Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature. The perversity of rural townships and their residents forms the basis of Gothic texts which in other respects reflect debts to generic entertainment, social polemics, fantasy and allegory. Peter Weir's first feature production The Cars That Ate Paris portrays the Outback town as the seat of deranged authority. The considerable commercial success of Mad Max (1979) and Mad Max 2 (1981) both at home and abroad is attributable to the strong generic basis for their narratives, characterisation and iconography. Max's heroic tasks grow in stature and destructiveness as the cycle progresses. In the cases of Walkabout and Shame, a significant part of the horror resides in the defamiliarisation of natural and human landscapes away from urbanisation.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.