AUSTRALIAN CINEMA. How to ‘think’ Australian cinema…. 1. Australian cinema as a national cinema. 2. Australian cinema as international cinema. References : Collins & Davis (2004) Australian Cinema after Mabo Dermody & Jacka (1988) The Screening of Australia Vol 2
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How to ‘think’ Australian cinema…
1. Australian cinema as a national cinema
2. Australian cinema as international cinema
Collins & Davis (2004) Australian Cinema after Mabo
Dermody & Jacka (1988) The Screening of Australia Vol 2
Jacka (1997) ‘Film’ in Cunningham & Turner, The Media in Australia
O’Regan (1996) Australian National Cinema
O’Regan (2001) in your Reader
Turner (1997) in your Reader
Verhoeven (2002) ‘Film and Video’ in Cunningham & Turner, The Media & Communications in Australia
2.A particular industry context – production, policy, distribution & exhibition, audience etc.
3. Cinema understood in relation to the national culture, national identity – by audiences, critics, film-makers, policy-makers etc.
4. A ‘national cinema’ in relation to Hollywood
1. Not a national cinema developing independently of Hollywood, but a cinema which is part of international cinema.
2. Internationalisation of film production and marketing -- co-production, ‘runaway productions’;
3. Australian actors, directors, cameramen, designers etc in Hollywood
4. Australian films drawing on mainstream or ‘trans-national’ genres – creative interaction between Australian and international/Hollywood styles
O’Regan (1996) – Australian films in relation to Hollywood: ‘playing up’ or ‘playing down’ Australianness
O’Regan (2001) – ‘local’/national multicultural film – critical nationalism (Head On); versus a ‘universal’/trans-national film (Dark City)
Dermody & Jacka (1988) – two discourses: ‘cultural nationalism’ (socially concerned, distinctively Australian, culturally worthy) versus ‘commercialism’ (commercially-oriented entertainment)
Collins & Davis (2004) – ‘cultural-interventionist’ versus ‘commercial-industrial’ PLUS
‘inward-looking Australian films’ versus ‘outward-oriented international films’
Turner: ‘lack of self-consciousness about national origins …their range of styles and subjects … their disrespectful indigenisation of mainstream commercial genres’ … The contradictions between mainstream style and cultural nationalism ‘reprocessed into a convincing, unselfconscious hybridity of structure and content’
(Priscilla? Love and Other Catastrophes? Two Hands?)
Jacka (1997): Babe: an Aust film (scripted, produced, directed in Australia) but also international cooperation … ‘the possible future of the film industry — international as well as national, imbricated with narrative style and theme that is different from a H’wood blockbuster but sits comfortably alongside it
Film and history
Film and landscape