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Finding meaning and identity in the rural Australian landscape
Jonathan Rayner

indigenous peoples). The representation of the land provides an appropriate accent to the Australian cinema’s idiom: the mountains, the desert, the bush and the coast may have acquired specific, but not neces sarily one-dimensional, meanings in characterisation and mise-enscène , and these environments appear as much as agents as atmospheres within the national film industry

in Cinematic countrysides
Open Access (free)
An allegory of imperial rapport
Deirdre Gilfedder

Britain. 27 Yet they also signal its declining relevance in an increasingly multicultural society with the narrow focus on the ‘Anglo’ white male dissipating in the films of the 1990s and beyond. Felicity Collins and Therese Davis demonstrate the rupture that the Mabo decision of 1992 (a High Court decision that allowed Indigenous Australians to claim their land rights) brought to Australian cinema, 28 introducing a

in The British monarchy on screen
Open Access (free)
The Queen in Australia
Jane Landman

–1. 32 Moran, Projecting Australia , pp. 54, 55–80. 33 Graham Shirley and Brian Adams, Australian Cinema: The First Eighty Years (Sydney: Angus and Robertson, 1983 ). 34 Moran, Projecting Australia ; David McKnight

in The British monarchy on screen
Martin Phillips

useful. Dermody and Jacka focus on Australian cinema, where they use the concept of ‘social imaginaries’ as an ‘intermediary’ or ‘mediating’ term between studies of cinematic production and film ‘texts’, national socio-cultural and economic histories, and subject formation and spectatorship. They argue that Australian film industry, like the New Zealand one, ‘exists in an

in Cinematic countrysides
Abstract only
Surveying Scottish cinema, 1979 –present
Christopher Meir

his seminal study of Australian cinema, a kind of analysis that addresses ‘the films, the audience (including the critical audience) for these films, the industry within which they are produced, the local and international markets where they circulate, and the strategic role of government in sustaining domestic productions’ (1996, p. 2), but which also brings such a framework to bear on individual films. As John Thornton Caldwell has written regarding the American film and television industries, Introduction 9 ‘one of the best ways to understand political

in Scottish cinema
Abstract only
Brian McFarlane

below the regular ‘On Television’ pages in an edition of the New Yorker in which Emily Nussbaum reviews the series The Night Manager and others, with no apparent special reason to use the title and making no reference to the film. 42 To end this eclectic selection of pieces highlighting the 1945 film’s name, even if that’s the extent of the articles’ concerns, an editor gave the following title to an essay of mine on the incidence of British film in Australian cinemas: ‘Brief encounters: British cinema in Australia’. 43 Historically, it belonged to the period

in The never-ending Brief Encounter
Richard J. Hand

-minute episodes adapted and produced by Polly Thomas. Lindsay’s novel is a fictional account of a group of schoolgirls who disappear during an outing to the outback on St Valentine’s Day 1900. The novel was famously adapted for the screen by Peter Weir in 1975 in what remains a classic work of Australian cinema. The radio version adheres to the narrative of Lindsay’s novel, but as an example of radio drama it is

in Listen in terror
Steven Peacock

Australian cinema as reflective of ‘foreign language’ film in terms of asymmetries of recognition, access, and viability on a global level. Like other small national cinemas, it is seen as marked by unequal cultural exchange due to the pre-eminent role played by imports.94 For Hjort, ‘O’ Regan usefully emphasizes the ways in which Australian cinema negotiates “political and cultural weakness”, foregrounding the role of cultural transfers in what is to a significant extent an “import culture” … In many ways O’ Regan’s important study demonstrates, in detail and in relation

in Swedish crime fiction
Abstract only
Andrew Dix

in looking at masculinity in other places because most of the literature about masculinity is about British and American men by British and American men and women’ ( 2002 : 62). Much more work remains to be done, however. What, for example, are the hegemonic and subordinate forms of masculinity in Iranian cinema? In Nigerian, or Brazilian, or Polish, or Australian cinemas? And how are such national masculinities reshaped by contact with Hollywood, or by the border-crossings that characterise cinema in the era of globalisation? STOP and THINK

in Beginning film studies (second edition)