Pub Date : 2024-07-22DOI: 10.1080/17503175.2024.2376306
Jane Hampson
Within the body of scholarship on Australia's North, the cinematic Northern Territory has been identified as a potent site of Australia's racialised discourse and the nation's identity debate [Carl...
{"title":"By way of North: reorienting the feminine other in Australian film","authors":"Jane Hampson","doi":"10.1080/17503175.2024.2376306","DOIUrl":"https://doi.org/10.1080/17503175.2024.2376306","url":null,"abstract":"Within the body of scholarship on Australia's North, the cinematic Northern Territory has been identified as a potent site of Australia's racialised discourse and the nation's identity debate [Carl...","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141783724","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 : 2023-10-26DOI: 10.1080/17503175.2023.2271255
Sandor Klapcsik, Monika Bartoňová
{"title":"The impacts of ethnic and mainstream culture on Māori-themed films","authors":"Sandor Klapcsik, Monika Bartoňová","doi":"10.1080/17503175.2023.2271255","DOIUrl":"https://doi.org/10.1080/17503175.2023.2271255","url":null,"abstract":"","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134908531","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 : 2023-09-11DOI: 10.1080/17503175.2023.2256607
Ian Huffer, Yuan Gong
ABSTRACT This article examines the extent to which the films Wolf Warrior 2 (战狼2) (Wu 2017) and The Wandering Earth (流浪地球) (Guo 2019) might help to cultivate pride in the dream of a revitalised China among Chinese university students in New Zealand. A combination of state oversight, private capital and market forces have led to the People’s Republic of China’s (PRC) increased production of blockbuster films that promote the ‘Chinese Dream’. These films receive regular theatrical release within New Zealand but our understanding of how PRC university students in New Zealand respond to these films remains limited. Understanding this response is vital given the state’s view of these students as ‘civil ambassadors’ and ‘a diaspora in the making’. Using focus group data, the article shows how the reception of these films is complicated by the pluralised context of these films’ production and consumption, with the engagement of some participants pivoting upon issues of genre more than ethno-national identification. Nevertheless, for some of the participants these films do help to affirm their identities as Chinese and generate pride in a rejuvenated China via the complex ways in which these films connect to their lives.
{"title":"‘Falling leaves return to their roots’? The reception of Chinese blockbusters by Chinese university students in New Zealand","authors":"Ian Huffer, Yuan Gong","doi":"10.1080/17503175.2023.2256607","DOIUrl":"https://doi.org/10.1080/17503175.2023.2256607","url":null,"abstract":"ABSTRACT This article examines the extent to which the films Wolf Warrior 2 (战狼2) (Wu 2017) and The Wandering Earth (流浪地球) (Guo 2019) might help to cultivate pride in the dream of a revitalised China among Chinese university students in New Zealand. A combination of state oversight, private capital and market forces have led to the People’s Republic of China’s (PRC) increased production of blockbuster films that promote the ‘Chinese Dream’. These films receive regular theatrical release within New Zealand but our understanding of how PRC university students in New Zealand respond to these films remains limited. Understanding this response is vital given the state’s view of these students as ‘civil ambassadors’ and ‘a diaspora in the making’. Using focus group data, the article shows how the reception of these films is complicated by the pluralised context of these films’ production and consumption, with the engagement of some participants pivoting upon issues of genre more than ethno-national identification. Nevertheless, for some of the participants these films do help to affirm their identities as Chinese and generate pride in a rejuvenated China via the complex ways in which these films connect to their lives.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135982623","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 : 2023-09-11DOI: 10.1080/17503175.2023.2256610
Martin Holtz
ABSTRACT The Mad Max films were among the most successful exports of the Australian New Wave and had an enormous impact on shaping what the cinematic post-apocalyptic landscape looks like around the world. In line with Tom O'Regan's argument about Australian cinema's dialogue with Hollywood cinema, I argue that a productive way of looking at how the films create meaning is in the way they position themselves in relation to a genre that looks back in time rather than into future: the Western. Using as analytical frame the works of two key theorists of the Western, Will Wright and Richard Slotkin, I want to show that the films individually and collectively invert certain structural elements and developments of the genre. The first film subverts ideas of regenerative violence, questioning the justification and social value of self-defense and vigilantism. The second film echoes classical Western tropes regarding mobility and sedentary life, individual and community, savagery and civilization, garden and desert, which the third film further explores. In this way the films contribute to a dialogical identity of Australian cinematic identity in relation to the dominant Hollywood cinema as a critical interrogation of its national(ist) mythologies.
{"title":"<i>Mad Max</i> and the Western","authors":"Martin Holtz","doi":"10.1080/17503175.2023.2256610","DOIUrl":"https://doi.org/10.1080/17503175.2023.2256610","url":null,"abstract":"ABSTRACT The Mad Max films were among the most successful exports of the Australian New Wave and had an enormous impact on shaping what the cinematic post-apocalyptic landscape looks like around the world. In line with Tom O'Regan's argument about Australian cinema's dialogue with Hollywood cinema, I argue that a productive way of looking at how the films create meaning is in the way they position themselves in relation to a genre that looks back in time rather than into future: the Western. Using as analytical frame the works of two key theorists of the Western, Will Wright and Richard Slotkin, I want to show that the films individually and collectively invert certain structural elements and developments of the genre. The first film subverts ideas of regenerative violence, questioning the justification and social value of self-defense and vigilantism. The second film echoes classical Western tropes regarding mobility and sedentary life, individual and community, savagery and civilization, garden and desert, which the third film further explores. In this way the films contribute to a dialogical identity of Australian cinematic identity in relation to the dominant Hollywood cinema as a critical interrogation of its national(ist) mythologies.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135981774","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 : 2023-09-02DOI: 10.1080/17503175.2023.2256608
Phoebe Macrossan
While Australian film studies has located various genres, including horror, comedy, action/adventure, science fiction, and crime within the broader ‘Ozploitation’ discourse and the increase in Australian genre production in the 2010s, there has been little discussion of how a variety of song- and music-based Australian cinema operates in dialogue with the classical Hollywood musical and the global musical genre. Existing scholarship on the Austrlian musical has largely focused on singular well-known examples, including Strictly Ballroom (1992), The Adventures of Priscilla: Queen of the Desert (1994), Moulin Rouge! (2001), Bran Nue Dae (2009) and The Sapphires (2012). Specific film studies on successful musicals, particularly on Moulin Rouge! and The Sapphires, are often framed in popular and academic circles as ‘reviving’ the genre for Australian audiences, due in large part to their box office success. This does not account for the long history of Australian musical films, and their popularity. This article posits a theoretical re-evaluation of the Australian film musical genre through its unusual variations and lesser-known examples, including dance films, animations, and musical biopics. It traces the Australian film musical genre in detail, considering its rich history, numerous subgenres, and its interconnections with Australian national cinema and the global musical genre.
{"title":"The forgotten history of the Australian film musical: tracking the production and development of the genre in Australia","authors":"Phoebe Macrossan","doi":"10.1080/17503175.2023.2256608","DOIUrl":"https://doi.org/10.1080/17503175.2023.2256608","url":null,"abstract":"While Australian film studies has located various genres, including horror, comedy, action/adventure, science fiction, and crime within the broader ‘Ozploitation’ discourse and the increase in Australian genre production in the 2010s, there has been little discussion of how a variety of song- and music-based Australian cinema operates in dialogue with the classical Hollywood musical and the global musical genre. Existing scholarship on the Austrlian musical has largely focused on singular well-known examples, including Strictly Ballroom (1992), The Adventures of Priscilla: Queen of the Desert (1994), Moulin Rouge! (2001), Bran Nue Dae (2009) and The Sapphires (2012). Specific film studies on successful musicals, particularly on Moulin Rouge! and The Sapphires, are often framed in popular and academic circles as ‘reviving’ the genre for Australian audiences, due in large part to their box office success. This does not account for the long history of Australian musical films, and their popularity. This article posits a theoretical re-evaluation of the Australian film musical genre through its unusual variations and lesser-known examples, including dance films, animations, and musical biopics. It traces the Australian film musical genre in detail, considering its rich history, numerous subgenres, and its interconnections with Australian national cinema and the global musical genre.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969436","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 : 2023-05-04DOI: 10.1080/17503175.2023.2228612
G. Hambly, Anna. Dzenis
Welcome to this special dossier on ‘Disruptive Narrative Practices’ for the Studies in Australasian Cinema journal. In contemporary screen culture and screen production, we are very familiar with the phrase ‘digital disruption’ which is currently going through exponential upheavals and disruptions with the recent widespread uptake of AI technologies. However, ‘disruption’ in cinema storytelling has a lineage as long as cinema itself. ‘Disruption’ in cinema’s forms and storytelling modes have pushed the boundaries of how narratives are constructed, presented on screen, and disseminated, throughout cinema’s history. In the call for papers for this dossier, we were interested in examining disruption across the spectrum of traditional industry narrative frameworks and script development approaches. We invited essays on disruptive narrative practices in terms of diversity, the border of the factual and the fictive, concepts of authenticity and inauthenticity, intermediality in narrative projects, auto-fiction and the new uses of archival practices in screen forms. The essays selected for this dossier explore disruptions in multiple ways, in experimental films, feature films and television series. In ‘Disrupting the Self: Fictive Dialogic Inquiry into Transformative Screenwriting Practices’, Louise Sawtell and Sue Cake weave the notion of disruption into the form of the essay itself. Drawn from conversations between them conducted on zoom and written up as a lively, informal interchange, the essay critically reflects on their personal experience of script development within the academy. They argue it provides a creative haven for writers to discover new possibilities and reinvent their voice free of the pressures imposed by prescriptive industrial practices. Phoebe Hart brings a similar, personal approach to her essay ‘Playful Hybrids: Documentary Filmmakers Forging Disruptive Narratives’, in which she reflects on her teaching practice in relation to hybrid documentaries. The disruptive docufiction form, which merges fact and fantasy, throws up thorny questions for teachers and students alike: How do you balance creativity and ethics in a period deemed ‘post truth’? What are the practical and ethical challenges of doing so? In her paper, Hart outlines her approach to answering these difficult questions. The theme of disruption and hybridity in documentary continues in Sean Maher and Sue Cake’s ‘Innovation in True Crime Series: Generic Transformations in Documentary Series’. The authors chart how streaming, bingeing, big data and content-based algorithms combined to create a new multi-episode documentary form within the true crime genre. This docuseries form employs narrative conventions from long series
{"title":"Introduction","authors":"G. Hambly, Anna. Dzenis","doi":"10.1080/17503175.2023.2228612","DOIUrl":"https://doi.org/10.1080/17503175.2023.2228612","url":null,"abstract":"Welcome to this special dossier on ‘Disruptive Narrative Practices’ for the Studies in Australasian Cinema journal. In contemporary screen culture and screen production, we are very familiar with the phrase ‘digital disruption’ which is currently going through exponential upheavals and disruptions with the recent widespread uptake of AI technologies. However, ‘disruption’ in cinema storytelling has a lineage as long as cinema itself. ‘Disruption’ in cinema’s forms and storytelling modes have pushed the boundaries of how narratives are constructed, presented on screen, and disseminated, throughout cinema’s history. In the call for papers for this dossier, we were interested in examining disruption across the spectrum of traditional industry narrative frameworks and script development approaches. We invited essays on disruptive narrative practices in terms of diversity, the border of the factual and the fictive, concepts of authenticity and inauthenticity, intermediality in narrative projects, auto-fiction and the new uses of archival practices in screen forms. The essays selected for this dossier explore disruptions in multiple ways, in experimental films, feature films and television series. In ‘Disrupting the Self: Fictive Dialogic Inquiry into Transformative Screenwriting Practices’, Louise Sawtell and Sue Cake weave the notion of disruption into the form of the essay itself. Drawn from conversations between them conducted on zoom and written up as a lively, informal interchange, the essay critically reflects on their personal experience of script development within the academy. They argue it provides a creative haven for writers to discover new possibilities and reinvent their voice free of the pressures imposed by prescriptive industrial practices. Phoebe Hart brings a similar, personal approach to her essay ‘Playful Hybrids: Documentary Filmmakers Forging Disruptive Narratives’, in which she reflects on her teaching practice in relation to hybrid documentaries. The disruptive docufiction form, which merges fact and fantasy, throws up thorny questions for teachers and students alike: How do you balance creativity and ethics in a period deemed ‘post truth’? What are the practical and ethical challenges of doing so? In her paper, Hart outlines her approach to answering these difficult questions. The theme of disruption and hybridity in documentary continues in Sean Maher and Sue Cake’s ‘Innovation in True Crime Series: Generic Transformations in Documentary Series’. The authors chart how streaming, bingeing, big data and content-based algorithms combined to create a new multi-episode documentary form within the true crime genre. This docuseries form employs narrative conventions from long series","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48913717","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 : 2023-05-04DOI: 10.1080/17503175.2023.2229167
Susan Cake, Louise Sawtell
ABSTRACT Screenwriting within the Academy creates opportunities for female writers to question and challenge traditional and industrial approaches to script development. The two writer-researchers use critical conversation as a form of collaborative reflection to examine how personal experiences inform their script development processes. Situating the creative practice within the context of research reveals how the reflexive approach to script development can unearth broader concerns regarding agency and representations of female characters on screen. Sue Cake identifies how writing narrative comedy became an act of disruption against the neoliberal corporatisation of education. A kind of self-disruption occurred as the insights gained from parodying powerful emotional experiences led to a transformative shift in her perspective of those experiences. For Louise Sawtell, reflecting on key memories and experiences prompted her to develop female-driven narratives that expand the scope of representation for under-represented female protagonists. She weaves memory and imagination together to innovate the form and structure of an anthology film. This article argues that the Academy is a critical site for female screenwriting researchers to explore and disrupt dominant script development practices.
{"title":"Disrupting the self: script development within the academy","authors":"Susan Cake, Louise Sawtell","doi":"10.1080/17503175.2023.2229167","DOIUrl":"https://doi.org/10.1080/17503175.2023.2229167","url":null,"abstract":"ABSTRACT Screenwriting within the Academy creates opportunities for female writers to question and challenge traditional and industrial approaches to script development. The two writer-researchers use critical conversation as a form of collaborative reflection to examine how personal experiences inform their script development processes. Situating the creative practice within the context of research reveals how the reflexive approach to script development can unearth broader concerns regarding agency and representations of female characters on screen. Sue Cake identifies how writing narrative comedy became an act of disruption against the neoliberal corporatisation of education. A kind of self-disruption occurred as the insights gained from parodying powerful emotional experiences led to a transformative shift in her perspective of those experiences. For Louise Sawtell, reflecting on key memories and experiences prompted her to develop female-driven narratives that expand the scope of representation for under-represented female protagonists. She weaves memory and imagination together to innovate the form and structure of an anthology film. This article argues that the Academy is a critical site for female screenwriting researchers to explore and disrupt dominant script development practices.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46503609","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 : 2023-05-04DOI: 10.1080/17503175.2023.2228608
J. Tindale
ABSTRACT Screen Australia’s Gender Matters Program (2015–2023) addresses the underrepresentation of women in the screen industry. Older women continue to be less visible and stereotyped on screen which will be examined in this paper on the Australian television mini-series Stateless (Freeman and Moorhouse 2020). Stateless is an award-winning series commissioned and screened by the Australian Broadcasting Corporation and acquired by Netflix. This case study will apply a framework comprised of five guiding principles to writing older women to analyse the portrayal of the two major female characters. The five principles are based on unpublished Honours research data addressing the representation of older women: as the lead protagonist; as authentic, capable, complex characters; in powerful leadership positions; depicted at work in an occupation in a non-traditional role; and as flawed imperfect characters. Lauzen’s 2021 Boxed In report highlights the underrepresentation of women forty and over on broadcast and streaming services. The case study reveals that the female protagonists in Stateless are two contrasting complex, authentic characters who actively pursue their respective goals.
摘要：Screen Australia的性别问题计划（2015-2023）解决了女性在银幕行业代表性不足的问题。老年女性在屏幕上仍然不那么显眼和刻板，这将在澳大利亚电视迷你剧《无国籍》（Freeman and Moorhouse 2020）中进行研究。《无国籍》是一部获奖剧集，由澳大利亚广播公司委托和放映，并被Netflix收购。本案例研究将采用一个由五个指导原则组成的框架来分析两个主要女性角色的刻画。这五项原则基于未发表的关于老年妇女代表性的研究数据：作为主角；真实、能干、复杂的人物；担任强有力的领导职务；以非传统角色在工作中描绘；以及有缺陷的不完美的角色。Lauzen的2021年Boxed In报告强调了40岁及以上女性在广播和流媒体服务中的代表性不足。案例研究表明，《无国籍》中的女主人公是两个截然不同的复杂、真实的人物，她们积极追求各自的目标。
{"title":"Investigating older women as lead protagonists: an Australian case study of Stateless (2020)","authors":"J. Tindale","doi":"10.1080/17503175.2023.2228608","DOIUrl":"https://doi.org/10.1080/17503175.2023.2228608","url":null,"abstract":"ABSTRACT Screen Australia’s Gender Matters Program (2015–2023) addresses the underrepresentation of women in the screen industry. Older women continue to be less visible and stereotyped on screen which will be examined in this paper on the Australian television mini-series Stateless (Freeman and Moorhouse 2020). Stateless is an award-winning series commissioned and screened by the Australian Broadcasting Corporation and acquired by Netflix. This case study will apply a framework comprised of five guiding principles to writing older women to analyse the portrayal of the two major female characters. The five principles are based on unpublished Honours research data addressing the representation of older women: as the lead protagonist; as authentic, capable, complex characters; in powerful leadership positions; depicted at work in an occupation in a non-traditional role; and as flawed imperfect characters. Lauzen’s 2021 Boxed In report highlights the underrepresentation of women forty and over on broadcast and streaming services. The case study reveals that the female protagonists in Stateless are two contrasting complex, authentic characters who actively pursue their respective goals.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43530931","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 : 2023-05-04DOI: 10.1080/17503175.2023.2224616
Phoebe Hart
ABSTRACT As a documentary educator and practitioner in Australia, ‘truth’ is an area of concern for both my students and I in undertaking the risky capturing and the representation of the lives of others. Documentaries are deceptively difficult to make, especially for the novice, and most especially when considering hybrid non-fiction genre forms. The questions my students pose often centre on how much can they blend reality in the ‘post truth’ moment, and what are the practical and ethical challenges of doing so? This paper urges teachers and makers alike to refer to established documentarians who investigate at truthful depictions that often transcend the didactic recitation of facts. Citing the examples of Conjuring the Rolling Thunder Revue: A Bob Dylan Story (directed by Martin Scorsese, 2019) and The Rehearsal (created by and starring Nathan Fielder, 2022), I present a pragmatic discussion as to how disruptive non-fiction form a pure triadic relationship between participants, audiences, and filmmakers, which necessarily involves the overlap of ethics and creativity. I refer to a recent student hybrid documentary film Bustard Head (directed by Lucy Lakshman, 2021) as an example outcome of this pedagogically oriented approach.
{"title":"Disruptive docs: teaching hybrid documentary filmmaking in Australia","authors":"Phoebe Hart","doi":"10.1080/17503175.2023.2224616","DOIUrl":"https://doi.org/10.1080/17503175.2023.2224616","url":null,"abstract":"ABSTRACT As a documentary educator and practitioner in Australia, ‘truth’ is an area of concern for both my students and I in undertaking the risky capturing and the representation of the lives of others. Documentaries are deceptively difficult to make, especially for the novice, and most especially when considering hybrid non-fiction genre forms. The questions my students pose often centre on how much can they blend reality in the ‘post truth’ moment, and what are the practical and ethical challenges of doing so? This paper urges teachers and makers alike to refer to established documentarians who investigate at truthful depictions that often transcend the didactic recitation of facts. Citing the examples of Conjuring the Rolling Thunder Revue: A Bob Dylan Story (directed by Martin Scorsese, 2019) and The Rehearsal (created by and starring Nathan Fielder, 2022), I present a pragmatic discussion as to how disruptive non-fiction form a pure triadic relationship between participants, audiences, and filmmakers, which necessarily involves the overlap of ethics and creativity. I refer to a recent student hybrid documentary film Bustard Head (directed by Lucy Lakshman, 2021) as an example outcome of this pedagogically oriented approach.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41274991","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：