>Australian national cinema studies

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Image from Samson and Delilah (Warwick Thornton, 2009)

Film Studies For Free presents its whopping and interdisciplinary list of scholarly links to online and openly accessible studies of one of its favourite national cinemas, that of Australia. A passable effort for a Pom website, it hopes you agree.

There are some veritably beaut resources here, but FSFF would especially like to flag up one great, but time-limited, free download opportunity: Ben Goldsmith and Geoff Lealand (eds.), Directory of World Cinema: Australia and New Zealand (Bristol: Intellect Books, 2010)

• Martha Ansara and Lisa Milner, ‘The Waterside Workers Federation Film Unit: the forgotten frontier of the fifties’, Metro Magazine vol. 119, pp. 28-39 
• Pieter Aquilia, ‘Wog Drama and ‘White Multiculturalists’: The Role of Non Anglo-Australian Film and Television Drama in Shaping a National Identity’, originally published in Ruinard and Tilley eds. Fresh Cuts: Journal of Australian Studies no. 67, St Lucia, UQP, 2000
• Susan Barber, ‘Runaway, Negligent and Abusive mothers: Alternate mother – daughter relationships in Australian Cinema’, Communications, Civics, Industry – ANZCA2007 Conference Proceedings
• Susan Barber, ‘Creative Disabilities and Vulnerable Bodies In Women In The Bush’, Conference Proceedings, ANZCA, 2006
• Katherine Biber, ‘The Threshold Moment: Masculinity at Home and on the Road in Australian Cinema’, LIMINA, Volume 7, 2001 
• Christine Boman, ‘”Let’s get her”: Masculinities and Sexual Violence in Contemporary Australian Drama and its Film Adaptations’, Journal of Australian Studies, 76: 2003
• Kate Bowles, ‘All the evidence is that Cobargo is slipping’: An ecological approach to rural cinema-going’, Film Studies, Issue 10, Spring 2007
• Harvey Broadbent, ‘“A simple epic”: Gallipoli and the Australian media’,United Service 61 (1) March 2010
• David Carter, The Empire Dies Back: Britishness in Contemporary Australian Culture’, Pacific and American Studies, Vol. 9, 2009
• Felicity Collins, ‘History, Myth and Allegory in Australian Cinema’, Trames, 2008, 12(62/57), 3, 276–286
• Robert Connolly, ‘Embracing Innovation: a new methodology for feature film production in Australia’, AFTRS: Centre for Screen Business, February 2008
• Joy Damousi, ‘“The Filthy American Twang”: Elocution, the Advent of American “Talkies,” and Australian Cultural Identity’, The American Historical Review, Vol. 112, No. 2, April 2007
• Joy Damousi and Desley Deacon, Talking and Listening in The Age of Modernity: Essays on the history of sound (ANU E Press, 2007)
• Leanne Downing, ‘Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium’, M/C Journal, Vol. 9, Issue 6, December 2006
• Kirsty Duncanson, ‘The Scene of the Crime: The Uneasy Figuring of Anglo-Australian Sovereignty in the Landscape of Lantana’, Law Text Culture, Vol. 13, 2009
• Kirsty Duncanson, Catriona Elder, and Murray Pratt, ‘Entanglement and the Modern Australian Rhythm Method: Lantana’s Lessons in Policing Sexuality and Gender’, Portal Vol., 1 No. 1 (2004)
• Katie Ellis, ‘Isolation and Companionship: Disability in Australian (Post) Colonial Cinema’, Wagadu Volume 4 Summer 2007 • Intersecting Gender and Disability Perspectives in Rethinking Postcolonial Identities
• Katie Ellis, ‘Disrupting Strength, Power and Perfect Bodies: Disability as Narrative Prosthesis in 1990s Australian National Cinema’, Nebula, 7.1/7.2, June 2010
• John James Emerson, The Representation of the Colonial Past in French and Australian Cinema, from 1970 to 2000, PhD Thesis, Department of French Studies and Centre for European Studies and General Linguistics, University of Adelaide, South Australia, July 2002
• Helen Forscher, Animals in the landscape :an analysis of the role of the animal image in representations of identity in selected Australian feature films from 1971 to 2001, PhD Thesis, Bond University, 2008
• Warwick Frost, ‘From Dead Heart to Red Heart: Developing the Destination Image of the Australian Outback’,  Monash University, Department of Management Working Paper Series, October 2004
• Ben Goldsmith and Geoff Lealand (eds.), Directory of World Cinema: Australia and New Zealand (Bristol: Intellect Books, 2010) free download for a limited time only
• Ben Goldsmith, ‘Australian National Cinema’, Australian Policy Online, February 2007
  
• Lisa Gye, ‘How can you be found when no-one knows that you are missing? [on Baz Luhrmann’s Australia and McLean’s Wolf Creek] Fibreculture Journal, Issue 15, 2009
• David Headon, ‘Filming the Legends of Phar Lap and the Don — the Who, What, Where and When’, Sporting Traditions, Vol. 15, no. 1, November 1998
• Alice Healy, ‘“Impossible Speech” and the Burden of Translation: Lilian’s Story from Page to Screen’, JASAL 5, 2006
• Andrew Jakubowicz,’Australian (Dis(Contents: Film, Mass Media and Multiculturalism’, n F Rizvi and S Gunew (eds) Arts for a Multicultural Australia: Issues and Strategies, (Sydney: Allen and Unwin, 2004)
• Anthony Lambert, ‘Arresting Metaphors: Anti-Colonial Females in Australian Cinema’, Postcolonial Text, Vol. 1, No. 2, 2005
• Anthony Lambert, ‘Movement within a Filmic Terra Nullius: Woman, Land and Identity in Australian cinema’, Balayi: Journal of Colonialism, Law and Culture, 2:1, pp 7-17, 2000
• Anthony Lambert, ‘(Re)Producing Country: Mapping Multiple Australias’, Space and Culture, 13.3, 2010 
• Anthony Lambert and Catherine Simpson, ‘Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland’, M/C Journal, Vol. 11, No. 5, 2008
• Anthony Lambert, ‘Landless White Women: Tracking a Non-Aboriginal Landscape Tradition in Australian Cinema’, published in Metro, 163, Dec 2009 
• Anthony Lambert, ‘White Aborigines: Women, Space, Mobility’, Chapter in Diasporas of Australian Cinema (Intellect, 2009)
• Anthony Lambert, ‘Mediating crime, mediating culture: Nationality, femininity, corporeality and territory in the Schapelle Corby drugs case’, Crime Media Culture 2008; 4; 237
• Anthony Lambert, ‘Woman as Cure: Cynthia, Praise and Cinematic Politics of Difference’, Metro Magazine No. 124/125
• Raffaele Lampugnani, ‘Comedy and Humour, Stereotypes and the Italian Migrant in Mangiamele’s Ninety Nine Per Cent’, FULGOR (Flinders University Languages Group Online Review), Volume 3, Issue 1, December 2006
• Suzanne Langford , ‘In Search of an Australian Soul: Reflections on Religion and Spirituality in Rabbit-Proof Fence and Japanese Story’, in Eternal Sunshine of the Academic Mind: Essays on Religion and Film, edited by Christopher Hartney (Sydney Studies in Religion 2009)
• Pat Laughren, Debating Australian Documentary Production Prolicy: Some Practitioner perspectives’, Media International Australia, Vol. 2008 (129), pp. 116-128
• Pat Laughren, ‘Australian Documentary: Notes on the State of the Art of the Art of the State in the 1960s’, ACUADS 2009 Conference: Interventions in the Public Domain
• David Lowe, ‘An Outlaw Industry: Bushrangers on the big screen: 1906-1993’, self-published, March 1995
• Sean Maher, ‘The internationalisation of Australian film and television through the 1990s’, Australian Film Commission Sydney, Melbourne, Brisbane 2004 
• Martin Mantle, ‘Disability, Heroism and Australian National Identity’, M/C Journal, Vol. 11, No. 3, 2008
• Adrian Martin, excerpt from ‘Introduction’, The Mad Max Movies (Sydney: Currency Press/Australian Screen Classics, 2003)
• Greg McCarthy, ‘Australian Cinema and the Spectres of Post- Coloniality: Rabbit-Proof Fence, Australian Rules, The Tracker and Beneath Clouds’, London Papers in Australian Studies No. 8, 2004
• Greg McCarthy, ‘The Obstinate Memory in Australian Films’, Refereed paper presented to the Australasian Political Studies Association Conference University of Tasmania, Hobart 29 September — 1 October 2003 
• Jordi McKenzie, ‘Stable Distribution and Paretian Tails: Australian Box Office Revenue Evidence’, AFTRS Media, April 23, 2007
• Jordi McKenzie and Nicolas De Roos, ‘‘Cheap Tuesdays’ and Estimating Movie Demand: An Empirical Analysis of the Australian Cinema Industry’, Discipline of Economics, University of Sydney, NSW, 2006
• Trevor Melksham, ‘What Manner of Men are These? Peter Weir’s Gallipoli as an Expression of an Australian Civil Religion’, in Eternal Sunshine of the Academic Mind: Essays on Religion and Film, edited by Christopher Hartney (Sydney Studies in Religion 2009)
• Toby Miller, The Dawn of an Imagined Community: Australian Sport on Film’, Sporting Traditions 7, no. 1. (1990): 48–59
• Lisa Milner, ‘Commos and ratbags: the origins of trade union cinema in Australia’, Journal of Australian Studies, vol. 60, 1999, pp. 133-139 
• Lisa Milner, ‘Kenny and Australian cinema in the Howard era’, in H Radner and P Fossen (eds), Remapping cinema, remaking history: XIVth Biennial Conference of the Film and History Association of Australia and New Zealand. Conference Proceedings. Volume Two: Selected Full Refereed Papers , Dunedin, New Zealand, 27-30 November, Department of Media, Film and Communication, University of Otago, Dunedin, New Zealand, pp. 171-181
• Tony Mitchell, ‘“Wogs still out of work”: Australian television comedy as colonial discourse’, Australasian Drama Studies, No. 20, 1992, 119-133
• Albert Moran and Errol Vieth, ‘Historical Dictionary of Australian and New Zealand Cinema’, Historical Dictionaries of Literature and the Arts, No. 6, The Scarecrow Press, Inc. Lanham, Maryland • Toronto • Oxford 2005 (long exceprt)
• Meaghan Morris, ‘The Man from Hong Kong in Sydney, 1975’, in Judith Ryan and Chris Wallace-Crabbe (eds), Literature and Culture in the New, New World, pp. 235 -266, Cambridge, MA and London: Harvard University Committee on Australian, Studies, 2004
• Caroline M. Pascoe, Screening Mothers: Representations of motherhood in Australian films from 1900 to 1988, PhD Thesis, University of Sydney, September 1998
• Mariacristina Petillo, ‘Translating Australian Cinema for an Italian Audience The bloody case of Ned Kelly and Picnic at Hanging Rock’, inTRAlinea, Vol. 12, 2010
• Ingo Petzke, ‘Phillip Noyce’, Humanities & Social Sciences papers, Bond University 2006
• Jonathan Pickering. ‘Globalisation: A Threat to Australian Culture?’, Multicultural Austrlia Research Library, November 2004
• Nick Prescott, ‘“All we see and all we seem…” – Australian Cinema and National Landscape’, Understanding Cultural Landscapes Symposium, 11-15 July 2005
• Fiona Probyn, ‘An Ethics of Following and the No Road Films: Trackers, Followers and Fanatics‘, Australian Humanities Review, Issue 37, December 2005
• Gaetano Rando, ‘Migrant images in Italian Australian movies and documentaries’, AltreItalie, 16, luglio-dicembre 1997
• Suneeti Rekhari, ‘Film Representation and the Exclusion of Aboriginal Identity: Examples from Australian Cinema’, TASA & SAANZ Joint Conference 2007, Refereed Papers, 4-7 December 2007 Auckland, New Zealand
• Alan Rosen, Garry Walter, Tom Politis and Michael Shortland, ‘From shunned to shining: doctors, madness and psychiatry in Australian and New Zealand cinema’, Medical Journal of Australia, 1997
• Mark David Ryan, ‘Whither culture? Australian horror films and the limitations of cultural policy’, Media International Australia incorporating Culture and Policy (No 133), 2009, pp. 43-55  
• Mark David Ryan, ‘At Breaking Point? Challenges for Australian Film Policy through the Lens of Genre (horror) Films’, ANZCA09 Communication, Creativity and Global Citizenship. Brisbane, July 2009 
• Mark David Ryan (2010) ‘Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse’, Continuum : Journal of Media & Cultural Studies, 24(6)
• Olga Seco Salvador, ‘Strictly Ballroom (1991): Departure from Traditional Discourses or Veiled Confirmation of old National Encouragement Mechanisms?’miscelánea: a journal of english and american studies 32 (2005): pp. 103-114
• Catherine Simpson, ‘Antipodean Automobility and Crash: Treachery, Trespass and Transformation of the Open Road’, Australian Humanities Journal Issue 39-40, September 2006 
• Brian Tecies, ‘Transformative Soundscapes: Innovating De Forest Phonofilms Talkies in Australia’, Scope, Issue 1, February 2005
• Keyan Tomaselli, ‘The South African and Australian Film Industries: A Comparison’, Culture, Communication and Media Studies, 2007
• David Thomas, Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday. PhD Thesis, School of Media, Communication and Culture Murdoch University 2006
• Deborah Tudor, ‘Cultural Intersections in Early Australian Sound Films: Rangle River (1936)’, Democratic Communique, 19, Spring 2004
• Deb Verhoeven, ‘Wool blend: Sheep and the Australian social fabric’, from Sheep and the Australian Cinema (MUP Academic Monograph Series, Melbourne University Publishing, Carlton, 2006)
• Susan Ward, ‘National Cinema or Creative Industries? Film Policy in Transition’, Media International Australia incorporating Culture and Policy, No. 112 — August 2004
• B. Yecies, ‘Failures and successes: local and national Australian sound innovations, 1924-1929. Screening The Past: An International, Refereed, Electronic Journal of Visual Media and History, (16), 2004