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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
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
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
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