回归澳大利亚恐怖电影与“奥兹罗兹”电影之争

IF 0.4 0 FILM, RADIO, TELEVISION Studies in Australasian Cinema Pub Date : 2017-01-02 DOI:10.1080/17503175.2017.1308901
M. Ryan, B. Goldsmith
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引用次数: 2

摘要

本小节中的三篇文章回到了澳大利亚恐怖电影和奥兹罗兹电影研究的核心学术辩论。就前者而言,恐怖电影在澳大利亚电影研究中的研究仍然不足。这并不奇怪。一方面,自2000年代中期以来,澳大利亚电影业制作了一些受欢迎的、具有国际影响力的恐怖电影,如《巴巴杜克》(詹妮弗·肯特,2014年)、《白日梦》(迈克尔和彼得·斯皮里格,2009年)和《狼溪》(格雷格·麦克莱恩,2005年)。另一方面,大多数澳大利亚恐怖电影很少获得评论界的好评,也没有在主流电影评论中得到广泛讨论;每一部《狼溪》都有一长串消失在市场长尾中的电影,如《红比拉邦》(Luke Sparke,2016)、《背包客》(Nick Robertson,2015)、《我和我的伴侣大战僵尸启示录》(Declan Shrubb,2015)和《皮利加有东西》(Dane Millard,2014)。每年上映的本地恐怖电影很少能在影院上映,平均片名在家庭视频市场和/或订阅和按下载付费服务中流通。作为一个概念范畴,澳大利亚恐怖电影出现在邪教电影的交叉点;澳大利亚国际电影,很难根据文化价值进行评估(例如,尽管澳大利亚演员扮演的角色带有美国口音,但从未具体说明《三角》[2009,Christopher Smith]的背景);以及长期以来与好莱坞电影制作联系在一起的类型电影制作。因此,直到最近,在澳大利亚电影研究中,这一主题很少成为主流话语的中心,这些话语涉及将澳大利亚电影区分为国家电影。。。
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Returning to Australian horror film and Ozploitation cinema debate
The three articles in this subsection return to scholarly debates at the core of research into Australian horror movies and Ozploitation cinema. In terms of the former, the horror film remains under-researched in Australian film studies. This is not surprising. On the one hand, since the mid-2000s the Australian film industry has produced a handful of popular, and internationally influential horror movies such as The Babadook (Jennifer Kent, 2014), Daybreakers (Michael and Peter Spierig, 2009), and Wolf Creek (Greg McLean, 2005). On the other hand, the majority of Australian horror films rarely receive critical acclaim, nor are they widely discussed in mainstream film criticism; and for every Wolf Creek, there is a long list of movies such as Red Billabong (Luke Sparke, 2016), The Pack (Nick Robertson, 2015), Me and My Mates vs. The Zombie Apocalypse (Declan Shrubb, 2015), and There's Something in the Pilliga (Dane Millerd, 2014) that disappear into the long-tail of the market. Few local horror movies released each year secure cinema release and the average title circulates in home video markets, and/or subscription and pay-per-download services. As a conceptual category, Australian horror movies emerge at the intersection of cult cinema; Australia-international cinema that can be difficult to evaluate on the basis of cultural value (the setting of Triangle [2009, Christopher Smith] for instance is never specified although Australian actors play characters who speak with American accents); and genre filmmaking long associated with Hollywood-inspired filmmaking. As a consequence, until quite recently the subject has rarely been central to dominant discourses in Australian film studies concerned with distinguishing Australian cinema as a national cinema...
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来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
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发文量
7
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