Synopses & Reviews
Synopsis
1. Australian Screen in the 2000s: An Introduction
2. Picking up the Pieces: Contemporary Australian Cinema and the Representation of Australian Film History
Part I. Australian‒International Screen
3. Australian Blockbuster Movies
4. UnAustralians: Australian Characters in Non-Australian Films
5. Abroad: Production Tracks and Narrative Trajectories in Films about Australians in Asia
6. Haunted Art House: The Babadook and International Art Cinema Horror
Part II. Representation, Narrative and Aesthetics7. Gender Matters: Gender Policy and the Rewriting of the Mother‒Daughter Narrative in Contemporary Australian Women's Filmmaking
8. The Laughter and the Tears: Comedy, Melodrama and the Shift towards Empathy for Mental Illness on Screen
9. "It was the Summer When Everything Changed..." Coming of Age Queer in Australian Cinema
10. Administering Sonic Shock in Samson and Delilah
Part III. Genre and Cycles
11. Australian Indigenous Screen in the 2000s: Crossing into the Mainstream
12. Carving out an Australian Sensory Cinema
13. White Male History: The Genre and Gender of The Proposition
14. Rake: Australianising HBO-Style Television?
Part IV. Distribution and Exhibition
15. Eulogies for the Video Store: Remembering the Practices and Objects of the Rental Era
16. Feature Film Diversity on Australian Cinema Screens: Implications for Cultural Diversity Studies Using Big Data
Synopsis
This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major new talents and a movement away with earlier films' preoccupation with what it means to be Australian. With original contributions from leading scholars in the field, the collection contains chapters on particular genres (horror, blockbusters and comedy), Indigenous Australian film and television, women's filmmaking, queer cinema, representations of history, Australian characters in non-Australian films and films about Australians in Asia, as well as chapters on sound in Australian cinema and the distribution of screen content. The book is both scholarly and accessible to the general reader. It will be of particular relevance to students and scholars of Anglophone film and television, as well as to anyone with an interest in Australian culture and creativity.