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Antipodean gothic cinema [manuscript] : a study of the (postmodern) Gothic in Australian and New Zealand film since the 1970s / by Romana Ashton Queensland: 2005.
Call No: 735.2 (93) ASHAuthor: Ashton, Romana Source: ATPlace: QueenslandPubDate: 2005PhysDes: 317 p. ; 30 cmSubject: HORROR FILMS. AUSTRALIA ; HORROR FILMS. NEW ZEALAND ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; PIANO, THE (AT, Jane Campion, 1993) ; DOGS IN SPACE (AT, Richard Lowenstein, 1986) ; BAD BOY BUBBY (AT, Rolf de Heer, 1993) ; NIGHT THE PROWLER, THE (AT, Jim Sharman, 1978) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; WAKE IN FRIGHT (AT, Ted Kotcheff, 1971) ; SUMMERFIELD (AT, Ken Hannam, 1977) ; SHAME (AT, Steve Jodrell, 1988) ; MAD MAX (AT, George Miller, 1979) ; MAD MAX II (AT, George Miller, 1981) ; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974) Summary: "Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheffs Wake in Fright (1971) to Peter Jacksons Heavenly Creatures (1994). Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema. In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility. In its conclusion, the study finds that S2Antipodean Gothic cinemaS3, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms. " - ABSTRACTNotes: Thesis (Doctor of Philosophy) - Central Queensland University: School of Humanities - Faculty of Arts, Humanities and Education, December 2005; Bibliography: leaves 299-314 ; filmography: leaves 315-318 ; telegraphy: leaf 319; We have two copies of this Thesis - they are both filed at 735.2 (93) ASH and are identical. One is labelled 'copy 1' and the other 'copy 2'Contents: -- Part one: Theorizing the (postmodern) gothic in Antipodean cinema -- 1. A gothic/postmodern poetics: two convergent models. -- 2. Antipodean Gothic/(Proto)-postmodern connections: the European unconscious and the cultural construction of the Antipodes. -- 3. Antipodean cinema: an uneasy background -- Part two: analyzing the (postmodern) gothic in Antipodean cinema. -- 4. Anitpodean ccolonial gothic: 'Picnic at Hanging Rock' and 'The Piano'. -- 5. Anitpodean urban gothic: 'Dogs in Space' and 'Bad Boy Bubby'. -- 6. Antipodean surburban gothic: -- 'The Night the Prowler' and 'Heavenly Creatures'. -- 7. Antipodean rural gothic: 'Wake in Fright', 'Summerfield', and 'Shame'. -- 8. Antipodean sci-fi car crash films and the gothic: 'The Cars that Ate Paris', 'Mad Max', and 'Mad Max - The Road Warrior'. -- Conclusion -- Bibliography -- Filmography -- Teleography.ID2: 290
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The art of horror in Lumina (2009) iss.1 p.84-91
Author: Cameron, Allan PhysDes: ArticleSubject: HORROR FILMS. AUSTRALIA ; GENRES ; INDUSTRY, FILM. AUSTRALIA ; AUDIENCES. AUSTRALIA Summary: Article discussing the tension between government funded films and the so called 'low-brow' films that proved popular with Australian audiences: sex comedies, action thrillers and horror movies. Cameron argues that horror films need not be arthouse to be art so the binary logic of current debates - low 'genuine' horror vs acceptable, well made - is a disservice to the genre.
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Australian cinema's dark sun in Studies in Australasian cinema (2010) vol.4 iss.1 p.23-41
Author: Ryan, Mark David PhysDes: ArticleSubject: HORROR FILMS. AUSTRALIA ; INDUSTRY, FILM. AUSTRALIA ; FUNDING. AUSTRALIA ; AUDIENCES. AUSTRALIA ; WOLF CREEK (AT, Greg McLean, 2005) Summary: This article argues that the renaissance of Australian horror films in the 2000s has been driven by intersecting international market forces, domestic financing factors and technological change. It argues for two distinct tiers of production with different financing, production and distribution models.Notes: There has been a boom in Australian horror movie production in recent years.
Daybreakers (2010), Wolf Creek (2005), Rogue (2007), Undead (2003), Black
Water (2008), and Storm Warning (2006), among others, have all experienced
varying degrees of popularity, mainstream visibility and cult success in worldwide
horror markets. While Aussie horror’s renaissance is widely acknowledged in industry
literature, there is limited research into the extent of the boom and the dynamics
of production. Consequently, there are few explanations for why and how this
surge has occurred. This article argues that the recent growth in Australian horror
films has been driven by intersecting international market forces, domestic financing
factors and technological change. In so doing, it identifies two distinct tiers of
Australian horror film production: ‘mainstream’ and ‘underground’ production,
though overlap between these two tiers results in ‘high-end indie’ films capable of
cinema release. Each tier represents the high and low ends of Australian horror film
production, each with different financing, production and distribution models. -- Abstract
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Australian eco-horror and Gaia's revenge : animals, eco-nationalism and the 'new nature' in Studies in Australasian cinema (2010) vol.4 iss.1 p.43-54
Author: Simpson, Catherine PhysDes: ArticleSubject: ANIMALS IN FILMS ; NATURE IN FILMS ; HORROR FILMS. AUSTRALIA ; IMPERIALISM AND THE CINEMA AUSTRALIA ; RAZORBACK (AT, Russell Mulcahy, 1984) ; DARK AGE (AT/US, Arch Nicholson, 1988) ; ROGUE (AT, Greg Mclean, 2007) ; MARSUPIALS: THE HOWLING III, THE (AT, Philippe Mora, 1987) ; DYING BREED (AT, Jody Dwyer, 2008) Summary: This article focuses on moments in a series of key films: Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Rogue (McLean, 2007), Howling III: the Marsupials (Mora, 1987) and Dying Breed (Dwyer 2008). Using an 'eco-postcolonial' framework, the author argues that these films extend postcolonial anxieties over settler Australian notions of belonging and challenge the notion of human mastery over nature.Notes: We hear so much about extinction in debates around climate change. But what about those animals that go feral and then return – bigger, hungrier and angrier – to wreak revenge on humans who may have done them injustice? Using an eco-postcolonial framework, this article examines how a number of exploitation horror films have dealt with environmental topics and issues of trespass. In particular, I examine the agency of animals – crocs, pigs, thylacines and marsupial werewolves – in some key Australian eco-horror films from the last 30 years: Long Weekend (Eggleston,1978), Razorback (Mulcahy, 1984), Dark Age (Nicholson, 1987), Howling III: the Marsupials (Mora, 1987), Rogue (Greg McLean, 2007), Black Water (Nerlich & Traucki, 2007) and Dying Breed (Dwyer 2008). On the one hand, these films extend postcolonial anxieties over settler Australian notions of belonging, while on the other, they signify a cultural shift. The animals portrayed have an uncanny knack of adapting and hybridizing in order to survive, and thus they (the films and the animals) force us to acknowledge more culturally plural forms of being. In particular, these films unwittingly emphasize what Tim Low has termed the ‘new Nature’: an emerging ethic that foregrounds the complex and dynamic interrelationships of animals with humans.--Abstract
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Australian genre film / edited by Kelly McWilliam and Mark David Ryan New York: Routledge,
Call No: 730(94) AUSAuthor: McWilliam, Kelly ; Ryan, Mark David Edition: 2021Place: New YorkPublisher: RoutledgePhysDes: 248 pages : illustrated ; 23 cmSeries: Rutledge advances in film studiesSubject: AUSTRALIA ; GENRES ; BIOGRAPHICAL FILMS ; COMEDIES. AUSTRALIA ; CRIME FILMS. AUSTRALIA ; HORROR FILMS. AUSTRALIA ; MUSICALS. AUSTRALIA ; ROAD MOVIES. AUSTRALIA ; TEEN FILMS ; WAR FILMS AUSTRALIA Summary: Australian Genre Film interrogates key genres at the core of Australia’s so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop.
The book examines what characterises Australian cinema and its output in this new golden age, as contributors ask to what extent Australian genre film draws on widely understood (and largely Hollywood-based) conventions, as compared to culturally specific conventions of genre storytelling. As such, this book offers a comprehensive and up-to-date survey of Australian genre film, undertaken through original analyses of 13 significant Australian genres: action, biopics, comedy, crime, horror, musical, road movie, romance, science fiction, teen, thriller, war, and the Western.
This book will be a cornerstone work for the burgeoning field of Australian film genre studies and a must-read for academics; researchers; undergraduate students; postgraduate students; and general readers interested in film studies, media studies, cultural studies, Australian studies, and sociology. -- publisher's web siteISBN: 9781138603141Contents: 1. Australian Film Genre Studies / Mark David Ryan and Kelly McWilliam -- 2. The Action Genre and the ‘International Turn’ in Australian Cinema / Amanda Howell -- 3. ‘Beethoven had his Critics, too…’: The Australian Biopic in the Twenty-First Century / Adrian Danks -- 4. A Seamless Wedding: Comedy, Diversity, and the International / Lesley Speed -- 5. New Australian Crime Drama / Greg Dolgopolov -- 6. A Monstrous Landscape Filled with Killer Animals and Madmen: Tropes of Contemporary Australian Horror Movies / Mark David Ryan -- 7. The Musical in Australia: Moving Minorities into the Mainstream / Liz Giuffre -- 8. Traversing Genre: The Australian Road Movie / Deborah Thomas -- 9. Courting the Romance / Kelly McWilliam -- 10. Looking to the Future: Three Tendencies in Australian Science Fiction Cinema since 2008 / Andrew James Couzens -- 11. ‘Growing Up Was Never Easy’: Coming of Age in the Teen Film / Kelly McWilliam -- 12. Sun-lit Noir: Australian Thrillers / Jonathan Rayner -- 13. A Wider Angle: Australia’s War Films of the New Millenia / Daniel Reynaud -- 14. Questioning the Australian Western / Grayson Cooke.
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Australian gothic : a cinema of horror / Jonathan Rayner Cardiff: University of Wales Press, 2022.
Call No: 735.2(94) RAYAuthor: Rayner, Jonathan Edition: 2022Place: CardiffPublisher: University of Wales PressPubDate: 2022PhysDes: x, 294 pages : illustrated ; 23 cmSeries: Gothic Literary StudiesSubject: HORROR FILMS. AUSTRALIA ; BABADOOK , THE (AT, Jennifer Kent, 2014) ; DYING BREED (AT, Jody Dwyer, 2008) ; KILLING GROUND (AT, Damien Power, 2016) ; LOST GULLY ROAD (AT, Donna McRae, 2017) ; LOVED ONES, THE (AT, Sean Byrne, 2009) ; MAD MAX (AT, George Miller, 1979) ; MYSTERY ROAD (AT Ivan Sen, 2013) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; WOLF CREEK (AT, Greg McLean, 2005) ; WOLF CREEK 2 (AT, Greg Mclean, 2013) Summary: The term ‘Gothic’ has been applied to examples of Australian cinema since the 1970s, often in arbitrary and divergent ways. This book examines a wide range of Australian films to trace their Gothic resemblances, characteristics and meanings. By concentrating on the occurrence of Gothic motifs, characters, landscapes and narratives, it argues for the recognition and relevance of a coherent Gothic heritage in Australian film. A plethora of Gothic representatives are considered in relation to four consistent and illuminating continuities (images of the family, ideas of monstrosity, generic hybridity and the occurrence of the sublime), and this study debates the appearance and asserts the significance of Australian Gothic films within their national, cultural, literary and cinematic traditions. -- publisher's web siteISBN: 9781786838896Contents: List of illustrations -- Introduction -- Familiarity -- Monstrosity -- Hybridity -- Sublimity -- Conclusion -- Filmography -- Bibliography -- Index
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Australian Horror Films, 1973-2010 / Peter Shelley Jefferson, North Carolina, and London: McFarland & Company Inc, c2012.
Call No: 735.2 (94) SHEAuthor: Shelley, Peter Source: US/UKPlace: Jefferson, North Carolina, and LondonPublisher: McFarland & Company IncPubDate: c2012PhysDes: vi, 320 p. : ill. ; 26 cmSubject: HORROR FILMS ; HORROR FILMS. AUSTRALIA ; FILMOGRAPHIES. AUSTRALIA ; NIGHT OF FEAR (AT, Terry Bourke, 1973) ; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974) ; INN OF THE DAMNED (AT, Terry Bourke, 1974) ; END PLAY (AT, Tim Burstall, 1975) ; LAST WAVE, THE (AT, Peter Weir, 1977) ; LONG WEEKEND, THE (AT, Colin Eggleston, 1979) ; PATRICK (AT, Richard Franklin, 1978) ; SNAPSHOT (AT, Simon Wincer, 1978) ; THIRST (AT, Rod Hardy, 1979) ; NIGHTMARES (AT, John Lamond, 1980) ; ALISON'S BIRTHDAY (AT, Ian Coughlin, 1979) ; LADY STAY DEAD (AT, Terry Bourke, 1981) ; ROADGAMES (AT, Richard Franklin, 1981) ; SURVIVOR, THE (AT, David Hemmings, 1981) ; NEXT OF KIN (AT, Tony Williams, 1982) ; TURKEY SHOOT (AT, Brian Trenchard-Smith, 1981) ; INNOCENT PREY (AT, Colin Eggleston, 1984) ; RAZORBACK (AT, Russell Mulcahy, 1984) ; CASSANDRA (AT, Colin Eggleston, 1987) ; DARK AGE (AT/US, Arch Nicholson, 1988) ; FAIR GAME (AT, Mario Andreacchio, 1986) ; CONTAGION (AT, Karl Zwicky, 1988) ; CONTAGION (AT, Karl Zwicky, 1988) ; OUTBACK VAMPIRES (AT, Colin Eggleston, 1987) ; ZOMBIE BRIGADE (AT, Carmelo Musca, 1988) ; CELIA (AT, Ann Turner, 1988) ; CELIA (AT, Ann Turner, 1988) ; DREAMING, THE (AT, Mario Andreacchio, 1988) ; HOUSEBOAT HORROR (AT, Kendal Flanagan & Ollie Martin, 1989) ; KADAICHA (AT, James Bogle, 1988) ; OUT OF THE BODY (AT, Brian Trenchard-Smith, 1988) ; [THIRTEENTH] 13TH FLOOR, THE (AT, Chris Roache, 1989) ; BLOODMOON (AT, Alec Mills, 1990) ; BODY MELT (AT, Philip Brophy, 1993) ; BODY MELT (AT, Philip Brophy, 1993) ; ENCOUNTERS (AT, Murray Fahey, 1994) ; KOMODO (US/AT, Michael Lantieri, 1999) ; CUT (AT, Kimble Rendall, 2000) ; CTHULHU (AT, Damian Heffernan, 2000) ; GHOST SHIP, THE (US, Steve Beck, 2002) ; CUBBYHOUSE (AT, Murray Fahey, 2001) ; QUEEN OF THE DAMNED, THE (US/AT, Michael Rymer, 2002) ; DARKNESS FALLS (US, Jonathon Liebesman, 2003) ; LOST THINGS (AT/CN, Martin Murphy, 2003) ; RAZOR EATERS (AT, Shannon Young, 2003) ; SUBTERANO (AT/GG, Esben Storm, 2002) ; UNDEAD (AT, Michael Spierig & Peter Spierig, 2002) ; MAN-THING (US/AT, Brett Leonard, 2005) ; SAFETY IN NUMBERS (AT, David Douglas, 2005) ; WOLF CREEK (AT, Greg McLean, 2005) ; LIKE MINDS (AT UK, Gregory J Read, 2006) ; SEE NO EVIL (AT, Gregory Dark, 2006) ; VOODOO LAGOON (AT/UK, Nicholas Cohen, 2006) ; WATCH ME (AT, Melanie Ansley, 2006) ; BLACK WATER (AT, David Nerlich & Andrew Traucki, 2007) ; ROGUE (AT, Greg Mclean, 2007) ; STORM WARNING (AT, Jamie Blanks, 2007) ; ACOLYTES (AT, Jon Hewitt, 2007) ; DYING BREED (AT, Jody Dwyer, 2008) ; GATES OF HELL, THE (AT, Kelly Dolen, 2008) ; I KNOW HOW MANY RUNS YOU SCORED LAST SUMMER (AT, Stacy Edmonds & Doug Turner, 2008) ; LONG WEEKEND (AT, Jamie Blanks, 2009) ; RUINS, THE (AT/US, Carter Smith, 2008) ; COFFIN ROCK (UK/AT, Rupert Glasson, 2009) ; CRUSH (AT, John V. Soto & Jeff Gerritsen, 2009) ; DAMNED BY DAWN (AT, Brett Anstey, 2009) ; DAYBREAKERS (US, Michael Spierig & Peter Spierig, 2008) ; DAYBREAKERS (US, Michael Spierig & Peter Spierig, 2008) ; FAMILY DEMONS (AT, Ursula Dabrowsky, 2009) ; HORSEMAN, THE (AT, Steven Kastrissios, 2008) ; LOVED ONES, THE (AT, Sean Byrne, 2009) ; PREY (AT, Oscar D'Rocceter, 2007) ; [SEVENTH] 7TH HUNT, THE (AT, J.D. Cohen, 2009) ; STORAGE (AT, Michael Craft, 2009) ; TRIANGLE (AT/UK Christpher Smith, 2009) ; CLINIC, THE (AT, James Rabbitts, 2010) ; NEEDLE (AT, John V Soto, 2010) ; REEF, THE (AT, Andrew Traucki, 2010) ; ROAD TRAIN (AT, Dean Francis, 2010) ; SLAUGHTERED (AT, Kate Glover, 2010) Summary: "This pioneering work provides in-depth coverage of 76 horror films produced in Australia, where serial killers, carnivorous animals, mutants, zombies, vampires and evil spirits all receive the "antipodean" cinematic treatment unique to the Land Down Under. Titles covered were released between 1973 and 2010, a period coinciding with the revival of the long-dormant Australian film industry in the early 1970s, and continuing into the second wave of genre production spurred by the international success of the 2005 chiller Wolf Creek, The Cars That Ate Paris, The Last Wave, Roadgames, Razorback, Outback Vampires, Queen of the Damned, Black Water, and The Reef are among the titles represented. Each film is covered in a chapter that includes a cast and credits list, release information, contemporary reviews and DVD availability, as well as a synopsis and in-depth notes about the story, filmmaking techniques, acting performances, recurring themes and motifs, and overall effectiveness of the film as a work of horror. ' -- BOOK BLURBNotes: 'VOYAGE INTO FEAR (AT, Murray Fahey, 1993) listed here as (aka) ENCOUNTERS (AT, Murray Fahey, 1994); HELLION: THE DEVIL'S PLAYGROUND listed here as (aka) CUBBYHOUSE (AT, Murray Fahey, 2001); NATURE'S GRAVE listed here as (aka) LONG WEEKEND (AT, Jamie Blanks, 2009); Includes bibliographical references and indexISBN: 9780786461677Contents: -- acknowledgments -- preface -- introduction -- the films -- bibliography -- index --
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Crimson celluloid Plympton, SA: Michael Helms,
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A dark new world : anatomy of Australian horror films / by Mark David Ryan Brisbane, Queensland: 2008.
Call No: 735.2(94)[043] RYAAuthor: Ryan, Mark D. Source: ATPlace: Brisbane, QueenslandPubDate: 2008PhysDes: x, 217 p. : ill. ; 30 cm.Subject: AUSTRALIA ; GENRES ; GENRES. AUSTRALIA ; HORROR FILMS ; HORROR FILMS. AUSTRALIA ; PRODUCTION Summary: A thesis submitted in fulfillment of the degree Doctor of Philosophy (Phd), December 2008Notes: Presented to the Creative Industries Faculty, Queensland University of Technology.; Thesis (Ph.D.)--Queensland University of Technology, Brisbane, 2008.; Includes bibliographical references (p. 206-217)Donation: Donated by Senses Of Cinema, 2009Contents: -- chapter 1: introduction -- chapter 2: globalising film production and the renaissance of the horror genre -- chapter 3: a history of Australian horror films -- chapter 4: contemporary Australian horror production -- chapter 5: financing, production and distribution models -- chapter 6: returns, markets and fan/subcultures -- chapter 7: the future of Australian horror production - sustainability and policy --appendix 1: Australian horror films by decade -- appendix 2: budget expenditure on Australian horror production -- appendix 3: Australian horror films by budget range -- references --
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Film in Australia : an introduction / Albert Moran and Errol Vieth Port Melbourne: Cambridge University Press, 2006.
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HORROR FILMS. AUSTRALIA Digital clippings file available
Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILEPhysDes: ClippingsSubject: HORROR FILMS. AUSTRALIA URL status: URL: 'http://file://Q:/S/HORROR_FILMS.AUSTRALIA.zip'
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Merchants of Menace : the Business of Horror Cinema / edited by Richard Nowell New York: Bloomsbury, 2014.
Call No: 735.2:203 MERAuthor: Nowell, Richard (ed.) Source: US/UKPlace: New YorkPublisher: BloomsburyPubDate: 2014PhysDes: xiv, 264 pages : illustrations (black and white) ; 23 cmSubject: HORROR FILMS ; ECONOMICS AND THE CINEMA ; PRODUCTION ; HORROR FILMS. AUSTRALIA ; CRITICISM ; DIRECTION ; LITERATURE AND THE CINEMA ; THEORY ; DISTRIBUTION ; ADVERTISING FOR FILMS ; SCREAM (US, Wes Craven, 1996) ; SCREAM 2 (US, Wes Craven, 1997) ; SCREAM 3 (US, Wes Craven, 2000) ; SCREAM 4 (US, Wes Craven, 2011) Summary: "Even though horror has been a key component of media output for almost a century, the genre's industrial character remains under explored and poorly understood. Merchants of Menace: The Business of Horror Cinema responds to a major void in film history by shedding much-needed new light on the economic dimensions of one of the world's most enduring audiovisual forms. Given horror cuts across budgetary categories, industry sectors, national film cultures, and media, Merchants of Menace also promises to expand understandings of the economics of cinema generally. Covering 1930-present, this groundbreaking collection boasts fourteen original chapters from world-leading experts taking as their focus such diverse topics as early zombie pictures, post-WWII chillers, Civil Rights-Era marketing, Hollywood literary adaptations, Australian exploitation, "torture-porn" Auteurs, and twenty-first-century remakes." - Publisher's WebsiteNotes: Formerly CIP; Includes bibliographical references and index; Also issued onlineISBN: 9781623564209Contents: -- Production lines, trends, and cycles. "House of horrors": corporate strategy at Universal Pictures in the 1930s / Kyle Edwards -- The undead of Hollywood and poverty row: the influence of studio-era industrial patterns on zombie film production, 1932-46 / Todd K. Platts -- By the book: American horror cinema and horror literature of the late 1960s and 1970s / Peter Hutchings -- Risen from the vaults: recent horror film remakes and the American film industry / Kevin Heffernan -- Monster factory: international dynamics of the Australian horror movie industry / Mark David Ryan -- Film content, style, and themes. "Bad medicine": the psychiatric profession's interventions into the business of postwar horror / Tim Snelson -- Horror film atmosphere as anti-narrative (and vice versa) / Robert Spadoni --"A kind of Bacall quality?: Jamie Lee Curtis, stardom, and gentrifying non-Hollywood horror / Richard Nowell -- "New decade, new rules": rebooting the scream franchise in the digital age / Valerie Wee -- Movie marketing, branding, and distribution. "Hot profits out of cold shivers!": horror, the first run market, and the Hollywood studios, 1938-42 / Mark Jancovich -- Strange enjoyments: the marketing and reception of horror in the civil rights era black press / Mikal J. Gaines -- Bids for distinction: the critical-industrial function of the horror auteur / Joe Tompkins -- Low budgets, no budgets, and digital-video nasties: recent British horror and informal distribution / Johnny Walker -- Hammer 2.0: legacy, modernization, and hammer horror as a heritage brand / Matt Hills --
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The New Australian cinema / editor: Scott Murray, associate editor: Peter Beilby West Melbourne, Vic.: Nelson, 1980.
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Writing the australian beach : local site, global idea / Edited by Elizabeth Ellison; Donna Lee Brien Cham, Switzerland: Palgrave Macmillan, 2020.
Author: Ellison, Elzabeth ; Brien, Donna Lee Edition: 2020Place: Cham, SwitzerlandPublisher: Palgrave MacmillanPubDate: 2020PhysDes: xvi, 244 pages : illustratedSubject: BEACH MOVIES ; HORROR FILMS. AUSTRALIA ; SURFING THE MENU [TV] (AT, Geoffrey Bennett, 2003) Summary: Writing the Australian Beach is the first in fifteen years to explore creative and cultural representations of this iconic landscape, and how writers and scholars have attempted to understand and depict it. Although the content chiefly focuses on Australia, the beach as both a location and idea resonates deeply with readers around the world. This edited collection includes three sections. Forms of Beach Writing examines the history of beach writing in Australia and in a number of forms: screenwriting, social media writing, and food writing. In turn, Multiplicities of Australian Beach Writing examines how forms of writing—poetry, travel writing, horror film, and memoir—engage with some specific beaches in Australia. And, finally, Reading the Beach as a Text considers how the beach itself functions in cultural narratives: how we walk the beach; the revealing story of beach soccer; and the design and use of ocean baths. Given its scope, the collection offers a unique resource for scholars of Australian culture and creative writing, and for all those interested in Australian beaches. -- publisher's web siteISBN: 9783030352660Contents: Foreword – acknowledgements -- Writing the Australian Beach: Texts, Sites, Events and People / Elizabeth Ellison, Donna Lee Brien
Forms of Beach Writing -- Surfers, Lifeguards and New Voices: A Short History of Beach Writing in Australia / Elizabeth Ellison -- Screenwriting the Beach: Conflict, Catharsis and the Character Arc in Australian Film / Craig Batty, Philippa Burne, Stephen Gaunson -- Instafamous: Social Media / Influencers and Australian Beaches / Marjorie Kibby -- Food Writing and the Australian Beach: From Leisure to Labour / Donna Lee Brien
Multiplicities of Australian Beach Writing -- Exploring Australian Coastal Gothic: Poetry and Place / Lynda Hawryluk -- Writing Noosa’s Beach: Travellers’ Narratives and Modernity / Nick Osbaldiston -- Beaches in Australian Horror Films: Sites of Fear and Retreat / Mark David Ryan, Elizabeth Ellison -- Challenging the Beach as Paradise in Fiction and Memoir: The Gold Coast’s Bathing Beauties / Kelly Palmer
Reading the Beach as Text -- Walking the Australian Beach: Mapping Footprints in the Sand / Lesley Hawkes -- Australian Beach Soccer: Tracing Paradoxical Narratives / Lee McGowan, Elizabeth Ellison, Michele Lastella -- Australia’s Ocean Baths: Stories of Design, Aesthetics and Swimming / Susan Carson -- Sculpture by the Sea: A Visual Essay / Mark Maxwell, Elizabeth Ellison
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