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引用次数: 1
摘要
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。
Kennedy Miller Mitchell and the relationality of Australian cinema – global film practice in Australia
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.