Pub Date : 2020-09-01DOI: 10.1080/17503175.2020.1845285
Joost de Bruin
ABSTRACT This article discusses the responses from people in Aotearoa/New Zealand and New Zealanders overseas to the online questionnaire of the World Hobbit Project, an international audience research project on the reception of the film trilogy The Hobbit involving 145 researchers from 46 countries. As the trilogy was filmed in their home country, New Zealand audiences were uniquely positioned to interpret The Hobbit. ‘Affective resonance’ played a role in relation to three interrelated issues that Aotearoa/New Zealand is struggling with as a postcolonial nation: the use of the landscape, the representation of race and the notion of greed. In all three cases, audiences saw parallels between the narrative of The Hobbit, the context of the trilogy’s production and longstanding issues resulting from Aotearoa/New Zealand’s colonial history.
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Pub Date : 2020-09-01DOI: 10.1080/17503175.2020.1845284
A. Craven
ABSTRACT ‘Gothic’ is identified as a prominent mode of Australian cinema since the 1970s. In commentary on Australian Gothic films, the aesthetic ancestry is often traced to literary conventions in colonial and pre-colonial British or European literatures. This article draws attention to the convergence of these literary and cinematic traditions and compares the prevalence of landscape as a Gothic figure in Australian films with the architectural elements of historical Gothic literature. The discussion proceeds through the British Gothic novel and its history as analogue of Gothic architecture of the time, and several recent accounts of ‘Australian Gothic’ cinema that invoke this history of the Gothic novel, and the dissonant description of ‘Australian Gothic’ in Susan Dermody and Elizabeth Jacka’s account of Australian Revival films. Two recent productions, Celeste [Hackworth 2018. Australia: Unicorn Films] and the television remake of Picnic at Hanging Rock [Rymer, Kondracki and Brotchie 2018. TV Mini-Series. Australia: Amazon Studios/FremantleMedia/Screen Australia], are compared as recent parodies of Gothic aesthetics that foreground architectural features over landscape. It is argued that while it is important to identify antecedents, the colonial connotations of ancestry are ambiguous and potentially overpower attention to the generative visions in Australian Gothic cinema.
{"title":"The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema","authors":"A. Craven","doi":"10.1080/17503175.2020.1845284","DOIUrl":"https://doi.org/10.1080/17503175.2020.1845284","url":null,"abstract":"ABSTRACT ‘Gothic’ is identified as a prominent mode of Australian cinema since the 1970s. In commentary on Australian Gothic films, the aesthetic ancestry is often traced to literary conventions in colonial and pre-colonial British or European literatures. This article draws attention to the convergence of these literary and cinematic traditions and compares the prevalence of landscape as a Gothic figure in Australian films with the architectural elements of historical Gothic literature. The discussion proceeds through the British Gothic novel and its history as analogue of Gothic architecture of the time, and several recent accounts of ‘Australian Gothic’ cinema that invoke this history of the Gothic novel, and the dissonant description of ‘Australian Gothic’ in Susan Dermody and Elizabeth Jacka’s account of Australian Revival films. Two recent productions, Celeste [Hackworth 2018. Australia: Unicorn Films] and the television remake of Picnic at Hanging Rock [Rymer, Kondracki and Brotchie 2018. TV Mini-Series. Australia: Amazon Studios/FremantleMedia/Screen Australia], are compared as recent parodies of Gothic aesthetics that foreground architectural features over landscape. It is argued that while it is important to identify antecedents, the colonial connotations of ancestry are ambiguous and potentially overpower attention to the generative visions in Australian Gothic cinema.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1845284","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44403160","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 : 2020-09-01DOI: 10.1080/17503175.2020.1858572
A. Horbury
ABSTRACT This paper takes up Todd McGowan’s rethinking of psychoanalytic film theory to consider what such approaches might disclose in the work of a national cinema. I focus on Australia’s national cinema where it is caught, I argue, between the Imaginary gaze of an aestheticized nationalism and a traumatic ‘Real’ gaze that disturbs the field of cultural vision. I show how Ted Kotcheff’s 1971 Wake in Fright introduces the Real gaze to Australia’s cinematic vocabulary where it is taken up in the film Renaissance and disturbs the aesthetic inquiry into nationalism with the traumatic Real frequently repressed in national discourses. Here I suggest that if a national cinema can be seen to function as a form of ‘public dreaming,’ this Real gaze functions as a national symptom that, as in the psychoanalytic clinic, troubles the story the subject tells about itself. After mapping the emergence of this Real gaze in Wake in Fright, I consider where this visual trope is reworked in more recent Gothic landscape films, such as Joel Anderson’s Lake Mungo (2008), before considering how post-Mabo history films reverse the terms of this gaze such that what haunts the national Imaginary is put before the viewer without relent.
摘要：本文采用Todd McGowan对精神分析电影理论的反思，来思考这种方法可能会在国家电影的作品中揭示什么。我关注的是澳大利亚的国家电影，我认为，它被夹在审美民族主义的想象凝视和扰乱文化视野的创伤性“真实”凝视之间。我展示了泰德·科切夫（Ted Kotcheff）1971年的《恐惧中的守灵》（Wake in Fright）如何将真实凝视引入澳大利亚电影词汇中，并在电影《文艺复兴》（Renaissance）中使用了真实凝视，并扰乱了对民族主义的美学探究，而创伤的真实凝视经常被压抑在国家话语中。在这里，我建议，如果一个全国性的电影可以被视为一种“公共梦”的形式，这种真实的凝视可以作为一种全国性的症状，就像在精神分析诊所一样，困扰着主题告诉的故事本身。在绘制了《恐惧中的守灵》中这种真实凝视的出现之后，我考虑了这种视觉比喻在最近的哥特式风景电影中的重新设计，比如乔尔·安德森的《芒戈湖》（2008），然后考虑了后马博历史电影如何颠倒这种凝视的术语，使萦绕在国家想象中的东西毫不松懈地呈现在观众面前。
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Pub Date : 2020-05-03DOI: 10.1080/17503175.2020.1834226
E. Ellison, T. van Hemert
ABSTRACT In the midst of drought in Central Queensland, the small town of Winton triples its population for the Vision Splendid Outback Film Festival. Even when facing challenges, the local community values the way the festival brings the community together, injects tourist dollars into the local economy and provides visibility to the local screen industry. However, staging a film festival in a regional location can be challenging. There are often less local funding and sponsorship opportunities available and the geographical distances involved increase pressure on time, resources and costs. Combined with increasingly accessible digital content and changing audience habits, regional film festivals face significant disadvantages in comparison to their metropolitan counterparts. This article examines the role of Queensland's film festival network, focusing on how regional festivals are central to the development of the screen industry beyond the metropolitan centres. The research is based on a mapping project of film festivals in Queensland undertaken in 2018, which included interviews with festival organisers and industry professionals. 68 active festivals were identified across Queensland, of which 45% took place in Brisbane. This article investigates both the value of film festivals and the challenges for their economic sustainability in Queensland's screen culture and industry.
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Pub Date : 2020-05-03DOI: 10.1080/17503175.2020.1810459
Simon Weaving, C. Hight, Karen Nobes, Claire Pasvolsky
ABSTRACT Although box office receipts for the theatrical release of movies have remained consistently high over the past decade, this tends to mask a slow erosion in the frequency of movie-going among the Australia population. Australians, it appears, are gradually losing the habit of going to the movies. This decline sits in marked contrast to increasing numbers of audiences preferring to engage with cinematic content through VOD and other digital platforms. Our engagement with industry stakeholders highlights the concerns of the Australian distribution and exhibition sectors of the industry about competition from a range of competing leisure and entertainment opportunities for Australian consumers. In this paper we argue that it is vital for the local industry to revise its current model of movie-going audiences, in order to better understand what consumers think about the ‘cinematic experience’ and how they value this experience in relation to the variety of competition from other leisure and entertainment experiences. We outline the opportunities to draw from insights across multiple disciplinary fields, in particular to explore the implications of applying ‘the customer journey’ to understanding the variety of social and material factors which may be in play in informing the decision-making of movie-going audiences.
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Pub Date : 2020-05-03DOI: 10.1080/17503175.2020.1834517
Stuart McBratney, Mario Minichiello, M. Roxburgh
ABSTRACT This paper presents demonstrable insights from the creation of a microbudget feature-length narrative drama film with high production values. As a case study, I am using a feature film I have written and directed titled “Don't Read This on a Plane”, which was filmed in 10 countries, produced on a budget of A$125,000 including all post-production, fees, and deliverables, and has been acquired for international distribution. I argue that by practicing pragmatism and bricolage, and by utilising a small professional crew who handle multiple roles, a microbudget filmmaker is able to transcend financial limitations. To support my argument, I detail my lived experience as a filmmaker from the project's conception in 2016 to its completion in 2020. In additional to describing my roles as the film's writer, co-financer, co-producer, director, editor, composer, and sound mixer, I also outline the involvement of key crew members. “Don't Read This on a Plane” embodies my tacit understanding of pragmatism and bricolage, and this paper shares my demonstrable approach to microbudget filmmaking.
摘要:本文从高制作价值的小成本叙事剧情电影的创作中提出了可论证的见解。作为一个案例研究，我使用的是我自编自导的故事片《Don’t Read This ona Plane》，这部电影在10个国家拍摄，制作预算为12.5万澳元，包括所有后期制作、费用和交付成果，并已获得国际发行。我认为，通过实践实用主义和拼凑手法，以及利用处理多个角色的小型专业团队，小预算电影制作人能够超越财务限制。为了支持我的观点，我详细介绍了我作为一名电影制作人从2016年项目构思到2020年完成的生活经历。除了描述我作为电影编剧、联合出资人、联合制片人、导演、编辑、作曲家和混音师的角色外，我还概述了主要工作人员的参与情况。“Don't Read This on a Plane”体现了我对实用主义和拼贴的默契，本文分享了我对小成本电影制作的可论证方法。
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Pub Date : 2020-05-03DOI: 10.1080/17503175.2020.1822051
J. John, Hester Joyce
ABSTRACT Screen production is risky business. Significant sums of money are invested in a process that is subject to myriad precarious variables. Effective completion of a screen project is achieved through the instigation and monitoring of strict parameters which bound its creative process. However, filmmaker David Lynch states that ‘any restriction is a sadness and can kill creativity’ (Stratton 2015. David Lynch in Conversation. https://www.youtube.com/watch?v=jGd6lnYTTY8). The tension between flow and constraint in creative practice negotiates a delicate balance between efficiency and futility. At its most productive, limitations can provide a catalyst for innovation, whereas restrictions that are not sympathetic to the project’s creative intention can cause unproductive conflict and power struggles. Examination of this inherent tension deepens our understanding of the screen production process and offers broader insight into the nature of practice in the creative arts. Anecdotal evidence is drawn from interviews with screen practitioners and the author’s own experience working in various Australian film and television productions between 1994 and 2018. Findings are then examined alongside theories of creative work.
{"title":"Pushing the boundaries: creativity and constraint in Australian screen production","authors":"J. John, Hester Joyce","doi":"10.1080/17503175.2020.1822051","DOIUrl":"https://doi.org/10.1080/17503175.2020.1822051","url":null,"abstract":"ABSTRACT Screen production is risky business. Significant sums of money are invested in a process that is subject to myriad precarious variables. Effective completion of a screen project is achieved through the instigation and monitoring of strict parameters which bound its creative process. However, filmmaker David Lynch states that ‘any restriction is a sadness and can kill creativity’ (Stratton 2015. David Lynch in Conversation. https://www.youtube.com/watch?v=jGd6lnYTTY8). The tension between flow and constraint in creative practice negotiates a delicate balance between efficiency and futility. At its most productive, limitations can provide a catalyst for innovation, whereas restrictions that are not sympathetic to the project’s creative intention can cause unproductive conflict and power struggles. Examination of this inherent tension deepens our understanding of the screen production process and offers broader insight into the nature of practice in the creative arts. Anecdotal evidence is drawn from interviews with screen practitioners and the author’s own experience working in various Australian film and television productions between 1994 and 2018. Findings are then examined alongside theories of creative work.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1822051","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48083852","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 : 2020-05-03DOI: 10.1080/17503175.2020.1826161
A. Lambert
{"title":"A Note from the Editor-in Chief","authors":"A. Lambert","doi":"10.1080/17503175.2020.1826161","DOIUrl":"https://doi.org/10.1080/17503175.2020.1826161","url":null,"abstract":"","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1826161","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42074756","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 : 2020-05-03DOI: 10.1080/17503175.2020.1826162
S. Kerrigan, Simon Weaving
{"title":"Editorial","authors":"S. Kerrigan, Simon Weaving","doi":"10.1080/17503175.2020.1826162","DOIUrl":"https://doi.org/10.1080/17503175.2020.1826162","url":null,"abstract":"","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2020.1826162","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49569341","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 : 2020-05-03DOI: 10.1080/17503175.2020.1811486
S. Kerrigan, Mark David Ryan, P. McIntyre, Stuart Cunningham, M. McCutcheon
ABSTRACT Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory support – feature films, documentaries and television drama, with more recent interest in short-form content intended for streaming and online platforms and games. The expansion of the notion of screen business has led to a series of Screen Australia reports that focused the debate on value frameworks that included cultural, economic and audience values. These reports informed the 2017 Federal Government inquiry into the Australian Film and Television Industry – they do not, however, provide insights into how screen business is incorporated into localised regional economies and they tend to downplay the cultural contributions from the television and advertising sectors. By looking at screen business in four regional Australia cities we demonstrate how four modes of screen production, which include commercial and corporate content, is being made sustainably in the regions and that regional screen content production activities are an important part of the national screen production ecosystem.
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