Pub Date : 2019-09-02DOI: 10.1080/17503175.2019.1693149
Diego Bonelli, Thierry Jutel, Alfio Leotta
ABSTRACT Since the beginning of the Twentieth Century tourism films have constituted a significant part of New Zealand film production. In fact, films made and/or used for tourism promotion have been released for domestic and overseas circulation by both government-led and private film production companies. Over the last 10 years the institutions in charge of Wellington tourism marketing have been increasingly relying on social media platforms such as Youtube and Facebook to globally circulate images of New Zealand’s capital city. Indeed, since 2007, 20 tourism marketing campaigns conceived for social media circulation featured in WellingtonNZ Youtube channel. This article will focus on three of these campaigns: the Vampire’s Guide to Vellington (2014); the It’s Never Just a Weekend When It’s in Wellington series (2014) and the LookSee series (2017). Through the analysis of these case studies, this article argues that contemporary Wellington tourism film production is a complex and multilayered process characterised by the cross-collaboration between local political stakeholders, local creatives and local businesses. Moreover, it highlights how the representation of Wellington as a cinematic and creative city, home of a globalised creative class has been informed by the neoliberal paradigm and by the persistence of a deeply-rooted settler gaze.
{"title":"‘Selling the creative city’: Wellington tourism film in the neoliberal era","authors":"Diego Bonelli, Thierry Jutel, Alfio Leotta","doi":"10.1080/17503175.2019.1693149","DOIUrl":"https://doi.org/10.1080/17503175.2019.1693149","url":null,"abstract":"ABSTRACT Since the beginning of the Twentieth Century tourism films have constituted a significant part of New Zealand film production. In fact, films made and/or used for tourism promotion have been released for domestic and overseas circulation by both government-led and private film production companies. Over the last 10 years the institutions in charge of Wellington tourism marketing have been increasingly relying on social media platforms such as Youtube and Facebook to globally circulate images of New Zealand’s capital city. Indeed, since 2007, 20 tourism marketing campaigns conceived for social media circulation featured in WellingtonNZ Youtube channel. This article will focus on three of these campaigns: the Vampire’s Guide to Vellington (2014); the It’s Never Just a Weekend When It’s in Wellington series (2014) and the LookSee series (2017). Through the analysis of these case studies, this article argues that contemporary Wellington tourism film production is a complex and multilayered process characterised by the cross-collaboration between local political stakeholders, local creatives and local businesses. Moreover, it highlights how the representation of Wellington as a cinematic and creative city, home of a globalised creative class has been informed by the neoliberal paradigm and by the persistence of a deeply-rooted settler gaze.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2019.1693149","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44202880","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 : 2019-09-02DOI: 10.1080/17503175.2019.1700022
Julia Erhart
ABSTRACT The twenty-first century has seen an increase in scholarly interest in the discursive construction of women film practitioners, yet much of this literature focusses on women at the younger- or middle-aged ends of the spectrum, leaving the positioning of older women directors unexamined. Taking Jane Campion as an important case study, this paper explores how Campion is depicted in critical discourses including journalistic responses from Cannes, comments by female industry peers, her self-construction in interviews, and via the television show Top of the Lake, with its unique focus on themes of women and aging. While there is consistency within each discourse in which Campion is situated, each emphasises different facets of Campion’s career. This article explores counter-discourses around aging as uttered by Campion and as apparent in Top of the Lake and provides evidence of an intensified biographical focus in critical commentary from this stage of Campion’s career. While not definitively attributable to Campion’s biological age, the critical recourse to biography may be enabled by the sheer longevity of Campion’s career and many decades in the public eye. Taken together, these constructions of ‘Campion’ are contradictory, however many succeed in putting pressure on hegemonic notions of gender and aging.
{"title":"‘But do I care? No, I’m too old to care’: authority, unfuckability, and creative freedom in Jane Campion’s authorship after the age of sixty","authors":"Julia Erhart","doi":"10.1080/17503175.2019.1700022","DOIUrl":"https://doi.org/10.1080/17503175.2019.1700022","url":null,"abstract":"ABSTRACT The twenty-first century has seen an increase in scholarly interest in the discursive construction of women film practitioners, yet much of this literature focusses on women at the younger- or middle-aged ends of the spectrum, leaving the positioning of older women directors unexamined. Taking Jane Campion as an important case study, this paper explores how Campion is depicted in critical discourses including journalistic responses from Cannes, comments by female industry peers, her self-construction in interviews, and via the television show Top of the Lake, with its unique focus on themes of women and aging. While there is consistency within each discourse in which Campion is situated, each emphasises different facets of Campion’s career. This article explores counter-discourses around aging as uttered by Campion and as apparent in Top of the Lake and provides evidence of an intensified biographical focus in critical commentary from this stage of Campion’s career. While not definitively attributable to Campion’s biological age, the critical recourse to biography may be enabled by the sheer longevity of Campion’s career and many decades in the public eye. Taken together, these constructions of ‘Campion’ are contradictory, however many succeed in putting pressure on hegemonic notions of gender and aging.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2019.1700022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46073516","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 : 2019-01-02DOI: 10.1080/17503175.2019.1591655
A. Lambert
Welcome to the first issue of Studies in Australasian Cinema for 2019. This issue comprises two articles which deal with the paradoxical themes at work in politicised representations of gender and sexuality. In ‘Riding in cars as girls: discourses of victimhood, power and agency in Beneath Clouds and American Honey’, Samantha Cater places Australian film Beneath Clouds in a relationship with the US road movie American Honey. In doing so, the article foregrounds the overlapping themes of passivity, victimisation and objectification of young women on the one hand, and notions of resilience agency and selfdetermination on the other. Likewise, in charting the visibility of gay and lesbian representation/production in Australian film in the 1970s, Jessie Matheson’s ‘“about gays by gays”: The politics of representation in early Australian gay film culture, 1971–1982’, reveals the twin imperatives of developing queer film culture: challenging and subversive, on the one hand, but bound in many ways by aesthetic and industrial demands of acceptability and intelligibility. As always, please enjoy this issue of Studies in Australasian Cinema.
{"title":"Editor’s Introduction","authors":"A. Lambert","doi":"10.1080/17503175.2019.1591655","DOIUrl":"https://doi.org/10.1080/17503175.2019.1591655","url":null,"abstract":"Welcome to the first issue of Studies in Australasian Cinema for 2019. This issue comprises two articles which deal with the paradoxical themes at work in politicised representations of gender and sexuality. In ‘Riding in cars as girls: discourses of victimhood, power and agency in Beneath Clouds and American Honey’, Samantha Cater places Australian film Beneath Clouds in a relationship with the US road movie American Honey. In doing so, the article foregrounds the overlapping themes of passivity, victimisation and objectification of young women on the one hand, and notions of resilience agency and selfdetermination on the other. Likewise, in charting the visibility of gay and lesbian representation/production in Australian film in the 1970s, Jessie Matheson’s ‘“about gays by gays”: The politics of representation in early Australian gay film culture, 1971–1982’, reveals the twin imperatives of developing queer film culture: challenging and subversive, on the one hand, but bound in many ways by aesthetic and industrial demands of acceptability and intelligibility. As always, please enjoy this issue of Studies in Australasian Cinema.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2019.1591655","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45031879","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 : 2019-01-02DOI: 10.1080/17503175.2019.1578190
Samantha Cater
ABSTRACT While cars have long been associated with masculinity and youth within cinema – through a now long established tradition of the road movie – the representation of girls and/with cars is less common and often problematic. Here, I argue that an analysis of the ways in which girls are shown to interact with cars within two independent road movies can reveal much about discourses of victimhood, power and agency. In these films, girls are rarely shown to be at the wheel themselves, instead they are driven by men; these experiences as passengers are shown to be complex and fraught with danger. However, through these representations the audience are invited to recognise and acknowledge pervasive discourses of victimhood and, in so doing, a new space is created. This new discourse is one which both acknowledges victimhood, but at the same time recognises the resilience and agency of young women.
{"title":"Riding in cars as girls: discourses of victimhood, power and agency in Beneath Clouds and American Honey","authors":"Samantha Cater","doi":"10.1080/17503175.2019.1578190","DOIUrl":"https://doi.org/10.1080/17503175.2019.1578190","url":null,"abstract":"ABSTRACT While cars have long been associated with masculinity and youth within cinema – through a now long established tradition of the road movie – the representation of girls and/with cars is less common and often problematic. Here, I argue that an analysis of the ways in which girls are shown to interact with cars within two independent road movies can reveal much about discourses of victimhood, power and agency. In these films, girls are rarely shown to be at the wheel themselves, instead they are driven by men; these experiences as passengers are shown to be complex and fraught with danger. However, through these representations the audience are invited to recognise and acknowledge pervasive discourses of victimhood and, in so doing, a new space is created. This new discourse is one which both acknowledges victimhood, but at the same time recognises the resilience and agency of young women.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2019.1578190","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42858392","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 : 2019-01-02DOI: 10.1080/17503175.2019.1591576
J. Matheson
ABSTRACT Following major film censorship reform in 1971 gay and lesbian Australians were, for the first time, able to see and tell their stories on screen. This change coincided with internationally revolutionary moments of gay and lesbian activism, which were largely centred around the notion of visibility. The new representational opportunities that gay and lesbian film offered quickly became tied to the political imperatives of the Australian iteration of this activist movement. A film sensibility also soon developed that was both particularly queer and particularly Australian. This article explores the extent to which the question of film audience became politicised in Australia following censorship reform in 1971, until the early 1980s, and the implications this had for gay and lesbian representation in film. It fills a gap in the scholarship on the film communities of this period, by interrogating the role gay and lesbian filmmaking groups played in creating a national gay and lesbian cinema culture, and raises questions about how the political and social are expressed through filmmaking within marginalised communities. By exploring the experience of two gay and lesbian filmmaking groups, it will show the ways in which questions of audience and representation influenced the political and aesthetic style of early Australian gay and lesbian film culture.
{"title":"‘about gays by gays’: the politics of representation in early Australian gay film culture, 1971–1982","authors":"J. Matheson","doi":"10.1080/17503175.2019.1591576","DOIUrl":"https://doi.org/10.1080/17503175.2019.1591576","url":null,"abstract":"ABSTRACT Following major film censorship reform in 1971 gay and lesbian Australians were, for the first time, able to see and tell their stories on screen. This change coincided with internationally revolutionary moments of gay and lesbian activism, which were largely centred around the notion of visibility. The new representational opportunities that gay and lesbian film offered quickly became tied to the political imperatives of the Australian iteration of this activist movement. A film sensibility also soon developed that was both particularly queer and particularly Australian. This article explores the extent to which the question of film audience became politicised in Australia following censorship reform in 1971, until the early 1980s, and the implications this had for gay and lesbian representation in film. It fills a gap in the scholarship on the film communities of this period, by interrogating the role gay and lesbian filmmaking groups played in creating a national gay and lesbian cinema culture, and raises questions about how the political and social are expressed through filmmaking within marginalised communities. By exploring the experience of two gay and lesbian filmmaking groups, it will show the ways in which questions of audience and representation influenced the political and aesthetic style of early Australian gay and lesbian film culture.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2019.1591576","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43280339","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 : 2018-09-02DOI: 10.1080/17503175.2018.1539540
P. Kelly
ABSTRACT Detour Off the Superhighway is a feature-length documentary film produced as the creative practice element of a PhD which examined media, aura, and filmic practice. The project sought to answer the key research question, ‘What are the implications of a modern filmmaker utilising traditional media technologies ahead of contemporary equipment?’. The film uses evocative autoethnographic methods to depict an experiment in which the researcher surrendered the use of modern media and communication technology for 80 days, instead opting for legacy image-making technologies from several different eras throughout history. In doing so, the film explores theories of auratic experience, slow media, and the consequences of ‘going offline’ in the modern world. The screen production research project utilised a hybrid methodology of autoethnography and practice-led research to address the research question. The analysis of theory raised questions about the way we experience media works, and informed the design of the 80-day experiment, which explored the implications of my foregoing various advances in filmmaking technology and which was documented and depicted in the documentary. This article demonstrates how a careful blending of theory and practice was used in this project to explore the ‘range of communities in which the work can stimulate dialogue’.
{"title":"Deconstructing the detour: a meld of theory and filmic practice to generate new knowledge","authors":"P. Kelly","doi":"10.1080/17503175.2018.1539540","DOIUrl":"https://doi.org/10.1080/17503175.2018.1539540","url":null,"abstract":"ABSTRACT Detour Off the Superhighway is a feature-length documentary film produced as the creative practice element of a PhD which examined media, aura, and filmic practice. The project sought to answer the key research question, ‘What are the implications of a modern filmmaker utilising traditional media technologies ahead of contemporary equipment?’. The film uses evocative autoethnographic methods to depict an experiment in which the researcher surrendered the use of modern media and communication technology for 80 days, instead opting for legacy image-making technologies from several different eras throughout history. In doing so, the film explores theories of auratic experience, slow media, and the consequences of ‘going offline’ in the modern world. The screen production research project utilised a hybrid methodology of autoethnography and practice-led research to address the research question. The analysis of theory raised questions about the way we experience media works, and informed the design of the 80-day experiment, which explored the implications of my foregoing various advances in filmmaking technology and which was documented and depicted in the documentary. This article demonstrates how a careful blending of theory and practice was used in this project to explore the ‘range of communities in which the work can stimulate dialogue’.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1539540","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47669783","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 : 2018-09-02DOI: 10.1080/17503175.2018.1540097
Catalin Brylla
ABSTRACT In today’s mass-mediated society the plethora of available media content has become a ubiquitous pool of potential knowledge that is sourced in the absence of first-person experience about particular issues, events, individual people and communities. The resulting dispositions that lead to corresponding attitudes and behaviour in the real world are shared by spectators, as well as filmmakers. Hence, the way subjects are represented in media reflects these dispositions and provides an indicator for the current socio-cultural reality. An analysis of existing media content offers filmmakers a clearer insight into spectators' dispositions towards the stories and characters in their films, enabling them to challenge, reduce or strategically utilise social or narrative stereotypes and clichés. This article discusses the benefits of using content analysis and its methodology in the context of teaching documentary film practice at undergraduate level, although the same methodology can be used by established filmmakers who aim to engage in a critical or research-led film practice.
{"title":"The benefits of content analysis for filmmakers","authors":"Catalin Brylla","doi":"10.1080/17503175.2018.1540097","DOIUrl":"https://doi.org/10.1080/17503175.2018.1540097","url":null,"abstract":"ABSTRACT In today’s mass-mediated society the plethora of available media content has become a ubiquitous pool of potential knowledge that is sourced in the absence of first-person experience about particular issues, events, individual people and communities. The resulting dispositions that lead to corresponding attitudes and behaviour in the real world are shared by spectators, as well as filmmakers. Hence, the way subjects are represented in media reflects these dispositions and provides an indicator for the current socio-cultural reality. An analysis of existing media content offers filmmakers a clearer insight into spectators' dispositions towards the stories and characters in their films, enabling them to challenge, reduce or strategically utilise social or narrative stereotypes and clichés. This article discusses the benefits of using content analysis and its methodology in the context of teaching documentary film practice at undergraduate level, although the same methodology can be used by established filmmakers who aim to engage in a critical or research-led film practice.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1540097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44138084","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 : 2018-09-02DOI: 10.1080/17503175.2018.1539539
Nicholas Cope, T. Howle
ABSTRACT Electroacoustic music composer Tim Howle, Professor of Contemporary Music at the University of Kent and academic and filmmaker Dr. Nick Cope, have been engaged in an ongoing creative practice collaboration since 2002. The collaboration has seen the production of a series of short films exploring notions of what it means to compose with sound and moving image in works where the sonic and visual are treated as commensurate partners. This work has been selected for festivals, conferences, concerts, installations and screenings internationally; published on DVD and through online audio-visual journals; and resulted in a number of papers, journal articles and a PhD addressing the working practices and research contexts of the collaborative output. The collaboration is both cross-disciplinary and inter-departmental in nature and gives rise to much that can be reflected on with regards to creative media practice based research in the academy. This paper addresses the challenges, opportunities and contexts the collaboration has engaged in with a particular emphasis on the research components of the work, and how these have developed and continue, as a case study of creative practice research. It will look at the different disciplinary contexts the work has arisen from and how that has both helped the work in finding audiences and outlets, research outcomes, and to navigate and address departmental and institutional research frameworks, requirements and limitations.
{"title":"Electroacoustic moviemaking: a creative media practice research collaboration case study","authors":"Nicholas Cope, T. Howle","doi":"10.1080/17503175.2018.1539539","DOIUrl":"https://doi.org/10.1080/17503175.2018.1539539","url":null,"abstract":"ABSTRACT Electroacoustic music composer Tim Howle, Professor of Contemporary Music at the University of Kent and academic and filmmaker Dr. Nick Cope, have been engaged in an ongoing creative practice collaboration since 2002. The collaboration has seen the production of a series of short films exploring notions of what it means to compose with sound and moving image in works where the sonic and visual are treated as commensurate partners. This work has been selected for festivals, conferences, concerts, installations and screenings internationally; published on DVD and through online audio-visual journals; and resulted in a number of papers, journal articles and a PhD addressing the working practices and research contexts of the collaborative output. The collaboration is both cross-disciplinary and inter-departmental in nature and gives rise to much that can be reflected on with regards to creative media practice based research in the academy. This paper addresses the challenges, opportunities and contexts the collaboration has engaged in with a particular emphasis on the research components of the work, and how these have developed and continue, as a case study of creative practice research. It will look at the different disciplinary contexts the work has arisen from and how that has both helped the work in finding audiences and outlets, research outcomes, and to navigate and address departmental and institutional research frameworks, requirements and limitations.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1539539","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43780134","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 : 2018-09-02DOI: 10.1080/17503175.2018.1539542
Simon Weaving, Sandra Pelzer, M. Adam
ABSTRACT Whilst filmmakers intuitively believe that the movie experience must be emotionally engaging, audience testing continues to follow traditional approaches involving questionnaires and focus groups with insights mainly at the level of overall movie satisfaction. In this paper, we outline a theoretical framework for how the idea of the cinematic moment can support an improved test screening process for filmmakers, providing feedback for decisions about what narrative material is shown to the audience, what sequence it is to be ordered, and what emotional value it must carry. The paper also reveals the findings from the initial testing of the model using a commercially orientated 25-minute film in post-production, supported by interviews with industry practitioners.
{"title":"The cinematic moment: improving audience testing of movies","authors":"Simon Weaving, Sandra Pelzer, M. Adam","doi":"10.1080/17503175.2018.1539542","DOIUrl":"https://doi.org/10.1080/17503175.2018.1539542","url":null,"abstract":"ABSTRACT Whilst filmmakers intuitively believe that the movie experience must be emotionally engaging, audience testing continues to follow traditional approaches involving questionnaires and focus groups with insights mainly at the level of overall movie satisfaction. In this paper, we outline a theoretical framework for how the idea of the cinematic moment can support an improved test screening process for filmmakers, providing feedback for decisions about what narrative material is shown to the audience, what sequence it is to be ordered, and what emotional value it must carry. The paper also reveals the findings from the initial testing of the model using a commercially orientated 25-minute film in post-production, supported by interviews with industry practitioners.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1539542","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44295120","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：