Pub Date : 2021-09-02DOI: 10.1080/17503175.2021.1993647
G. Hambly
ABSTRACT Australian cinema is defined as simultaneously national, international and transnational. This paper takes these defined characteristics and applies them to the low budget, independent feature sector. It argues the sector mirrors the orientation of the wider industry. Given the instrumental role the national screen agency, Screen Australia, plays in influencing the direction of the industry, the relationship between low budget filmmakers and the agency is explored. The federal agency's focus is on the apex of the industry pyramid; high budget films appealing to the global market rather than low budget films. However, the high volume of low budget features in Australia is argued to play an important role in replenishing the Australian screen industry. Not only do they contribute to industry innovation, but low budget productions are also instrumental in practitioner career development. Despite these virtues, Screen Australia continues to pursue policies that threaten, rather than support this dynamic component of the screen sector. In considering these issues, the article uses a case study methodology drawing on interviews with key creatives of four low budget features, Bilched, A Lion Returns, Juvenile Delinquents and A Boy Called Sailboat.
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Pub Date : 2021-09-02DOI: 10.1080/17503175.2021.1993648
Anna. Dzenis, N. Maloney
ABSTRACT The Five Provocations (2018), Angie Black’s debut low-budget, independent feature film, began production without a script. Free from the requirements of development funding and operating with what she described as a ‘no budget’ model, Black worked with her actors to develop characters and stories in an extended period of improvisation. While improvisation in low budget, independent cinema is not new, Black’s film distinguishes itself in several ways. Firstly, it uses an additional improvisation mode in which performers, working with feminist burlesque traditions, interrupt the narrative at certain key moments. In this way, the film doubles its improvisation. Furthermore, in queering its realism it also naturalises its queerness. Improvisational strategies in low budget, feature filmmaking, and the unpredictability they produce, are often associated with notions of authenticity and realism. Using the cinematic theory of Jacques Rancière to frame a textual analysis of the film, we argue that, while the film works with conventions of realism, it also disrupts them through transgressive performance and cinematic moments that escape its story logic.
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Pub Date : 2021-09-02DOI: 10.1080/17503175.2021.1993651
Phoebe Hart, Mary M. Leder
ABSTRACT This study investigates the impediments that Australian, female, independent filmmakers face in bringing female-centred stories onto the screen. In 2016, the federal screen funding agency Screen Australia launched Gender Matters to better understand the many barriers facing women filmmakers and create opportunities for female screen creatives to gain equity in the screen industries. But how have this impacted and improved conditions for female filmmakers? The authors of this current study are female screenwriters, directors and producers who have experienced and witnessed the many difficulties women face in the Australian screen industry. The article comprises case studies of recent, successful, female, independent feature filmmakers, the AACTA Award nominated creators of Strange Colours, The Second and Hot Mess. The research explores emergent themes and recommendations based on interviews with the filmmakers. They observe that while some impediments in the low budget, independent sector continue, others have subsided and a considerable number of promising developments are emerging. Screen Australia’s Gender Matters and other initiatives by State-based screen agencies have encouraged this progress, but changes in the global socio-cultural discourse have also been influential.
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Pub Date : 2021-05-04DOI: 10.1080/17503175.2021.1952683
J. Tindale
ABSTRACT In recognition of the lack of female representation on screen, in 2015 Screen Australia launched the Gender Matters Program. However, it did not address the lack of representation of older women (defined as over 40 or ‘a woman of a certain age’). The research question addressed by this article is how to write older female characters over the age of 65 who are tough, capable, and complex. The research methodology combined Schon’s reflective practice theory, and Denscombe’s action research model with Batty and Baker’s practice-led research principle to create a feature film screenplay as the research artefact. The research strategy encompassed a broad approach comprising a field excursion to Winton to interrogate place and theme and a comprehensive review of literature in the field of gender, screenwriting, and female representation. The investigation revealed that in feature films there are a lack of complex female characters who are leaders in their community, who determine their own destiny and are still considered young at 40 years of age. A set of 10 guiding principles were identified which shaped the writing of the older characters in the research artefact, the feature film screenplay Myrtle and Ivy. Myrtle and Ivy seeks to redress this lack of older female representation to depict complex, tough, and capable characters.
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Pub Date : 2021-05-04DOI: 10.1080/17503175.2021.1922162
Stayci Taylor
ABSTRACT This article investigates, through interviews, the script development processes of four female-identifying web series creators, contributing to scholarship around web series’ ability to serve diverse communities [Christian 2020. “Beyond Branding: The Value of Intersectionality on Streaming TV Channels.” Television & New Media 21 (5): 457–474; 2011. “Fandom as Industrial Response: Producing Identity in an Independent Web Series.” TWC – Transformative Works and Cultures, 8, ‘Race and Ethnicity in Fandom’ special issue; Monaghan 2017. “Starting From … Now and the Web Series to Television Crossover: An Online Revolution?” Media International Australia 164 (1): 82–91; Williams 2012. Web TV Series: How to Make and Market Them. Harpenden: Kamera Books], but from the perspective of the writing process. The three web series making up this small sample – Last Breath (2018), Love Songs (2019) and Phi and Me (2019-) – have all experienced notable levels of ‘success’ (defined here variously in terms of views, festival selections, and awards). This article offers a preliminary investigation into how women’s web series writing practices may – or may not – depart from conventions that are practiced in mainstream settings of episodic script development, and/or are circulated by the screenwriting ‘how-to’ market. Using the insights into these writing processes, this article builds upon web series scholarship (where, it has been argued, innovations around diversity are leading the way in terms of screen content and distribution) by exploring the extent to which gender and cultural diversity, platform and standardised story structures inform the script development processes.
本文通过访谈调查了四位女性网络连续剧创作者的剧本开发过程，为围绕网络连续剧服务于不同社区的能力的学术研究做出了贡献[Christian 2020]。“超越品牌:流媒体电视频道交叉性的价值”电视与新媒体21 (5):457-474;2011. “Fandom作为工业回应:在一个独立的网络系列中产生身份。”TWC -变革的作品和文化，8，“Fandom中的种族和民族”特刊;莫纳亨2017。“从现在开始，从网络连续剧到电视跨界:一场网络革命?”澳大利亚媒体国际164 (1):82-91;威廉姆斯2012。网络电视剧:如何制作和营销。Harpenden: camera Books]，但从写作过程的角度来看。构成这个小样本的三部网络剧——《最后一口气》(2018)、《情歌》(2019)和《Phi and Me》(2019-)——都取得了显著的“成功”(这里的定义在观看次数、电影节选择和奖项方面各不相同)。这篇文章提供了一个初步的调查，关于女性网络连续剧的写作实践可能——或者可能不会——偏离在情节剧本发展的主流环境中实践的惯例，和/或被编剧“如何”市场所传播。利用对这些写作过程的见解，本文通过探索性别和文化多样性、平台和标准化故事结构对剧本开发过程的影响程度，建立在网络连续剧学术基础上(有人认为，围绕多样性的创新在屏幕内容和发行方面处于领先地位)。
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Pub Date : 2021-05-04DOI: 10.1080/17503175.2021.1952684
Diego Bonelli
ABSTRACT By relying on the textual analysis and on the examination of existing archival documents related to their production and circulation, this article analyses three documentaries produced in New Zealand in the 1965–1971 time frame while providing an overview of New Zealand film history as well as the examination of pre-existing modes of urban representation in New Zealand cinema. The author argues that these three case studies, Wellington in the 1960s: The Way it Seemed, To Live in the City and Notes on A New Zealand City stand at the intersection of both local and global cinematic, social and cultural phenomena, displaying the emergence of a new stylistic and ideological perspective on the New Zealand cinematic city. Such dystopic take is a reflection of both deep social and cultural transformations in New Zealand society and global cinematic phenomena.
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Pub Date : 2021-05-04DOI: 10.1080/17503175.2021.1961389
A. Lambert
At the end of 2020, I noted (see issue 3, 2020) that the screen sector in the region not only carried people through the darkest moments of an ongoing global pandemic but had continued to work by modifying practices in the processes of both of production and reception. The adaptability, mobility and mutability of images, ideas and material contexts mirrors changes in both understandings and effects:
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Pub Date : 2021-05-04DOI: 10.1080/17503175.2021.1938799
I. Rooks
ABSTRACT This article argues that Razorback’s self-aware play with cinematic Australian Gothic tropes infuses the aesthetic with an environmentalist sensibility that resonates in the Anthropocene. The limited scholarship addressing Razorback typically positions the film as a crude expression of the same anxieties found in New Wave Australian Gothic cinema. This interpretation misunderstands the role industrial maleficence plays in Razorback’s horror. In order to reassess Razorback, I situate this creature feature in the history of the Australian Gothic, a sensibility grounded in the country’s settler colonial identity and focused on the unsettling qualities of the imposing natural landscape. Razorback draws on common tropes in Australian cinema – cultural anxiety around Americans, the tendency to idealize white rural life, and a fascination with the Outback – but it tweaks standard elements. Razorback offers a surreal take on the Outback, but it identifies its horror as stemming from human mismanagement and pollution of the natural world. The Outback becomes warped by the activities of the Baker Brothers, whose business breeds a monstrous manifestation of rapacious colonial capitalism and environmental degradation. This reassessment of an overlooked cult classic identifies Razorback as an important text to study in order to understand genre cinema’s role in engaging environmental concerns.
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Pub Date : 2021-05-03DOI: 10.1080/17503175.2021.1921405
James Douglas
ABSTRACT Recent work in Australian screen scholarship has been focused on expanding the limitations of our national cinema discourse. Terms like Deb Verhoeven’s ‘Industry 3’ or Ben Goldsmith’s ‘outward-looking Australian cinema’, and the discourse of ‘transnationality’ more generally, exemplify a contemporary tendency that seeks out new conceptual foundations from which to analyse Australian film as interrelated with international industrial contexts. US film historian Janet Staiger has proposed one potentially fruitful alternative conceptual schema. Staiger argues that the concept of ‘film practices’ offers a way to carry out the historiographical grouping of film texts without recourse to categories of nationality or transnationality. In this article, I examine the analytical possibilities of the film practice schema in the Australian context. I focus on the Australian production firm Kennedy Miller Mitchell, which I identify as operating within the contemporary classical Hollywood cinema practice. Scholars have previously encountered conceptual deficiencies in grouping the work of this firm under prevailing terms of national cinema discourse. I show how the application of the film practice schema can make better sense of Kennedy Miller Mitchell’s place in the Australian and international screen industries, and I assess some of the advantages and disadvantages of this approach for future scholarship.
摘要澳大利亚电影学术界最近的工作重点是扩大我们国家电影话语的局限性。Deb Verhoeven的《工业3》或Ben Goldsmith的《外向型澳大利亚电影》等术语，以及更普遍的“跨国籍”话语，都体现了一种当代趋势，即寻找新的概念基础，从中分析澳大利亚电影与国际工业背景的相互关联。美国电影历史学家Janet Staiger提出了一种可能富有成效的替代概念模式。Staiger认为，“电影实践”的概念提供了一种对电影文本进行历史分组的方法，而无需求助于国籍或跨国籍类别。在这篇文章中，我考察了电影实践模式在澳大利亚背景下的分析可能性。我关注的是澳大利亚制片公司Kennedy Miller Mitchell，我认为该公司在当代经典好莱坞电影实践中运营。学者们以前在根据国家电影话语的流行术语对该公司的作品进行分组时遇到过概念上的缺陷。我展示了电影实践模式的应用如何更好地理解Kennedy Miller Mitchell在澳大利亚和国际电影行业的地位，并评估了这种方法对未来学术的一些优势和劣势。
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