Directory of World Cinema: Australia and New Zealand 2

Mark David Ryan and Geoff Lealand, Ben Goldsmith

Description

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.

Introduction: Australia

Film of the Year

Red Dog

Festival Focus

Brisbane International Film Festival

Australian Film Locations

Marketing Mix

Finding International Audiences

Star Study

Errol Flynn

Directors

Jane Campion

Arthur and Corrine Cantrill

Ken G Hall

Brian Trenchard-Smith

Action and Adventure

Australian Animated Feature Films

Comedian Comedy

Crime

Australian Gothic

Horror

Road Movie

Science Fiction

Thriller

War

The Australian Western

 

Introduction: New Zealand

Crossing the Ditch

Directors

Women Directors of Feature Films in New Zealand

Annie Goldson

Gaylene Preston

Director Studies

Costa Botes

Yvonne Mackay

Merata Mita

Barry Barclay

Christine Jeffs

Experimental and Documentary Film

Theatrical Documentary in New Zealand 2012

Genres of New Zealand Experimental Film

'Principled Patriotism'

Emerging Asian New Zealand Film-makers in New Zealand Cinema

Sujets

• Nueva Zelanda
• Película fotográfica
• Reference
• New Zealand
• Australia
• Aotearoa
• Digital
• Film
• Nouvelle-Zélande
• Culture cinématographique

Informations

• Publié par: Intellect Books
• Date de parution: 01 avril 2015
• Nombre de lectures: 0
• EAN13: 9781783204816
• Langue: English
• Poids de l'ouvrage: 13 Mo

Extrait

2

DIRECTORY OF WORLD CINEMA

EDITED BY BEN GOLDSMITH MARK DAVID RYAN GEOFF LEALAND A N U E ST W R Z A E L A I L A A & ND

Volume 19

dIrectory of world cInema aUStralIa & new Zealand 2

Edîted by Ben Godsmîth, Mark Davîd Ryan and Geoff Leaand

întellect Bristol, UK / Chicago, USA

Fîrst pubîshed în the UK în 2015 by Inteect Books, The Mî, Parna Road, Fîshponds, Brîsto, BS16 3JG, UK

Fîrst pubîshed în the USA în 2015 by Inteect Books, The Unîversîty of Chîcago Press, 1427 E. 60th Street, Chîcago, IL 60637, USA

Copyrîght © 2015 Inteect Ltd

A rîghts reserved. No part of thîs pubîcatîon may be reproduced, stored în a retrîeva system, or transmîtted, în any form or by any means, eectronîc, mechanîca, photocopyîng, recordîng, or otherwîse, wîthout wrîtten permîssîon.

A cataogue record for thîs book îs avaîabe from the Brîtîsh Lîbrary.

Pubîsher: May Yao Pubîshîng Managers: Jeena Stanovîk and Heather Gîbson

Cover photograph:Samson and Delîlah, 2009, Scarett Pîctures/The Koba Coectîon Cover desîgner: Hoy Rose Copy-edîtor: Emma Rhys Typesetter: John Teehan

Dîrectory of Word Cînema ISSN 2040-7971 Dîrectory of Word Cînema eISSN 2040-798X

Dîrectory of Word Cînema: Austraîa & New Zeaand 2 ISBN 978-1-84150-634-0 Dîrectory of Word Cînema: Austraîa & New Zeaand 2 eISBN 978-1-78320-481-6

Prînted and bound by Short Run Press, UK.

contentS

dIrectory of world cInema aUStralIa & new Zealand 2 aCkNOWLEDgEMENTs 5 thRîLLER 173 Essay INTRODuCTîON: ausTRàLîà 6Revîews

fîLM OF ThE yEàR Red Dog

fEsTîVàL fOCus Brîsbane Internatîona Fîm Festîva

ausTRàLîàN fîLM lOCàTîONs

màRkETîNg mîX Fîndîng Internatîona Audîences

STàR STuDY Erro Fynn

dîRECTORs Jane Campîon Arthur and Corrîne Cantrî Ken G Ha Brîan Trenchard-Smîth

aCTîON àND aDVENTuRE Essay Revîews

ausTRàLîàN aNîMàTED fEàTuRE fîLMs Essay Revîews

cOMEDîàN cOMEDY Essay Revîews

cRîME Essay Revîews

ausTRàLîàN GOThîC Essay Revîews

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20

23

26

30

34

49

67

79

95

111

wàR Essay Revîews

thE ausTRàLîàN wEsTERN Essay Revîews

INTRODuCTîON: nEW ZEàLàND

cROssîNg ThE dîTCh Essay Revîews

dîRECTORs Women Dîrectors of Feature  Fîms în New Zeaand Annîe Godson Gayene Preston

dîRECTOR STuDîEs Costa Botes Yvonne Mackay Merata Mîta Barry Barcay Chrîstîne Jeffs

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209

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eXpERîMENTàL àND dOCuMENTàRY fîLM 291 Theatrîca Documentary în New  Zeaand 2012 Genres of New Zeaand  Experîmenta Fîm ‘Prîncîped Patrîotîsm’

eMERgîNg asîàN nEW ZEàLàND fîLM-MàkERs îN nEW ZEàLàND cîNEMà

rECOMMENDED rEàDîNg

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HORROR 127 ausTRàLîà & nEW ZEàLàND EssaycîNEMà oNLîNE 334 Revîews tEsT yOuR KNOWLEDgE 342 rOàD mOVîE 145 Essay345nOTEs oN cONTRîBuTORs Revîews fîLMOgRàphY 350 SCîENCE fîCTîON 159 Essay Revîews contentS

Dîrectory of Word Cînema

acKnowledGementS

Dîrectory of Word Cînema

Fîrst and foremost, the edîtors woud îke to thank the contrîbutors for a theîr hard work, theîr enthusîasm for Austraîan and New Zeaand cînema, and theîr patîence whîe waîtîng for the book’s pubîcatîon. The edîtors woud îke to thank the Fîm, Screen and Anîmatîon Dîscîpîne în the Schoo of Medîa, Entertaînment, Creatîve Arts, Creatîve Industrîes Facuty, Queensand Unîversîty of Technoogy, for îts inancîa contrîbutîon to the book to purchase îcensed îmages and to prînt thîs voume în coour. We are extremey gratefu for thîs generous support. The coour versîon îs strîkîng and makes a huge dîfference to the text’s vîsuas. Thanks must aso go to Heather Gîbson, Jeena Stanovnîk and Meanîe Marsha for a theîr edîtorîa work behînd the scenes to prepare the dîrectory for prînt. Fînay, Mark Ryan woud îke to thank Ha and Jîm McEroy and Catherîne Gîam from the AFI Research Coectîon for theîr permîssîon to use theRazorbackîmages.

Acknowedgements5 acKnowledGementS

Dîrectory of Word Cînema

IntrodUctIon: by ben GoldSmItH àND marK davId ryan

The questîon of what exacty constîtutes an ‘Austraîan im’ has ong preoccupîed those învoved or înterested în the ims made eîther în thîs country, or those ims made wîth Austraîan învovement esewhere în the word. When Warwîck Thornton’s irst imSamson and Delîlah(2009) won the Camera d’Or at Cannes, there was no doubt that ît ceary quaîied as an Austraîan im. Thîs story about two young Indîgenous Austraîans îvîng în an îsoated communîty în the mîdde of the country, was wrîtten, dîrected and shot by Thornton, hîmsef a Kaytetye man from the Northern Terrîtory. But when another im by an Austraîan dîrector won the Camera d’Or the foowîng year, there was dîvîsîon among commentators and crîtîcs over whether thîs coud be caîmed as Austraîan. The MebourneHerald Sunand theNorthern Terrîtory News, among others, were în no doubt that Mebournîan Mîchae Rowe’sAño Bîsîesta/Leap Year(2010) – made în Spanîsh, în Mexîco – îs Austraîan, wîth the atter pubîcatîon memoraby headînîng îts story of Rowe’s wîn ‘Oz S&M Fîck Cannes Pîck’ (Johnson 2010; Anon 2010a). Even one of the natîona pubîc broadcasters descrîbed the im as an ‘Oz-Mex sex thrîer’ în îts news coverage (Vîncent 2010). Rowe hîmsef was carefu to emphasîze the ‘Mexîcan resonance’ of the im în întervîews foowîng hîs wîn (Wîson 2010), but he woud aso te Austraîan im magazîneEncorethat ‘I’m a son of Austraîa, of course [...] My artîstîc sensîbîîty and narratîve îs încorruptîby Austraîan; that comes from the crade and you can’t get rîd of ît even îf you wanted to’ (Anon 2010b: 21). Thîs îs remînîscent of the vîew expressed by George (Mad Max) Mîer în the eary 1980s that:

we are Austraîans, we are Austraîan im-makers. I thînk, wîthout even tryîng, the Austraîanness comes through în the im, so you can’t suddeny export yoursef, as ît were, and make im wîthout that Austraîan poînt of vîew. Even though our cuture reproduces to some degree the Amerîcan, Brîtîsh, European and, în a îtte way, Asîan cuture, I thînk that makes us even în a very subte way pecuîary Austraîan and you can never get around that. (Quoted în Whîte 1984: 96)

The îdea of a natîon’s cînema as a bounded, dîscrete and îdentîiabe space neaty separated from the cînema of other natîons has never been a reaîty. Natîona cînemas are porous and eaky, înevîtaby mutîvaent, mutîpy connected to, înluenced by, and împactîng on narratîves and styes, practîces of im productîon and patterns of consumptîon beyond the natîona terrîtory. Tom O’Regan ocates the specîicîty of Austraîan cînema ‘not în any partîcuar set of attrîbutes, so much as în îts reatîona character’ (O’Regan 1996: 7). Over the ast few decades, Austraîan cînema’s înternatîona reatîons în productîon and poîcy have expanded and become more compex. Deb Verhoeven’s usefu expansîon of Susan Dermody and Eîzabeth

6Austraîa & New Zeaand 2

Dîrectory of Word Cînema

Samson and Delîlah (Warwîck Thornton, 2009)

Jacka’s înluentîa ‘Industry 1–Industry 2’ mode of Austraîan cînema eaborates these changes (Verhoeven 2010; Dermody and Jacka 1987). Verhoeven suggests a new mode, ‘Industry 3’, whîch îs characterîzed by the mîxîng of natîona and înternatîona eements, ims and im-makers. Aongsîde the înward-ookîng Industry 1, whîch Dermody and Jacka cassîied as prîncîpay beîng concerned wîth Austraîan îdentîty (abeît înluenced by European-stye art cînema and obsessed by oca, socîa purpose), and the more outward-ookîng Industry 2, preoccupîed wîth entertaînment, înternatîonaîsm, genre productîon and earnîng from Hoywood, Verhoeven argues that a thîrd îndustry became evîdent by the end of the 1990s:

[Industry 3] comprîses ims and im-makers happîy embedded înboththe oca and goba [and] typîcay [...] ims înîtîated by Austraîans wantîng to work wîth arge budgets, înternatîona resources, hîgh-proie actors and oca content or personne, and shootîng eîther în Austraîa or offshore, or combînîng the two. (Verhoeven 2010: 141)

If the quaîicatîon ‘înîtîated by Austraîans’ were removed, thîs category coud aso încude many of the înternatîona productîons made în Austraîa. Moreover, as Ryan (2012) has argued, sînce the începtîon of the Producer Offset în 2007, poîcy prîorîtîes have shîfted away from teîng Austraîan storîes wîthout commercîa împeratîves towards fosterîng commercîa productîons that engage wîth audîences. A by-product of thîs poîcy shîft, from argey cutura to îndustry poîcy, has been the renaîssance of hîgh-budget oca bockbusters and genre movîes (both domînant productîon strategîes în the 1980s) whîch are for the most part embedded în the oca and the goba and draw upon codes, conventîons and expectatîons that are not (ony) set ocay.

Introductîon7

Dîrectory of Word Cînema

Rabbît-Proof Fence(Phîîp Noyce, 2002). © Koba Coectîon

The essays and revîews în thîs Austraîan sectîon of the second voume of Inteect’s Dîrectory of World Cînema: Australîa and New Zealandîumînate somethîng of the partîcuarîty of Austraîan cînema, and aso îts connectedness through peope, ims, genres, to the cînema of the word. Thîs voume compements and extends the irst voume, pubîshed în 2010. There are severa new sectîons (Fîm of the Year, Festîva Focus, Locatîons, Marketîng Mîx, Star Study), artîces on four Austraîan dîrectors, orîgîna essays on eeven genres, and over sîxty revîews of Austraîan ims. We take a deîberatey broad vîew of Austraîan cînema, and many of the essays take up and lesh out îts reatîona character. Krîv Stenders’sRed Dog(2011) was an easy choîce as ‘Fîm of the Year’. The im îs an amagam of shaggy dog storîes, adapted from Engîsh author Louîs de Bernîères’s 2001 noveRed Dog, whîch îtsef was based on a serîes of taes about a famous canîne

8Austraîa & New Zeaand 2