Pub Date : 2018-01-02DOI: 10.1080/17503175.2018.1426398
C. Verevis, M. Ryan
The essays gathered in this issue of Studies in Australasian Cinema are selected from, and broadly representative of, the methods and topics brought together at the inaugural SSAAANZ conference. Collectively, the essays speak to a broad conception of screen studies and diverse critical concerns across film and television exhibition and reception, documentary film, pedagogy and screen culture. Constantine Verevis and Deane Williams’ article analyses the cultural history of Melbourne’s Australian Centre for the Moving Image (ACMI). Tessa Dwyer offers a detailed examination of the acclaimed television series Top of the Lake and the role cultural specificity and the authentic voice play in the context of transnational television. Simon Sigley investigates cinematic shifts in how Western Samoa was represented in three feature-length documentary films. Produced by the National Film Unit (NFU) of New Zealand between 1947 and 1962, the films cover a period during which ‘Samoa was administered as a United Nations (UN) trust territory by the New Zealand government’. Derived from a primary survey, Toija Cinque and Jordan Vincent’s article investigates the use of smart TVs and broadband-enabled mobile media devices for the viewing of movies, television programs and documentaries among other forms of screen content, often concurrently with social media devices, to understand audience practices in an increasingly fragmented mediascape. Vejune Zemaityte, Deb Verhoeven and Bronwyn Coate draw on big data in relation to feature film screenings and box office figures to interrogate the ‘10 per cent rule’ – the often made, but untested, claim in industry discourses that the Australian market represents 10 percent of the theatrical market for Hollywood films. Focussing on both Australian and US screening data from 2013, the article compares the popularity of selected American films in both the Australian and US markets to ‘contrast the differences that emerge in terms of distribution and exhibition’. Finally, Mark Ryan examines the pedagogy of screen content in undergraduate Australian screen studies courses. Together, the essays collected here provide a sense of the vibrancy and diversity of the research from the inaugural conference of Screen Studies Association of Australia and Aotearoa New Zealand, and anticipate its second conference, The Uses of Cinema: Film, Television, Screen, Monash University, Melbourne, November 21–23, 2018.
{"title":"Essays from the inaugural Screen Studies Association of Australia and Aotearoa New Zealand conference (2016)","authors":"C. Verevis, M. Ryan","doi":"10.1080/17503175.2018.1426398","DOIUrl":"https://doi.org/10.1080/17503175.2018.1426398","url":null,"abstract":"The essays gathered in this issue of Studies in Australasian Cinema are selected from, and broadly representative of, the methods and topics brought together at the inaugural SSAAANZ conference. Collectively, the essays speak to a broad conception of screen studies and diverse critical concerns across film and television exhibition and reception, documentary film, pedagogy and screen culture. Constantine Verevis and Deane Williams’ article analyses the cultural history of Melbourne’s Australian Centre for the Moving Image (ACMI). Tessa Dwyer offers a detailed examination of the acclaimed television series Top of the Lake and the role cultural specificity and the authentic voice play in the context of transnational television. Simon Sigley investigates cinematic shifts in how Western Samoa was represented in three feature-length documentary films. Produced by the National Film Unit (NFU) of New Zealand between 1947 and 1962, the films cover a period during which ‘Samoa was administered as a United Nations (UN) trust territory by the New Zealand government’. Derived from a primary survey, Toija Cinque and Jordan Vincent’s article investigates the use of smart TVs and broadband-enabled mobile media devices for the viewing of movies, television programs and documentaries among other forms of screen content, often concurrently with social media devices, to understand audience practices in an increasingly fragmented mediascape. Vejune Zemaityte, Deb Verhoeven and Bronwyn Coate draw on big data in relation to feature film screenings and box office figures to interrogate the ‘10 per cent rule’ – the often made, but untested, claim in industry discourses that the Australian market represents 10 percent of the theatrical market for Hollywood films. Focussing on both Australian and US screening data from 2013, the article compares the popularity of selected American films in both the Australian and US markets to ‘contrast the differences that emerge in terms of distribution and exhibition’. Finally, Mark Ryan examines the pedagogy of screen content in undergraduate Australian screen studies courses. Together, the essays collected here provide a sense of the vibrancy and diversity of the research from the inaugural conference of Screen Studies Association of Australia and Aotearoa New Zealand, and anticipate its second conference, The Uses of Cinema: Film, Television, Screen, Monash University, Melbourne, November 21–23, 2018.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"12 1","pages":"1 - 5"},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1426398","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41513398","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 : 2018-01-02DOI: 10.1080/17503175.2018.1427781
Simon Sigley
ABSTRACT This article analyses three documentary films that the National Film Unit (NFU) of New Zealand made between 1947 and 1962 when Samoa was administered as a United Nations trust territory by the New Zealand government. I argue that the films display a discursive and cinematic shift over that time: from depicting Samoa as an idyllic paradise that ‘time forgot’ to a more realistic documentary style as Samoa became the first formerly colonised sovereign Pacific state in the twentieth century. While the films only superficially engage with the people and the culture they depict, omitting much that might conflict with positive messaging, and while they largely fail to engage with traditional Samoan mores (these are etic rather than emic depictions), as Western Samoa draws nearer to political independence, the NFU’s representational strategies evolve, transforming erstwhile and mute ‘natives’ into ostensible and voluble ‘neighbours’.
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Pub Date : 2017-09-02DOI: 10.1080/17503175.2017.1397316
Stayci Taylor
ABSTRACT Much has been written about screen cities, and within this literature it is suggested that the city itself becomes screen language with its light, colour, and architecture. But there are fewer, if any, scholarly explorations on the practice of screenwriting the city, whereby this language must first be realised in words. Moreover, traditional screenwriting models emphasise the importance of plot, but not necessarily the creation of those worlds into which viewers so readily enter. This paper draws from the author's own practice and pedagogy to discuss experiments in using the city – and the screen world more broadly – as a starting point for screen stories. It makes particular reference to the script development process of a Melbourne-set screenplay, and the development and delivery of an undergraduate media studio, one that used the location-as-inspiration approach suggested by Kathryn Millard's invitation to ‘write for place’ (2014). In presenting the attendant discoveries, this paper aims to open a conversation around writing the city and the ways in which notions of ‘world’ impact upon, or intersect with, other aspects of screenwriting practice. It is hoped that this leads to practical ways, in learning, teaching and script development environments, to approach a story's world.
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Pub Date : 2017-09-02DOI: 10.1080/17503175.2017.1387357
K. Dooley
ABSTRACT With reference to three recently produced Australian case studies, this article explores approaches to the conceptualization and writing of short narratives for the emerging medium of cinematic 360-degree virtual reality. Storytelling for this format involves a user-focused engagement with time and place. Whereas the viewer of classical narrative media, such as film or television, is for the most part passive, the VR viewer is ‘present’ as an active agent who engages with the unfolding narrative as either witness or participant. These factors present a number of challenges and opportunities for the creator of narrative VR, when considering viewer immersion and/or interaction in the 360-degree environment. The article presents a review of literature that interrogates the specifics of writing for VR, with a specific focus on 360-degree, immersive projects. By interrogating the form of three recently produced works, the author highlights emerging approaches to narrative structure, audience acclimation and the directing of viewer attention. While some commonalities can be observed across these case studies, the article concludes that to date, there is no one approach and no fully established screen grammar associated with a 360-degree VR narrative.
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Pub Date : 2017-09-02DOI: 10.1080/17503175.2017.1385143
K. Soh
ABSTRACT In recent years, China has become one of the largest film industries and in order to remain competitive, Chinese blockbusters are attempting to imitate Hollywood post-production qualities. As Australian post-production companies are internationally renowned for their expertise, Chinese filmmakers are seeking opportunities to collaborate with Australians. The Australian government recognises China’s enthusiasm and has begun highlighting the nation’s strength through various programmes targeted towards the Chinese film industry. Though efforts have been placed to promote Australia's post-production industry, there is currently minimal research on Chinese cinema audiences' opinions regarding this transnational collaboration. To examine the effects of transnationality in Chinese cinema, this paper analyses Chinese audiences' opinions, along with exploring how the Australian government and post-production companies are engaging with China, to understand the potential of this partnership. The paper utilises data collected from the Chinese social networking site Douban to understand audiences’ reception on the post-production elements of the Chinese film Hero (2002). Overall, the analysis demonstrates that Chinese audiences are not identifying Australia’s role, however the impact of Australian practitioners are being emphasised through complements on the film’s visual effects, showing great potential between this transnational collaboration.
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Pub Date : 2017-09-02DOI: 10.1080/17503175.2017.1407063
A. Lambert, K. Pearlman
In the past few years, Studies in Australasian Cinema has both witnessed and facilitated rigorous critical scholarship with respect to film production. This illuminating and invigorating aspect of contemporary screen studies necessarily foregrounds an explicitly theoretical awareness in filmmaking and specific production practices. At the same time, this nexus awakens historical figures, production roles, and stylistic developments that offer new, creative and politicised responses to the ways in which film history is documented and understood. Karen Pearlman’s short filmWoman with an Editing Bench, first exhibited in 2016, celebrates the lesser known and even less acknowledged editing style and oeuvre of Elizaveta Svilova (who edited Vertov’s iconic 1929 film Man with a Movie Camera and many others), whilst exploring her relationship with Vertov against Stalin’s censorship of cinema in the late 1920s. What follows is an interview with Pearlman, who wrote, directed and edited the film.
在过去的几年里，澳大拉西亚电影研究见证并促进了电影制作方面严谨的批判性学术研究。当代电影研究的这一启发性和令人振奋的方面，必然要求在电影制作和具体的生产实践中有明确的理论意识。与此同时，这种联系唤醒了历史人物、制作角色和风格发展，为记录和理解电影史的方式提供了新的、创造性的和政治化的回应。凯伦·珀尔曼(Karen Pearlman)的短片《坐在剪辑台上的女人》(woman with a Editing Bench)于2016年首次展出，颂扬了伊丽莎白·斯维洛娃(Elizaveta Svilova)不太为人所知、甚至不太为人所知的剪辑风格和作品(她编辑了维尔托夫1929年的标志性电影《拿着电影摄影机的男人》和许多其他作品)，同时探索了她与维尔托夫在20世纪20年代末反对斯大林电影审查制度的关系。以下是对珀尔曼的采访，他是这部电影的编剧、导演和剪辑。
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Pub Date : 2017-05-04DOI: 10.1080/17503175.2017.1385136
P. Hanson
ABSTRACT Marshall’s Walkabout and Nicolas Roeg’s adaptation of that novel appeared at different points in Aboriginal trauma narrative constructions. Works often appear before a trauma narrative is complete. In this article, I employ an analysis of the imperial gaze as a way of evaluating the two works. I investigate Nicolas Roeg’s 1971 adaptation of the novel in the context of the evolving Australian Aboriginal trauma narrative and also in the context of the Aboriginal narrative being one narrative among many in the larger global civil rights narrative. The source novel is itself the product of a stage in the Aboriginal trauma narrative. As the trauma narrative evolves, it opens up new definitions of the experience represented in the novel. Roeg examines and engages these developments in his adaptation. Roeg revises the racial and domestic logic of the novel, exposing its civil rights ethics as a product of arrested development. His film is best understood if one understands that it exists as part of the building of a larger trauma narrative.
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Pub Date : 2017-05-04DOI: 10.1080/17503175.2017.1383523
S. Gaunson
ABSTRACT This article discusses the problems that Australian films face in the big distribution model, and ways thatproducers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly'sCinema Plus exhibition company. Although there is a historical precedence set for Connolly's self-distribution venture, this shiftto rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of theporous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separatepools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way toreach the widest possible audience.
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