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Author: Brook, Scott
PhysDes: Article
Subject: ASIANS AND THE CINEMA. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; FINISHED PEOPLE, THE (AT, Khoa Do, 2003)
Summary: This article considers the production of the independent feature The Finished People (Khoa Do, 2003) in terms of a key factor reviewers and critics chose to play down: namely, that the director sought to capture public interest in Cabramatta (a suburb in Sydney's south west promoted as Australia's ‘most multicultural suburb’) in order to lift a Community Cultural Development (CCD) project out of the suburbs and deliver it to audiences of art-house cinema. While the film's representational strategies clearly reflect a tradition of independent Asian Australian cinema that critically negotiates the identity politics of state-sponsored multiculturalism, the film's mode of production had less to do with the avant-garde agendas reviewers compared it with, and more to do with an enduring governmental regime of pastoral pedagogy dedicated to the correction of ‘at risk’ subjects. Furthermore, the project strongly anticipated recent policy reforms to CCD initiated by the Australia Council for the Arts in 2004. Under the flexible rubric ‘Creative Communities’ these reforms seek to steer CCD workers away from cultural development as a narrow target of government intervention, and towards a more open and flexible range of policy goals and objectives. A close reading of the film's context of production reveals how such a policy shift might be expected to increase opportunities for local content to move between fields of cultural production, even as it multiplies dilemmas of formal accountability and aesthetic evaluation. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: ASIANS AND THE CINEMA. AUSTRALIA

Author: Khoo, Olivia
PhysDes: Article
Subject: MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ASIANS AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; REALISM IN FILMS. AUSTRALIA; ETHICS AND THE CINEMA; JAMMED, THE (AT, Dee McLachlan, 2007); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); RA CHOI (AT, M. Frank, 2005)
Summary: This article examines the use of realist aesthetics in three Australian films, Dee McLachlan's The jammed (2007), Khoa Do's The Finished People (2003) and M. Frank's Ra Choi (2005) as a way of creating ‘value’ within the terms of an Australian national cinema. ‘These films, among other examples of an emergent Asian Australian cinema’, deploy techniques of realism to build an authenticity of experience for spectators, unfamiliar with seeing portrayals of Asian Australians on screen. This article will consider what is at stake in the accepted, and often replicated, relationship between multiculturalism and realism characterizing filmic representations of Asian Australians, and will shift the focus to explore the place of idealism in the creation of value. By examining the aesthetics of what I will call ‘multicultural realism’ I aim to consider how these stylistic strategies seek to politicize certain representations over others in the films' attempt to build an alternative vision of the Australian nation and its diasporic constituents. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema. Part 1

Call No: 408.1(94) FLO
Author: Sinclair, John G., 1944; Cunningham, Stuart
Place: St Lucia, Qld.
Publisher: University of Queensland Press
PubDate: 1999
PhysDes: 1 v
Series: UQP cultural and media policy
Subject: ASIANS AND THE CINEMA. AUSTRALIA; SPECIAL BROADCASTING SERVICE; MULTICULTURALISM AND THE CINEMA. AUSTRALIA
Notes: Includes index; Bibligraphy
ISBN: 0702231223 : $29.95
LON: 20872316

Author: Yue, Audrey
PhysDes: Article
Subject: ASIANS AND THE CINEMA. AUSTRALIA; AYRES, TONY; HOME SONG STORIES, THE (AT, Tony Ayres, 2007)
Summary: Tony Ayres is one of Australia's most prolific and critically acclaimed filmmakers. Born in Macau, he migrated to Australia in 1964. He has won more than thirty awards for his work on Australian film and television. His work has been described as being on the margins, exploring the intersections of race, sexuality and gender. He wrote and directed China Dolls (1998), Sadness (1999) and his first feature film Walking on Water (2002). In this interview with Audrey Yue, he discusses his latest film, The Home Song Stories (2007), and other issues related to Asian Australian film-making and culture.--Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2

Call No: 451-054(94) STR
Author: Stratton, John
Source: AT
Place: Annandale, NSW
Publisher: Pluto Press
PubDate: 1998
PhysDes: 224 pages ; 22 cm
Subject: ASIANS AND THE CINEMA. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; CULTURE AND THE CINEMA. AUSTRALIA; CULTURAL IMPERIALISM. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; IDEOLOGY AND THE CINEMA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; NATIONALISM AND THE CINEMA; RACIAL ISSUES IN FILMS; ETHNIC GROUPS IN FILMS. AUSTRALIA
Summary: "Race Daze argues that the post-Whitlam Australian national identity remians hung up on our Anglo-centric past and takes the reader on an entertaining cruise through our films to prove his point. From 'Barry McKenzie' to 'The Adventures of Priscilla, Queen of the Desert,' Race Daze shows that Australian films and television have lagged far behind our polyglot cultural reality, receycling a white Australia that no longer exists."--BOOK BLURB
Notes: Includes bibliographic references and index
ISBN: 1864030534

Author: Labato, Ramon
PhysDes: Article
Subject: INDUSTRY, FILM. AUSTRALIA; PRODUCTION ASIA; PRODUCTION DEALS. AUSTRALIA; ASIANS AND THE CINEMA. AUSTRALIA; FILM WORKERS
Summary: This article examines some of the material dimensions of Asian Australian cinema through an analysis of selected regional production and post-production flows since 1980, and the debates surrounding them. It begins with a theoretical discussion of the role of labour within the global film industry, before moving on to consider controversies around the offshoring of film production to lower-cost destinations. Specific examples of production relays between Asia and Australia are analysed in the context of models of cultural labour offered by Toby Miller et al. and Ben Goldsmith. The author proposes a definition of Asian Australian cinema that seeks to attend to cross-border collaboration at a variety of levels and to render visible ‘below-the-line’ Asian Australian interfaces that do not necessarily register on screen. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2

Author: Grace, Helen
PhysDes: Article
Subject: ASIANS AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; LITTLE FISH (AT, Rowan Woods, 2005); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); LUCKY MILES (AT, Michael James Rowland, 2007)
Summary: :In considering three films that I link in this speculation on ‘Asian Australian cinema’, I want to argue that if, before The Finished People (Khoa Do, 2003), Asian Australian stories tended to be marginal and community based, the success of Khoa Do's film (and life) has opened out migrant experience to broader empathy so that now it can be drawn upon to speak for general humanity beyond ‘Australianness’. If The Finished People and Little Fish (Rowan Wood, 2005) belong to a period of film industry decline in Australia, corresponding with a parallel social/cultural depression in Australia — the worst of the Howard years — Lucky Miles (Michael James Rowland, 2007) reworks the trauma of those years, as a new Back of Beyond (John Heyer, 1954) — globalized rather than nationalized, its references less to the subsistence aesthetics and economy of postwar nation-building and more to a globalized commodities export market and the genres of global film-making styles. So we no longer need to have quintessential ‘Australian’ battlers to demonstrate resilience; asylum seekers are now better at doing this and much more appealing than Aussie battlers (like the Heart family in Little Fish, notwithstanding the attempt to rescue them by importing global/local stars to perform their abjection) — all the more so if one of the refugees has come in search of his Australian father And if the landscape of the original Back of Beyond provided a counterpoint to the economic centrality of suburban Australia as site of commodity consumption in the 1950s, the Pilbara landscape setting of Lucky Miles is above all a key site of commodity production and export in the globalized economy which also draws the characters to export themselves into the flow of this market. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2

Call No: 408.1(5/94) KHO
Author: Khoo, Olivia; Smaill, Belinda; Yue, Audrey
Source: UK/US
Place: Lanham
Publisher: Lexington Books
PubDate: c2013
PhysDes: vii, 207 p. : ill. ; 24 cm
Subject: AUSTRALIA; HISTORY OF CINEMA; HISTORY OF CINEMA. AUSTRALIA; ASIANS AND THE CINEMA. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA
Summary: "This book provides the first in-depth study of a history of Asian Australian cinema. Structured through case studies that progress chronologically, the book examines Australian cinema's transnationality through its under-examined cinematic encounters with Asia. " -- BOOK BLURB
Notes: Includes bibliographical references, filmography and index
ISBN: 9780739173244
Contents: -- Reframing Australian cinema: transnationalism, ethics, and Asian Australian cinema -- Asian stereotypes in 1920s -- Australian cinema: the cook, the thief, the wife and lover -- Colombo plan documentary: Australia and Asia in the postwar era -- The transnationalisation of the Australian western: Japanese-Australian productions in the late 1960's -- Romance, Entrepreneurialism, and the intercultural couple -- The global back of beyond: ethics and the Asian Australian road movie -- Landscape cinema: asianness and indigeneity -- new ethics in the Asian Australian short film -- The community cultural development of action cinema -- Co-productions and new queer paradigms for mobilities and migration -- bibliography -- filmography -- index --
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