Academic literature on the topic 'Australian expanded cinema'

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Journal articles on the topic "Australian expanded cinema"

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Fu, Poshek. "Hong Kong Cinema: Coloniser, Motherland and Self. By Yingchi Chu. [London and New York: RoutledgeCurzon, 2002. xxi+184 pp. £55.00. ISBN 0-7007-1746-3.]." China Quarterly 177 (March 2004): 241–43. http://dx.doi.org/10.1017/s0305741004370128.

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The recent success of Jackie Chan, Chow Yun-fat, Jet Li, Wong Kar-wai, and John Woo in reaching a global audience, along with the enormous changes in Hong Kong since the early 1990s, has attracted a lot of critical attention to Hong Kong cinema around the world. Beginning with Stephen Teo's Hong Kong Cinema (1997) and David Bordwell's Planet Hong Kong (2000), scholarship on the cinema of Hong Kong – whether from the perspective of cultural identity, global culture, film history, or film art – has greatly expanded. Australian scholar Yingchi Chu's book, Hong Kong Cinema: Coloniser, Motherland a
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Downing, Leanne. "Sensory Jam." M/C Journal 9, no. 6 (December 1, 2006). http://dx.doi.org/10.5204/mcj.2685.

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 Sticky, messy and nauseatingly saccharine, the sensory properties of jam may be a long way from the stylized corporate polish of Australia’s multi-billion dollar film exhibition industry, yet the history of Australian cinema space will be forever indebted to the Victoria Preserving Company; one-time producer of the humblest of sweet treats. Through an analysis of Melbourne’s Jam Factory cinema complex, this article explores the unusual intersection of jam, sensory gratification and contemporary Australian cinema-going at the dawn of the 21st century. Encompassing the histo
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Wahyudi, Slamet. "HOW TO WIN INDONESIAN MOVIE VIEWERS: CASE OF VILLAGE CINEMA AUSTRALIA." Jurnal Bisnis Terapan 2, no. 01 (June 30, 2018). http://dx.doi.org/10.24123/jbt.v2i01.1084.

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Australia and Indonesia have a close relationship in many busineses areas including entertainment. This paper focuses on how Australia’s Giant Cinema expands its business into Indonesia. Since many Indonesians stayed in Australia and experience directly Australian products and services, they are aware that Australian products had a high quality. Fortunately, vice versa, Australians are quite familiar with Indonesian culture. This is an opportunity for Village Cinema to enter Indonesian Market. This paper will start with market segmentation and Village cinema’s target customers; furthermore it
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Petzke, Ingo. "Alternative Entrances: Phillip Noyce and Sydney’s Counterculture." M/C Journal 17, no. 6 (August 7, 2014). http://dx.doi.org/10.5204/mcj.863.

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Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you sim
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West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (July 24, 2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix
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Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (October 13, 2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique
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Garbutt, Rob, Jacqueline Dutton, and Johanna Kijas. "Counterculture." M/C Journal 17, no. 6 (December 10, 2014). http://dx.doi.org/10.5204/mcj.930.

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What does counterculture do? This is the question we asked ourselves repeatedly in curating this issue for M/C Journal. While incredible examples of countercultural lives—collective and individual—were described in articles we received, what we have tried to do is bring together research on how counterculture is both theorised and practised in local and international contexts. At the heart of this issue is a two-day conference in May 2013 titled “Aquarius and Beyond: 40 years on…” (Southern Cross University) that marked the 40th anniversary of the 1973 Nimbin Aquarius Festival, held in the nor
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Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (October 1, 2005). http://dx.doi.org/10.5204/mcj.2409.

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 All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).
 
 
 As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see
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Marshall, P. David, and Sue Morris. "Game." M/C Journal 3, no. 5 (October 1, 2000). http://dx.doi.org/10.5204/mcj.1869.

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What is game who got game Where's the game In life Behind the game Behind the game I got game She got game We got game They got game He got game -- He Got Game by Public Enemy(From the soundtrack to the 1998 Spike Lee film He Got Game) There is an interesting pattern that develops when a relatively new object of study is broached by cultural studies academics. A reflex response is to defend the reasons why you are giving time to studying these apparently innocuous pastimes. Defenses of television studies twenty-five years ago could have resembled the way that the new forms of games are now bei
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Craven, Allison Ruth. "The Last of the Long Takes: Feminism, Sexual Harassment, and the Action of Change." M/C Journal 23, no. 2 (May 13, 2020). http://dx.doi.org/10.5204/mcj.1599.

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The advent of the #MeToo movement and the scale of participation in 85 countries (Gill and Orgad; see Google Trends) has greatly expanded debate about the revival of feminism (Winch Littler and Keeler) and the contribution of digital media to a “reconfiguration” of feminism (Jouet). Insofar as these campaigns are concerned with sexual harassment and related forms of sexual abuse, the longer history of sexual harassment in which this practice was named by women’s movement activists in the 1970s has gone largely unremarked except in the broad sense of the recharging or “techno-echo[es]” (Jouet)
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Dissertations / Theses on the topic "Australian expanded cinema"

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Mikhail, Samia, and fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.

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This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will ex
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