This addition to Intellect's Directory of World Cinema series turns the spotlight on Australia and New Zealand and offers an in-depth and exciting look at the cinema produced in these two countries since the turn of the twentieth century. Though the two nations share considerable cultural and economic connections, their film industries remain distinct, marked by differences of scale, level of government involvement and funding and relations with other countries and national cinemas. Through essays about prominent genres and themes, profiles of directors and comprehensive reviews of significant titles, this user-friendly guide explores the diversity and distinctiveness of films from Australia and New Zealand from Whale Rider to The Piano to Wolf Creek.
Building on and bringing up to date the material presented in the first instalment of Directory of World Cinema: Australia and New Zealand, this volume continues the exploration of the cinema produced in Australia and New Zealand since the beginning of the twentieth century. Among the additions to this volume are in-depth treatments of the locations that feature prominently in the countries’ cinema. Essays by leading critics and film scholars consider the significance of the outback and the beach in films, which are evoked as a liminal space in Long Weekend and a symbol of death in Heaven’s Burning, among other films. Other contributions turn the spotlight on previously unexplored genres and key filmmakers, including Jane Campion, Rolf de Heer, Charles Chauvel and Gillian Armstrong. Accompanying the critical essays in this volume are more than one hundred and fifty new film reviews, complemented by film stills and significantly expanded references for further study. From The Piano to Crocodile Dundee, Directory of World Cinema: Australia and New Zealand 2 completes this comprehensive treatment of a consistently fascinating national cinema.
Filmmakers have honed their skills and many have achieved critical and popular success at home and abroad, as have actors and other crew. American filmmakers and companies have found it cheaper to make films in Australia because wages and salaries are lower, tax rebates have been attractive and the expertise in most areas of filmmaking is comparable to that of anywhere in the world. At the same time, Australian audiences still enjoy watching Australian films, making some of them profitable, even if this is a small profit when considered in Hollywood terms. New Zealand filmmakers, cast and crew have shown that they are equal to the world’s best in making films with international themes, while other films have shown that the world is interested in New Zealand narratives and settings. Increased support for Maori filmmakers and stories has had a significant impact on production levels and on the diversity of stories that now reach the screen. It has also helped create more viable career paths for those who continue to be based in their home country. This second edition of Historical Dictionary of Australian and New Zealand Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on leading films as well as many directors, writers, actors and producers. It also covers early pioneers, film companies, genres and government bodies.
Why are development discourses of the ‘poor child’ in need of radical revision? What are the theoretical and methodological challenges and possibilities for ethical understandings of childhoods and poverty? The ‘poor child’ at the centre of development activity is often measured against and reformed towards an idealised and globalised child subject. This book examines why such normative discourses of childhood are in need of radical revision and explores how development research and practice can work to ‘unsettle’ the global child. It engages the cultural politics of childhood – a politics of equality, identity and representation – as a methodological and theoretical orientation to rethink the relationships between education, development, and poverty in children’s lives. This book brings multiple disciplinary perspectives, including cultural studies, sociology, and film studies, into conversation with development studies and development education in order to provide new ways of approaching and conceptualising the ‘poor child’. The researchers draw on a range of methodological frames – such as poststructuralist discourse analysis, arts based research, ethnographic studies and textual analysis – to unpack the hidden assumptions about children within development discourses. Chapters in this book reveal the diverse ways in which the notion of childhood is understood and enacted in a range of national settings, including Kenya, India, Mexico and the United Kingdom. They explore the complex constitution of children’s lives through cultural, policy, and educational practices. The volume’s focus on children’s experiences and voices shows how children themselves are challenging the representation and material conditions of their lives. The ‘Poor Child’ will be of particular interest to postgraduate students and scholars working in the fields of childhood studies, international and comparative education, and development studies.
Culture and conflict inevitably go hand in hand. The very idea of culture is marked by the notion of difference and by the creative, fraught interaction between conflicting concepts and values. The same can be said of all key ideas in the study of culture, such as identity and diversity, memory and trauma, the translation of cultures and globalization, dislocation and emplacement, mediation and exclusion. This series publishes theoretically informed original scholarship from the fields of literary and cultural studies as well as media, visual, and film studies. It fosters an interdisciplinary dialogue on the multiple ways in which conflict supports and constrains the production of meaning, on how conflict is represented, how it relates to the past and projects the present, and how it frames scholarship within the humanities. Editors: Isabel Capeloa Gil, Catholic University of Portugal, Lisbon, Portugal; Paulo de Medeiros, University of Warwick, UK, Catherine Nesci, University of California, Santa Barbara, USA. Editorial Board: Arjun Appadurai, New York University, Claudia Benthien, Universität Hamburg, Elisabeth Bronfen, Universität Zürich, Bishnupriya Ghosh, University of California, Santa Barbara, Joyce Goggin, Universiteit van Amsterdam, Lawrence Grossberg, University of North Carolina at Chapel Hill, Andreas Huyssen, Columbia University, Ansgar Nünning, Universität Gießen, Naomi Segal, University of London, Birkbeck College, Márcio Seligmann-Silva, Universidade Estadual de Campinas, António Sousa Ribeiro, Universidade de Coimbra, Roberto Vecchi, Universita di Bologna, Samuel Weber, Northwestern University, Liliane Weissberg, University of Pennsylvania, Christoph Wulf, FU Berlin, Longxi Zhang, City University of Hong Kong
Australian Genre Film interrogates key genres at the core of Australia’s so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop. The book examines what characterises Australian cinema and its output in this new golden age, as contributors ask to what extent Australian genre film draws on widely understood (and largely Hollywood-based) conventions, as compared to culturally specific conventions of genre storytelling. As such, this book offers a comprehensive and up-to-date survey of Australian genre film, undertaken through original analyses of 13 significant Australian genres: action, biopics, comedy, crime, horror, musical, road movie, romance, science fiction, teen, thriller, war, and the Western. This book will be a cornerstone work for the burgeoning field of Australian film genre studies and a must-read for academics; researchers; undergraduate students; postgraduate students; and general readers interested in film studies, media studies, cultural studies, Australian studies, and sociology.
The child has existed in cinema since the Lumière Brothers filmed their babies having messy meals in Lyons, but it is only quite recently that scholars have paid serious attention to her/his presence on screen. Scholarly discussion is now of the highest quality and of interest to anyone concerned not only with the extent to which adult cultural conversations invoke the figure of the child, but also to those interested in exploring how film cultures can shift questions of agency and experience in relation to subjectivity. Childhood and Nation in World Cinema recognizes that the range of films and scholarship is now sufficiently extensive to invoke the world cinema mantra of pluri-vocal and pluri-central attention and interpretation. At the same time, the importance of the child in figuring ideas of nationhood is an undiminished tic in adult cultural and social consciousness. Either the child on film provokes claims on the nation or the nation claims the child. Given the waning star of national film studies, and the widely held and serious concerns over the status of the nation as a meaningful cultural unit, the point here is not to assume some extraordinary pre-social geopolitical empathy of child and political entity. Rather, the present collection observes how and why and whether the cinematic child is indeed aligned to concepts of modern nationhood, to concerns of the State, and to geo-political organizational themes and precepts.
The Horror genre has become one of the most popular genres of TV drama with the global success and fandom surrounding The Walking Dead, Supernatural and Stranger Things. Horror has always had a truly international reach, and nowhere is this more apparent than on television as explored in this provocative new collection looking at series from across the globe, and considering how Horror manifests in different cultural and broadcast/streaming contexts. Bringing together established scholars and new voices in the field, Global TV Horror examines historical and contemporary TV Horror from Australia, Brazil, Canada, Denmark, France, Iran, Japan, Spain, New Zealand, USA and the UK. It expands the discussion of TV Horror by offering fresh perspectives, examining new shows, and excavating new cultural histories, to render what has become so familiar – Horror on television – unfamiliar yet again.
