{"title":"巴巴杜克和澳大利亚恐怖传统中高低流派之间的闹鬼空间","authors":"J. Balanzategui","doi":"10.1080/17503175.2017.1308907","DOIUrl":null,"url":null,"abstract":"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.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"11 1","pages":"18 - 32"},"PeriodicalIF":0.4000,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2017.1308907","citationCount":"6","resultStr":"{\"title\":\"The Babadook and the haunted space between high and low genres in the Australian horror tradition\",\"authors\":\"J. Balanzategui\",\"doi\":\"10.1080/17503175.2017.1308907\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"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.\",\"PeriodicalId\":51952,\"journal\":{\"name\":\"Studies in Australasian Cinema\",\"volume\":\"11 1\",\"pages\":\"18 - 32\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2017-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17503175.2017.1308907\",\"citationCount\":\"6\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Australasian Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503175.2017.1308907\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Australasian Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503175.2017.1308907","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 6
摘要
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。
The Babadook and the haunted space between high and low genres in the Australian horror tradition
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.