The recreation of the Australian film industry in the 1970s and its subsequent survival on economic and aesthetic terms have been inseparable from debate over sources of finance. The reception and encouragement of the period film cycle has been taken as evidence of a regimentation of treatment in the service of a primary political objective. This is to define and broadcast an expedient, respectable and marketable form of Australian identity at a crucial moment in the development of national consciousness. The groups of films addressed in this book have been categorised by critics or have aligned themselves with generic patterns, in response to their maker's intentions and their audience's expectations. Stereotypical representations of Australian masculinity are found in The Overlanders, They're A Weird Mob and Crocodile Dundee. These representations strive to designate the white, classless, individualistic male as the archetypal Australian, defined strictly by or in relation to outsiders.
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.