Pub Date : 2019-05-09DOI: 10.1002/9781118942567.CH25
Belinda Smaill
{"title":"Ecological Relations","authors":"Belinda Smaill","doi":"10.1002/9781118942567.CH25","DOIUrl":"https://doi.org/10.1002/9781118942567.CH25","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115931974","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.CH8
L. French
{"title":"Jane Campion","authors":"L. French","doi":"10.1002/9781118942567.CH8","DOIUrl":"https://doi.org/10.1002/9781118942567.CH8","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115100403","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.index
{"title":"Index","authors":"","doi":"10.1002/9781118942567.index","DOIUrl":"https://doi.org/10.1002/9781118942567.index","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126333899","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.CH26
N. Neumark
{"title":"Where Am I?","authors":"N. Neumark","doi":"10.1002/9781118942567.CH26","DOIUrl":"https://doi.org/10.1002/9781118942567.CH26","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128548664","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.CH1
Felicity Collins
{"title":"You Are Here","authors":"Felicity Collins","doi":"10.1002/9781118942567.CH1","DOIUrl":"https://doi.org/10.1002/9781118942567.CH1","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125225904","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.CH18
Amanda Malel Trevisanut
{"title":"Between Public and Private","authors":"Amanda Malel Trevisanut","doi":"10.1002/9781118942567.CH18","DOIUrl":"https://doi.org/10.1002/9781118942567.CH18","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116576412","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.CH6
C. Verevis
{"title":"Another Green World","authors":"C. Verevis","doi":"10.1002/9781118942567.CH6","DOIUrl":"https://doi.org/10.1002/9781118942567.CH6","url":null,"abstract":"","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133130392","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.CH17
S. Gaunson
This chapter explores the ways in which The Babadook (Jennifer Kent 2014), in its deft and complex intertextual weaving, is not so much a Gothic narrative, as a story of a mother and son trapped inside a Gothic milieu. The film starts at the beginning of the end. Jennifer Kent inserts the audience into central character, Amelias (Essie Davis) nightmare, which conveniently also provides vital backstory exposition for the drama that will manifest into the monstrous form of Mister Babadook. The dream repeats the fateful night (seven years earlier) when Amelias husband, Oskar (Benjamin Winspear), died in a car accident on the night when she would give birth to their son, Samuel (Noah Wiseman). The backstory establishes the reasons for Amelias deep mourning, as well as motivating the guilt and resentment she feels towards her son; yet the film withholds definitive answers about this widowed mother and her relationship to the murderous and monstrous impulses unleashed in the story.
本章探讨了《巴巴杜》(Jennifer Kent 2014)巧妙而复杂的互文编织，与其说是一个哥特式叙事，不如说是一个被困在哥特式环境中的母子的故事。影片从结尾的开头开始。詹妮弗·肯特将观众带入中心人物阿米莉亚(艾茜·戴维斯饰)的噩梦中，这也方便地为这部剧提供了重要的背景故事，并将表现为怪物巴巴杜先生。这个梦重复了那个致命的夜晚(七年前)，当时阿米莉亚的丈夫奥斯卡(本杰明·温斯皮尔饰)在她即将生下他们的儿子塞缪尔(诺亚·怀斯曼饰)的那个晚上死于车祸。背景故事建立了阿米莉亚深切哀悼的原因，也激发了她对儿子的内疚和怨恨;然而，这部电影对这位丧偶的母亲以及她与故事中释放出来的凶残和可怕冲动的关系没有给出明确的答案。
{"title":"Spirits Do Come Back","authors":"S. Gaunson","doi":"10.1002/9781118942567.CH17","DOIUrl":"https://doi.org/10.1002/9781118942567.CH17","url":null,"abstract":"This chapter explores the ways in which The Babadook (Jennifer Kent 2014), in its deft and complex intertextual weaving, is not so much a Gothic narrative, as a story of a mother and son trapped inside a Gothic milieu. The film starts at the beginning of the end. Jennifer Kent\u0000inserts the audience into central character, Amelias (Essie Davis) nightmare, which conveniently also provides vital backstory exposition for the drama that will manifest into the monstrous form of Mister Babadook. The dream repeats the fateful night (seven years earlier)\u0000when Amelias husband, Oskar (Benjamin Winspear), died in a car accident on the night when she would give birth to their son, Samuel (Noah Wiseman). The backstory establishes the reasons for Amelias deep mourning, as well as motivating the guilt and resentment she\u0000feels towards her son; yet the film withholds definitive answers about this widowed mother and her relationship to the murderous and monstrous impulses unleashed in the story.","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129896485","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}
Pub Date : 2019-04-12DOI: 10.1002/9781118942567.ch23
Stuart Cunningham, A. Swift
This chapter looks over the horizon – at a major emerging global dynamic in screen culture in which Australia is beginning to be embedded. This nascent screen ecology is being shaped by a set of increasingly global online screen entertainment platforms, most prominently Google/YouTube, Apple, Amazon and Netflix. One of us has previously examined the global contours of this phenomenon (Cunningham & Silver, 2013). Here, we focus on how Australia fits into the explosive growth of arguably the most challenging and innovative element of this new screen ecology: a very low-budget tier of advertising-supported online channels driven mainly by the professionalisation and monetisation of previously amateur content creation. This part of the ecology consists predominantly of previously amateur creators, using platforms such as YouTube (but also others such as Facebook, Vine, Instagram, Snapchat, Vimeo, Vessel and increasingly cross- and multi-platform strategies), to develop subscriber/fan bases of significant size. These bases are always transnational in composition, often generating, as a consequence, significant advertising and sponsorship revenue and, increasingly, the attention of mainstream media.
{"title":"Over the Horizon","authors":"Stuart Cunningham, A. Swift","doi":"10.1002/9781118942567.ch23","DOIUrl":"https://doi.org/10.1002/9781118942567.ch23","url":null,"abstract":"This chapter looks over the horizon – at a major emerging global dynamic in screen culture in which Australia is beginning to be embedded. This nascent screen ecology is being shaped by a set of increasingly global online screen entertainment platforms, most prominently Google/YouTube, Apple, Amazon and Netflix. One of us has previously examined the global contours of this phenomenon (Cunningham & Silver, 2013). Here, we focus on how Australia fits into the explosive growth of arguably the most challenging and innovative element of this new screen ecology: a very low-budget tier of advertising-supported online channels driven mainly by the professionalisation and monetisation of previously amateur content creation. This part of the ecology consists predominantly of previously amateur creators, using platforms such as YouTube (but also others such as Facebook, Vine, Instagram, Snapchat, Vimeo, Vessel and increasingly cross- and multi-platform strategies), to develop subscriber/fan bases of significant size. These bases are always transnational in composition, often generating, as a consequence, significant advertising and sponsorship revenue and, increasingly, the attention of mainstream media.","PeriodicalId":261660,"journal":{"name":"A Companion to Australian Cinema","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121079505","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}
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