Graeme Turner's judgement of the place and significance of the period films produced during the revival re-emphasises several key issues already acknowledged in relation to the Ocker comedies and the Australian Gothic. The film credited with inspiring the cycle of period films, and with endowing the new Australian cinema with an aesthetic maturity belying its age, was Picnic at Hanging Rock. Picnic's basis in the Gothic and its extension of its director's interest in alienating subjective experience underline the film's adoption of a period setting in order to offer a critique of authority within a fantasy-horror format. Fred Schepisi's films which use the period setting focus on male experience of intolerance and oppression, and refuse to temper their criticism of prevailing attitudes through simplification of issues or prettification of mise-en-scene. Sirens achieves a belated revival of the period film cycle, while developing the themes of its writer-director.
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.