Pub Date : 2017-05-04DOI: 10.1080/17503175.2017.1385135
Natàlia Ferrer-Roca
ABSTRACT This paper aims to apply the three-tier feature film structure to the contemporary New Zealand filmmaking context in order to add clarity to existing distinctions between the different types of film production occurring in Twenty-first Century New Zealand. Those are subject to, and emerge from, sometimes very different institutional and financing arrangements, and thus entail different expectations. The paper takes an institutional political economy perspective and is organised as follows. First, it provides an overview of how the feature film industry can be portrayed as segmented by various overlapping (three) tiers of production, which may differ between Hollywood and smaller film industries in countries around the world. Second, the paper applies the three-tier structure within the contemporary New Zealand filmmaking context. Third, the paper explains the characteristics of every feature film tier by acknowledging their distinctiveness and highlighting the benefits they deliver to the New Zealand filmmaking industry. Finally, it concludes that all three-tier of feature film production have been crucial for generating and sustaining a feature film industry in a small English-speaking country such as New Zealand.
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Pub Date : 2017-05-04DOI: 10.1080/17503175.2017.1385142
Julie K. Allen
ABSTRACT The early Australian cinema market was a lucrative target for export-dependent European film producers, from the French Pathé Frérès to the Danish Nordisk Films Kompagni. By 1913, cinema attendance was a national pastime in Australia, with approximately 12% of the population going to the pictures every Saturday night. Australian film production was innovative but too limited to meet domestic demand. As a result of this disparity in supply and demand, coupled with the innovative artistry of European silent films, a significant percentage of the films shown in Australia in the pre-World War I years were imported from Europe. Initially, most of these films were advertised simply by their title and occasionally the production company. Despite such minimal branding, many of these films were in continuous circulation on urban and provincial cinema circuits for years at a time. However, with the emergence of the monopoly-distribution system and associated rise of the star culture that sold films on the strength of an actor or actress's name, several European stars began to develop an devoted Australian following. Most of the early European stars who made a name for themselves in Australia were women, notably the Danish actress Asta Nielsen and the Italian actress Francesca Bertini. This article maps the scope of these female European stars’ popularity in pre-World War I Australia and explores the circulation conditions that facilitated their stardom, particularly in relation to the transformation of Australian production, distribution, and exhibition systems in the early 1910s, as well as during and after World War I.
摘要从法国的PathéFrérès到丹麦的Nordisk Films Kompagni，早期的澳大利亚电影市场是依赖出口的欧洲电影制片人的利润丰厚的目标。到1913年，看电影已经成为澳大利亚的一项全国性消遣，大约12%的人口每周六晚上都会去看电影。澳大利亚的电影制作具有创新性，但过于有限，无法满足国内需求。由于这种供需差距，再加上欧洲无声电影的创新艺术，第一次世界大战前在澳大利亚放映的电影中有很大一部分是从欧洲进口的。最初，这些电影大多只是通过片名做广告，偶尔也会通过制片公司做广告。尽管品牌如此之小，但其中许多电影在城市和省级影院连续几年发行。然而，随着垄断发行体系的出现，以及以演员或演员的名字销售电影的明星文化的兴起，几位欧洲明星开始在澳大利亚培养忠实的追随者。在澳大利亚成名的早期欧洲明星大多是女性，尤其是丹麦女演员阿斯塔·尼尔森和意大利女演员弗兰西斯卡·贝尔蒂尼。本文描绘了这些欧洲女明星在第一次世界大战前澳大利亚的受欢迎程度，并探讨了促进她们成为明星的流通条件，特别是与1910年代初以及第一次世界战争期间和之后澳大利亚生产、分销和展览系统的转变有关。
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Pub Date : 2017-01-02DOI: 10.1080/17503175.2017.1308901
M. Ryan, B. Goldsmith
The three articles in this subsection return to scholarly debates at the core of research into Australian horror movies and Ozploitation cinema. In terms of the former, the horror film remains under-researched in Australian film studies. This is not surprising. On the one hand, since the mid-2000s the Australian film industry has produced a handful of popular, and internationally influential horror movies such as The Babadook (Jennifer Kent, 2014), Daybreakers (Michael and Peter Spierig, 2009), and Wolf Creek (Greg McLean, 2005). On the other hand, the majority of Australian horror films rarely receive critical acclaim, nor are they widely discussed in mainstream film criticism; and for every Wolf Creek, there is a long list of movies such as Red Billabong (Luke Sparke, 2016), The Pack (Nick Robertson, 2015), Me and My Mates vs. The Zombie Apocalypse (Declan Shrubb, 2015), and There's Something in the Pilliga (Dane Millerd, 2014) that disappear into the long-tail of the market. Few local horror movies released each year secure cinema release and the average title circulates in home video markets, and/or subscription and pay-per-download services. As a conceptual category, Australian horror movies emerge at the intersection of cult cinema; Australia-international cinema that can be difficult to evaluate on the basis of cultural value (the setting of Triangle [2009, Christopher Smith] for instance is never specified although Australian actors play characters who speak with American accents); and genre filmmaking long associated with Hollywood-inspired filmmaking. As a consequence, until quite recently the subject has rarely been central to dominant discourses in Australian film studies concerned with distinguishing Australian cinema as a national cinema...
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Pub Date : 2017-01-02DOI: 10.1080/17503175.2017.1308906
L. Speed
ABSTRACT Edwin G. Bowen’s White Death (1936) is an Australian–American film about shark fishing that stars the American novelist and fisherman Zane Grey as himself. Set mainly at the Great Barrier Reef, it has a semi-fictional plot about Grey’s quest to kill a shark in the face of opposition from an anti-fishing activist, Newton Smith (Alfred Frith). Although White Death was financially unsuccessful and has received little attention in histories of Australian film or Grey’s life, it is significant in several ways. The film is unusual among early Australian productions for combining elements of the genres of travelogue documentary, fictional adventure film and exotic exploitation film. It reflects an American perspective of Australia as an exotic location. White Death is also linked to the interwar development of tourism at the Great Barrier Reef and foreshadows the growth of the environmental conservation movement.
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Pub Date : 2017-01-02DOI: 10.1080/17503175.2017.1308903
Shelley Buerger
ABSTRACT This article investigates the depiction of maternal indifference and ambivalence in Jennifer Kent’s film The Babadook. Using the techniques of psychoanalytical criticism I draw on Kristeva’s [1982. Powers of Horror: An Essay on Abjection. Translated by Leon S. Roudiez. New York: Columbia University Press] theory of abjection and Barbara Creed’s [1993. The Monstrous Feminine: Film, Feminism, Psychoanalysis. London: Routledge] application of this to the horror genre to explore the film’s portrayal of repressed grief and the resulting traumatic disruption to the mother/child bond. Taking the protagonist’s troubled relationship with both her son and her bereaved status as my starting point, I argue that The Babadook represents a reimagining of maternal abjection. Both Kristeva and Creed posit that abjection is first experienced as the result of the mother’s refusal to relinquish her hold on the child and to move past the intense dyadic relationship of the infant period. The Babadook inverts this psychic narrative by positioning Amelia’s refusal of this relationship and her lack of proper maternal feeling as the site of her abjection. In this reimagining of maternal abjection, The Babadook presents audiences with a representation of maternal experience that is shocking and confronting. While the narrative arc is ultimately one of redemption the ambiguous ending emphasises the lingering unease inspired by maternal indifference.
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Pub Date : 2017-01-02DOI: 10.1080/17503175.2017.1308907
J. Balanzategui
ABSTRACT The horror genre is a particularly fraught category in academic and mainstream critical discourse about Australian film genres. Australian horror films are often framed as either ‘Australian Gothic’ or ‘Ozploitation,’ terms that prioritise issues of national identity, class and taste rather than genre. The oppositional relationship of these terms presents an obstacle to the widespread acceptance – both scholarly and popular – of local horror films. This is illuminated by a comparison of two recent Australian horror releases and their domestic receptions, Wolf Creek 2 (McLean, Greg. 2014. Wolf Creek 2. Film. Adelaide: Duo Art Productions and Emu Creek Pictures) and The Babadook (Kent, Jennifer. 2014. The Babadook. Blu-Ray DVD. Melbourne: Umbrella Entertainment). Wolf Creek 2 was one of the most lucrative Australian films of 2014, however it was critically panned in large part due to its perceived commercialism and low-genre status. By contrast, The Babadook was the most critically praised Australian film of 2014, however the film received a limited domestic release. This paper explores how both The Babadook’s meagre domestic release and its near-universal critical praise can be related to its association with the high-art Australian Gothic tradition. Yet the film unsettles firmly entrenched art/genre, nationalism/commercialism dichotomies.
在澳大利亚电影的学术和主流评论话语中，恐怖片是一个特别令人担忧的类别。澳大利亚恐怖片通常被定义为“澳大利亚哥特式”或“Ozploitation”，这两个词优先考虑的是国家认同、阶级和品味问题，而不是类型问题。这些术语的对立关系对本土恐怖电影的广泛接受(无论是学术还是大众)构成了障碍。最近澳大利亚上映的两部恐怖片《狼溪2》(Greg McLean, 2014)和它们在国内的反响就说明了这一点。狼溪2。电影。阿德莱德:Duo Art Productions and Emu Creek Pictures)和The Babadook(肯特，詹妮弗，2014)。Babadook。蓝光DVD。墨尔本:Umbrella Entertainment)。《狼溪2》是2014年最赚钱的澳大利亚电影之一，但它在很大程度上受到了批评，因为它被认为是商业化的，而且类型定位低。相比之下，《巴巴杜》是2014年最受好评的澳大利亚电影，但这部电影在国内上映的次数有限。本文探讨了《巴巴杜克》在国内发行的微薄收入及其近乎普遍的评论界赞誉与它与澳大利亚高艺术哥特式传统的联系。然而，这部电影打破了根深蒂固的艺术/类型、民族主义/商业主义的二分法。
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Pub Date : 2016-09-01DOI: 10.1080/17503175.2016.1274012
M. Bullock
ABSTRACT This paper examines Rolf de Heer’s 2002 film, ‘The Tracker’, in the context of the ‘history war’ debates relating to frontier violence that were rehearsed in the Australian public sphere during the 1990s/2000s. I examine how ‘The Tracker’ challenges the very terms underpinning conventional forms of historiography, wedded to discourses of ‘fact’ and ‘truth’, in the way it investigates what it means to ‘screen’ memory within the context of the politics of the present. Focusing on ‘The Tracker's' self-conscious use of Peter Coad's arresting paintings of frontier violence, I argue that ‘The Tracker’ develops a nuanced engagement with frontier history in the way it highlights the dialectics of ‘revealing’ and ‘concealing’ – rupture and disavowal – at play in the nation’s ‘screening’ of frontier violence.
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Pub Date : 2016-09-01DOI: 10.1080/17503175.2016.1175047
Yasmine dir, S. Kamaluddin, D. B. Starrs, Sharia Law
ABSTRACT Amid concerns about the disappearance of national/cultural specificity due to globalisation, this paper questions the notion of Bruneian cinema as a distinct (if emerging) nationalised imaginary, using the example of Brunei’s first feature-length commercial film, Yasmine (Siti Kamaluddin 2014). Many Asian cinemas have de-territorialised, obsequiously promoting the secular, democratic norms of mainstream Hollywood, but the Sultanate, with its national philosophy of MIB (Malay Islamic Monarchy) and its recent implementation of Sharia Law, would, some Western critics apparently expect, push Islamic ideologies for its state-sanctioned media, including traditionally repressive, misogynistic expectations of the ‘authentic’ Muslima [Ahmed, Leila. 1999. “Women Living under Muslim Laws, Dossier 25.” A Border Passage. Farrar, Straus and Giroux. http://wrrc.wluml.org/node/465]. As with some Middle Eastern countries, such Western critics suggest, Bruneian women may be forced to cover themselves; abstain from driving, education or other means of self-empowerment; and submit to harsh, court-imposed punishments for sexual promiscuity; with the media duly promoting such norms. At the very least, Brunei’s entertainment media might soon resemble Islamic Turkey’s ‘Milli cinema’, which ‘brought Islam back into the movies and showed respect for Islam [and in which a] common theme [ … ] was to show characters that had adopted western values but who became unhappy and unsatisfied by those values’ [Yorulmaz, Bilal, and William L. Blizek. 2014. “Islam in Turkish Cinema.” Journal of Religion and Film 18 (2): 8]. What then of Yasmine, a Brunei government-funded film from a female director about a martial arts-obsessed schoolgirl who happily defies her father, rarely wears a veil, enthusiastically chases boys and drives a racy, eye-catching car? I ask how this national cultural artefact sits within the theocracy’s attempts to maintain its citizenry’s adherence to the tenets of Islam, given its foregrounding of a narrative promoting female self-empowerment? Furthermore, this paper asks why Brunei has failed to ride the digital film-making revolution, to the extent Lacaba states ‘Brunei has no film industry to speak of’ [2000. The Films of ASEAN. ASEAN Committee on Culture and Information]. Inconclusively perhaps, I propose this recent advance stems from a benevolent monarch’s commendable efforts to modernise, rather than historicise, Islam in Brunei generally and MIB, including Sharia Law, specifically, or else is part of an elaborate ruse to convince the Western world that women will not become second-class citizens in the new Brunei, ruled as it may be according to traditionally barbaric and misogynistic Sharia Law.
在对全球化导致的民族/文化特殊性消失的担忧中，本文以文莱第一部长篇商业电影《亚斯明》(Siti Kamaluddin 2014)为例，质疑文莱电影作为一种独特的(如果新兴的)国有化想象的概念。许多亚洲电影院已经去领土化，谄谀地促进主流好莱坞的世俗，民主规范，但是苏丹国，凭借其MIB(马来伊斯兰君主制)的国家哲学和最近实施的伊斯兰教法，一些西方评论家显然期望，将伊斯兰意识形态推向其国家认可的媒体，包括传统上压抑的，对“真正的”穆斯林的厌恶女性的期望[Ahmed, Leila. 1999]。"生活在穆斯林法律下的女性，档案25 "边境通道。法拉，斯特劳斯和吉鲁。http://wrrc.wluml.org/node/465]。像一些中东国家一样，这些西方评论家认为，文莱妇女可能会被迫遮盖自己;避免驾驶、教育或其他自我授权的方式;并接受严厉的法院对性乱交的惩罚;媒体适时地宣传这些规范。至少，文莱的娱乐媒体可能很快就会像伊斯兰土耳其的“Milli cinema”一样，“将伊斯兰教重新带入电影中，展现对伊斯兰教的尊重，其中一个共同主题是展现那些接受西方价值观，但对这些价值观感到不满和不满意的角色”[Yorulmaz, Bilal, and William L. Blizek, 2014]。"土耳其电影中的伊斯兰教"宗教与电影学报18(2):8。那么，一部由文莱政府出资、由一位女导演执导的电影《亚斯明》(Yasmine)又如何呢?这部电影讲述了一个痴迷武术的女学生，她愉快地反抗父亲，很少戴面纱，热情地追逐男孩，开着一辆性感、引人注目的汽车。我问，鉴于宣扬女性自我赋权的叙事前景，这个国家的文化产物是如何在神权政治中保持公民对伊斯兰教义的坚持的?此外，本文还提出了一个问题，为什么文莱未能驾驭数字电影制作革命，以至于Lacaba认为“文莱根本没有电影业可言”[2000]。东盟电影。东盟文化和信息委员会]。我认为，这一最近的进步可能是出于一位仁慈的君主值得称赞的努力，他将文莱的伊斯兰教和MIB(特别是伊斯兰教法)现代化，而不是历史化，或者是一个精心策划的计谋的一部分，以说服西方世界，在新的文莱，妇女不会成为二等公民，因为它可能是根据传统上野蛮和厌恶女性的伊斯兰教法来统治的。
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