount":"1","resultStr":"{\"title\":\"The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema\",\"authors\":\"A. Craven\",\"doi\":\"10.1080/17503175.2020.1845284\",\"DOIUrl\":null,\"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\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2020-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17503175.2020.1845284\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Australasian Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503175.2020.1845284\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Australasian Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503175.2020.1845284","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 1

摘要

摘要:自20世纪70年代以来,“哥特式”被认为是澳大利亚电影的一种突出模式。在对澳大利亚哥特式电影的评论中,美学渊源往往可以追溯到殖民地和殖民前英国或欧洲文学中的文学惯例。本文提请注意这些文学和电影传统的融合,并将澳大利亚电影中作为哥特式人物的景观流行与历史哥特式文学的建筑元素进行了比较。讨论通过英国哥特式小说及其与当时哥特式建筑相似的历史,以及最近对“澳大利亚哥特式”电影的几次描述,这些描述援引了哥特式小说的历史,苏珊·德莫迪和伊丽莎白·杰卡对澳大利亚复兴电影的描述中对“澳大利亚哥特”的不和谐描述。最近的两部作品,Celeste[Hackworth2018。澳大利亚:独角兽电影公司]和电视翻拍版《悬岩野餐》[Rymer,Kondracki和Brotchie 2018。电视迷你系列。澳大利亚:亚马逊工作室/FremantleMedia/Screen Australia],被比作最近对哥特式美学的模仿,将建筑特征置于景观之上。有人认为,虽然识别祖先很重要,但祖先的殖民含义是模糊的,可能会压倒对澳大利亚哥特式电影中生成视觉的关注。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema
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.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
0.00%
发文量
7
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信