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Journal articles on the topic 'Australian expanded cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

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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2

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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3

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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4

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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6

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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8

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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9

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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10

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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11

Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (June 1, 2005). http://dx.doi.org/10.5204/mcj.2345.

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 From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha
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12

McCosker, Anthony, and Timothy Graham. "Data Publics: Urban Protest, Analytics and the Courts." M/C Journal 21, no. 3 (August 15, 2018). http://dx.doi.org/10.5204/mcj.1427.

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This article reflects on part of a three-year battle over the redevelopment of an iconic Melbourne music venue, the Palace-Metro Nightclub (the Palace), involving the tactical use of Facebook Page data at trial. We were invited by the Save the Palace group, Melbourne City Council and the National Trust of Australia to provide Facebook Page data analysis as evidence of the social value of the venue at an appeals trial heard at the Victorian Civil Administration Tribunal (VCAT) in 2016. We take a reflexive ethnographic approach here to explore the data production, collection and analysis process
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13

Hjorth, Larissa, and Olivia Khoo. "Collect Calls." M/C Journal 10, no. 1 (March 1, 2007). http://dx.doi.org/10.5204/mcj.2586.

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 Synonymous with globalism, the mobile phone has become an integral part of contemporary everyday life. As a global medium, the mobile phone is a compelling phenomenon that demonstrates the importance of the local in shaping and adapting the technology. The adaptation and usage of the mobile phone can be read on two levels simultaneously – the micro, individual level and the macro, socio-cultural level. Symbolic of the pervasiveness and ubiquity of global ICTs (Information and Communication Technologies) in the everyday, the mobile phone demonstrates that the experiences of
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14

Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (July 2, 2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it
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15

Brien, Donna Lee. "A Taste of Singapore: Singapore Food Writing and Culinary Tourism." M/C Journal 17, no. 1 (March 16, 2014). http://dx.doi.org/10.5204/mcj.767.

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Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundati
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16

Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (June 1, 2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
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17

Pace, John, and Jason A. Wilson. "(No) Logo Au-go-go." M/C Journal 6, no. 3 (June 1, 2003). http://dx.doi.org/10.5204/mcj.2176.

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Naomi Klein’s global bestseller No Logo was published in paperback in the USA in December 2000; in the UK in January 2001. Few blockbuster publications can have been more sweetly timed. All around the world, spectacular public protests were occurring at major international forums: at the World Trade Organisation meeting in Seattle in 1999, at Melbourne’s World Economic Forum meeting in September 2000 and later that month at the International Monetary Fund meeting in Prague. In what was dubbed a ‘year of global protest’ in journals from the Providence Phoenix to the Socialist Review, Klein’s bo
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18

Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (June 11, 2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of
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19

Habel, Chad Sean. "Doom Guy Comes of Age: Mediating Masculinities in Power Fantasy Video Games." M/C Journal 21, no. 2 (April 25, 2018). http://dx.doi.org/10.5204/mcj.1383.

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Introduction: Game Culture and GenderAs texts with the potential to help mediate specific forms of identity, video games are rich and complex sites for analysis. A tendency, however, still exists in scholarship to treat video games as just another kind of text, and work that explores the expression of masculine identity persists in drawing from cinematic analysis without proper consideration of game design and how these games are played (Triana). For example, insights from studies into horror cinema may illuminate the relationship between players and game systems in survival horror video games
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20

Kennedy, Ümit, and Emma Maguire. "The Texts and Subjects of Automediality." M/C Journal 21, no. 2 (April 25, 2018). http://dx.doi.org/10.5204/mcj.1395.

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Being is an empty fiction. The “apparent” world is the only world: the “true world” is just a lie added on to it… —Nietzsche. Anna Poletti: I’m attracted to autobiography in a non-narrative context because I’m very interested in texts that people create that demonstrate their thinking or their fantasies or their processing, generally.Lauren Berlant: Right, in that sense it’s autobiography in your larger sense of what autobiography is: a record of […] processing. —Anna Poletti and Julie Rak with Lauren Berlant. The medium is the message. —Marshall McLuhanWelcome to the M/C Journal issue on auto
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21

Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (August 11, 2013). http://dx.doi.org/10.5204/mcj.632.

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha
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22

Barker, Timothy Scott. "Information and Atmospheres: Exploring the Relationship between the Natural Environment and Information Aesthetics." M/C Journal 15, no. 3 (May 3, 2012). http://dx.doi.org/10.5204/mcj.482.

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Our culture abhors the world.Yet Quicksand is swallowing the duellists; the river is threatening the fighter: earth, waters and climate, the mute world, the voiceless things once placed as a decor surrounding the usual spectacles, all those things that never interested anyone, from now on thrust themselves brutally and without warning into our schemes and manoeuvres (Michel Serres, The Natural Contract, p 3). When Michel Serres describes culture's abhorrence of the world in the opening pages of The Natural Contract he draws our attention to the sidelining of nature in histories and theories th
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