a very short history of australian film n.
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A (very) short History of Australian Film. Unit 2 Media. The Silent Period (1890-1930 ).

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the silent period 1890 1930
The Silent Period (1890-1930)
  • After the advent of film technology in the late 1800s, Australia embraced the medium wholeheartedly, and underwent a period of rapid development in the industry. Before long, the Australian film industry became one of the most powerful and prolific national film industries in the world, even so far as producing the world's first full length feature film in 1905, The Story of the Kelly Gang (d. Tait brothers). Internationally-acclaimed directors Charles Chauvel, Ken G. Hall and Raymond Longford pioneered the field during the silent period, producing such classics as The Sentimental Bloke (Longford, 1919), and For the Term of his Natural Life (d. Norman Dawn).
  • Following the conclusion of the First World War, though, the by bulk booking cinemas, making it difficult for local productions to receive screenings.
early sound 1930 1960
Early Sound (1930-1960)
  • With the advent of sound technology came the first "talkies." Cinesound led the field in the production of newsreels and feature films. Most of the films produced during the early sound period, such as Ken G. Hall's Dad & Dave series and Chauvel's Heritage (1935) and Sons of Matthew (1949), dealt with the young nation's colonial status. This sporadic pattern of local production was complemented by a number of international co-productions including Ealing Studios' The Shiralee (1957) and The Sundowners (1960). The local industry was clearly on the decline. In order to combat this slide, the Commonwealth Film Unit was set up to grant experience to local filmmakers. The Film Unit mainly encouraged the production of documentaries, but it was experience nevertheless.
  • When television started to permeate the landscape in 1956, members of the film industry felt that the industry may, in fact, be jeopardised by this new medium. As it turned out, Australian content requirements imposed on television advertising benefited the film industry by providing even more experience for local filmmakers. It stated that all television commercials shown on Australian TV must be produced in Australia, by Australians.
the interval 1960s
The Interval (1960s)
  • While audiences continued to flock to the cinemas even after the introduction of television to our shores, the film industry was damaged by a conservative, artistically stifling government and by American cultural imperialism. As a result, NO feature films were produced in Australia between 1959 and 1966. In addition, the films produced during the late sixties were dominated by co-productions and works directed by foreigners.
the renaissance 1970s
The Renaissance (1970s)
  • The future of the Australian film industry was looking bleak during the 1960s, under the conservative rule of Prime Minister Menzies.
  • Gorton saw the Arts as a viable avenue through which the young nation could discover and express its identity both here and abroad. He established an Experimental Film Fund (EFF) which was aimed at fostering the nations creative talents. The best filmmakers discovered through the program, it was decided, would be invited to join a national film school. This was the beginning of Australian cinema's revival.
  • Before he could set up the film school, Gorton was replaced by Gough Whitlam as Prime Minister. Whitlam, though, appeared to be even more supportive of the Arts than Gorton. He poured money into the film industry, setting up the planned Australian Film, Television & Radio School. The AFDC, a federal film funding body, was also established to fuel local production.
the renaissance 1970s1
The Renaissance (1970s)
  • an enthusiastic generation of Australian filmmakers were deriving a great deal of inspiration from international film festivals (such as the newly founded Cannes Film Festival).
  • During the 1970s, then, a new wave of Australian filmmakers came out to break new ground in this country. The likes of Peter Weir, George Miller, Bruce Beresford, Fred Schepisi and Gillian Armstrong finally had their chance to create films that would be supported and respected both locally and overseas; and they were.
  • Two distinct bodies of work can be defined during this period. The first are the European-inspired works of art cinema. Such films were often based on literary works and are defined by their slow narrative progression and in-depth character studies. Weir's Picnic at Hanging Rock (1975) and Armstrong's My Brilliant Career (1979) epitomize this 'genre'. The second body of work can be defined broadly as exploitation or sexploitation. Such films were often claimed to be commercially-oriented generic works. Millers' masterwork, Mad Max (1979); as well as Don's Party (Beresford, 1976) and Alvin Purple (Tim Burstall, 1973) succeeded in making Australian films accessible and popular once again.
the explosion 1980s
The Explosion (1980s)
  • Realising the commercial potential of Australian films, the federal government established a tax incentive system known as the 10BA tax concessions during the early years of the 1980s. 10BA encouraged private investors to fund local films, offering them a 150 per cent tax return on their investment. The concessions proved to be so popular that more films were produced during the 1980s than in any other decade in Australia. Unfortunately, some members of the business community abused the system, investing money for nothing else other than the tax return. This meant that accountants, lawyers and other investors, who knew little about making films, became film producers. As a result, a number of poorly-received genre films were produced during the era.
the post new wave 1990
The Post-New Wave (1990+)
  • Following the explosion of the 1980s and the establishment of another film funding body, the FFC, in 1988, the local industry was blessed with another rebirth of Australian film. The Post New Wave brought forward the talents of Jane Campion, Jocelyn Moorehouse, Baz Luhrmann amongst others. Most of these filmmakers were film-school graduates. They produced a series of personal, specific and 'quirky' films, such as Strictly Ballroom (1992), Romper Stomper (1992), Muriel's Wedding (1994), The Piano (1993), Priscilla: Queen of the Desert (1994) and Shine (1997). These films were all received well both locally and internationally, marking one of the most successful periods in Australian film history.
  • The local filmmaking boom is sure to indicate the beginning of bigger and better things for the Australian film industry. With many prominent directors moving to America to make films, though, it may take yet another new wave of filmmakers to truly thrust the Australian industry into the limelight.
afi awards
AFI Awards

LOOK BOTH WAYS (2005)

SOMERSAULT (2004)

JAPANESE STORY (2003)

RABBIT PROFF FENCE (2002)

LANTANA (2001)

LOOKING FOR ALIBRANDI (2000)

TWO HANDS (1999)

THE INTERVIEW (1998)

more info
More info

http://www.film.org.au/article_awards.htm