book
Australian Cinema after Mabo Port Melbourne: Cambridge University Press, 2004.
Call No: 71(94) COLAuthor: Collins, F. ; Davis, T. Place: Port MelbournePublisher: Cambridge University PressPubDate: 2004PhysDes: vii, 204 p. ; 24 cmSubject: HISTORY AND THE CINEMA. AUSTRALIA ; MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997) ; MOULIN ROUGE (AT/US, Baz Luhrmann, 2001) ; DISH, THE (AT, Rob Sitch, 2000) ; LANTANA (AT, Ray Lawrence, 2001) ; AUSTRALIAN RULES (AT, Paul Goldman, 2002) ; ABORIGINAL AUSTRALIAN CINEMA ; ABORIGINAL AUSTRALIANS AND THE CINEMA ; ABORIGINAL AUSTRALIANS IN FILMS ; WALKING ON WATER (AT, Tony Ayres, 2001) ; HEAVEN'S BURNING (AT, Craig Lahiff, 1997) ; LAST DAYS OF CHEZ NOUS, THE (AT, Gillian Armstrong, 1992) ; HOLY SMOKE (US, Jane Campion, 1999) ; SERENADES (AT, Mojgan Khadem, 2000) ; YOLNGU BOY (AT, Stephen Johnson, 2001) ; MISSING, THE (AT, Manuela Alberti, 1999) ; HEARTLAND [TV] (AT, 1994) ; ABORIGINAL AUSTRALIANS AND TV ; CUNNAMULLA (AT, Dennis O'Rourke, 2000) ; MESSAGE FROM MOREE (AT, Judy Rymer, 2003) ; CASTLE, THE (AT, Rob Sitch, 1997) ; VACANT POSSESSION (AT, Margot Nash, 1995) ; STRANGE PLANET (AT, Emma-Kate Croghan, 1999) ; RADIANCE (AT, Rachel Perkins, 1998) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) ; LOOKING FOR ALIBRANDI (AT, Kate Woods, 2000) ; HEAD ON (AT, Ana Kokkinos, 1998) ; BENEATH CLOUDS (AT, Ivan Sen, 2001) ; JAPANESE STORY (AT, Sue Brooks, 2003) ; TRACKER, THE (AT, Rolf de Heer, 2002) Summary: “Drawing on concepts of shock, memory and national maturity, ‘Australian Cinema after Mabo’ asks what part Australian cinema plays in reviewing our colonial past. It looks at how the 1992 Mabo decision, which overruled the nation’s founding myth of terra nullius, has changed the meaning of landscape and identity in Australian films, including The Tracker, Rabbit-Proof Fence, Moulin Rouge, The Castle, Cunnamulla, Looking for Alibrandi and Japanese Story amongst many others.” (back cover)Notes: Index: p.200-204; BibliographyISBN: 0521834805 :
0521542561 (pbk.)Contents: Part 1: Australian Cinema and the History Wars -- Backtracking after Mabo -- Homeand Abroad in Moulin Rouge, The Dish and Lantana -- Elites and Battlers in Australian Rules and Walking on Water -- Mediating Memory in Mabo Life as an Island Man --; Part 2: Landscape and Belonging after Mabo -- Aftershock and the Desert Landscape in Heavens Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolngu Boy, The Missing -- Coming from the Country in Heartland, Cunnamulla and Message from Moree -- Coming from the City in The Castle, Vacant Possession, Strange Planet and Radiance; Part 3: Grief, Trauma and Coming of Age -- Lost, Stolen and Found in Rabbit-Proof Fence -- Escaping History and Shame in Looking for Alibrandi, Head On and Beneath Clouds -- Sustaining Grief in Japanese Story and Dreaming in Motion.URL status: URL: 'http://-'
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journal article
Australians in a vacuum: the socio-political 'stuff' n Rachel Perkins' Radiance in Studies in Australasian cinema (2008) vol.2 iss.1 p.61-71
Author: Miller, Benjamin PhysDes: ArticleSubject: ABORIGINAL AUSTRALIANS AND THE CINEMA ; ABORIGINAL AUSTRALIANS AND TV ; RADIANCE (AT, Rachel Perkins, 1998) Summary: Rachel Perkins' film adaptation of Radiance was released in 1998. With very few exceptions, reviews and criticisms of the film have been polarized. These reviews and criticisms show that Aboriginality is often classified in one of two ways: as either de-politicized and thereby not Aboriginal (assimilationist), or politicized and thereby not 'normal' (segregationist). This paper addresses various criticisms of Radiance that categorize Aboriginality in either of these ways before providing a close reading of the 'socio-political stuff' in the film. What will be seen is how Perkins' work can be seen to deny either category through her representation of various, multiple Aboriginal identities.--Abstract
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title clippings file
HIKARI : (JA/FR, Naomi Kawase, 2017)
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book
In ink and image : studying screen adaptations / Dinah Partridge South Melbourne: Oxford University Press, c2000.
Call No: 512.1 PARAuthor: Partridge, Dinah Place: South MelbournePublisher: Oxford University PressPubDate: c2000PhysDes: xxi, 210 p. : ill. ; 26 cmSubject: ADAPTATIONS ; TEACHING MATERIALS ; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993) ; ANIMAL FARM (UK, John Halas & Joy Batchelor, 1954) ; GREAT GATSBY, THE (US, Jack Clayton, 1974) ; HAMLET (US, Franco Zeffirelli, 1990) ; L.A. CONFIDENTIAL (US, Curtis Hanson, 1997) ; OF MICE AND MEN (US, Gary Sinise, 1992) ; OUTSIDERS, THE (US, Francis Ford Coppola, 1983) ; RADIANCE (AT, Rachel Perkins, 1998) ; SHORT CUTS (US, Robert Altman, 1993) ; TO KILL A MOCKINGBIRD (US, Robert Mulligan, 1962) ; WASHINGTON SQUARE (US, Agnieszka Holland, 1997) ; WELL, THE (AT, Samantha Lang, 1997) ; YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982) ISBN: 0195508491LON: 21264241
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title clippings file
RADIANCE : (AT, Rachel Perkins, 1998)
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book
Radiance : the play + the screenplay / Louis Nowra Sydney: Currency press, 2000.
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script
RADIANCE AT: [1997].
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still
[Radiance : stills file]
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journal article
Reconfiguring rusticity: feminizing Australian cinema's country towns in Studies in Australasian cinema (2008) vol.2 iss.1 p.47-59
Author: Simpson, Catherine PhysDes: ArticleSubject: RURAL LIFE IN FILMS. AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; RADIANCE (AT, Rachel Perkins, 1998) ; SOMERSAULT (AT, Cate Shortland, 2004) ; OYSTER FARMER, THE (AT/UK, Anna Reeves, 2004) ; LOVE SERENADE (AT, Shirley Barrett, 1996) ; ROAD TO NHILL (AT, Sue Brooks, 1997) Summary: Country towns in Australian cinema are commonly seen in opposition to a fixed, imagined urban normalcy. The first part of this paper discusses the urban/rural dialectic in the construction of rusticity. The second section examines the role women play in the rustic sphere. The last decade has seen a feminizing of the country town in films made predominantly by female directors such as Radiance (Rachel Perkins, 1998), Somersault (Cate Shortland, 2004) and The oyster farmer (Anna Reeves, 2005). The final part of this paper focuses on two break-through films from the mid-1990s, also from female creative teams, which signal a significant shift in the portrayal of women's subjectivity and agency in country towns: Love serenade (Shirley Barrett, 1996) and Road to Nhill (Sue Brooks, 1997). Although these films do not challenge the stereotype of country towns as 'irrelievably dull', their surreal lensing and black comic tone, I suggest, reconfigure rusticity. -- Abstract
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Twin peeks : Australian and NZ feature films / Deb Verhoeven Melbourne: Damned Publishing, 1999.
Call No: 71(94) TWIPlace: MelbournePublisher: Damned PublishingPubDate: 1999PhysDes: 558 p.Subject: AUSTRALIA ; NEW ZEALAND ; NATIONAL IDENTITY IN FILMS. NEW ZEALAND ; NATIONAL IDENTITY IN FILMS. AUSTRALIA ; HISTORY OF EXHIBITION. AUSTRALIA ; DISTRIBUTION. AUSTRALIA ; ASIANS IN FILMS. AUSTRALIA ; LANDSCAPES IN FILMS. AUSTRALIA ; FAMILY IN FILMS. AUSTRALIA ; HOMOSEXUALITY IN FILMS. AUSTRALIA ; AUSTRALIA. 1970's ; WARD, VINCENT ; HALL, KEN G. ; DARK CITY (US, Alex Proyas, 1997) ; BABE: PIG IN THE CITY (AT, George Miller, 1998) ; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919) ; SQUATTER'S DAUGHTER, THE (AT, Ken G. Hall, 1933) ; FLOATING LIFE (AT, Clara Law, 1996) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; PIANO, THE (AT, Jane Campion, 1993) ; ON THE BEACH (US, Stanley Kramer, 1959) ; YATGO HO YAN (HK, Samo Hung, 1997) ; RADIANCE (AT, Rachel Perkins, 1998) ; VACANT POSSESSION (AT, Margot Nash, 1995) ISBN: 1876310006LON: 20154200ID2: 29
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