By Felicity Collins
Australian Cinema After Mabo is the 1st accomplished examine of Australian nationwide cinema within the Nineties. utilizing the 1992 Mabo determination as a place to begin, it appears to be like at how the Mabo choice, the place the founding doctrine of terra nullius used to be overruled, has destabilised the best way Australians relate to the land. It asks how we expect approximately Australian cinema within the publish Mabo period, and what half it performs within the nationwide technique of reviewing our colonial previous and the ways that settlers and indigenous cultures can co-exist. together with The Tracker, Kiss or Kill, The fortress, Love Serenade and Yolngu Boy between various others, this booklet highlights turning issues within the shaping of the Australian cinema considering Mabo. it really is crucial examining for somebody learning Australian cinema and for these drawn to the ways that land politics has impacted upon the way in which we think ourselves via cinema.
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Extra info for Australian Cinema After Mabo
2: Anatomy of National Cinema, Sydney: Currency Press, 1988; Ross Gibson, South of the West, Bloomington and Indianapolis IN: Indiana University Press, 1992; Tom O’Regan, Australian National Cinema, London and New York: Routledge, 1996; William Routt, ‘On the expression of colonialism in early Australian ﬁlms’. In A. Moran and T. O’Regan (eds), An Australian Film Reader, Sydney: Currency Press, 1985; Graeme Turner, National Fictions: Literature, Film and the Construction of Australian Narrative, Sydney: Allen & Unwin, 1986 and 1993.
Australian programs comprise at least 55 per cent of content on Australian free-to-air television. See Roger Horrocks, ‘New Zealand cinema: cultures, policies, ﬁlms’. ), Twin Peeks: Australian & New Zealand Feature Films, Melbourne: Damned Publishing, 1999, pp. 129–37. Horrocks outlines cultural costs and beneﬁts of a deregulated ﬁlm and television industry in New Zealand. One of the beneﬁts is a kind of localism producing an ‘Antipodean camp’ aesthetic rather than nationalism’s straight white macho ﬁgures.
32 Anxious Flesh in Lantana A curious feature of the 2001 AFI awards was the sureness with which Lantana stole the show from its major competitors, edging Moulin Rouge into the craft awards and eclipsing The Dish (a disappearing act in terms of ﬁlm awards, despite success at home and its enviable distribution deal with Time-Warner). Lantana, like The Dish, belongs to a cluster of mundane Australian ﬁlms which routinely negotiate tensions between cinematic spectacle and televisual naturalism, between a sophisticated, outward-looking spectacle and a naive, inward-looking (though canny) populism.