Affective authorship : contemporary Asian Australian documentary
Studies in Australasian cinema (2008) vol.2 iss.2 p.157-170 Author: Smaill, Belinda PhysDes: Article Subject: DOCUMENTARY FILMS. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; ETHNIC GROUPS AND THE CINEMA; PSYCHOLOGICAL EFFECTS OF FILMS; FINISHED PEOPLE, THE (AT, Khoa Do, 2003); LETTERS TO ALI (AT, Clara Law, 2004); SADNESS: A MONOLOGUE BY WILLIAM YANG (AT, Tony Ayres, 1999); CHINESE TAKEAWAY (AT, Mitzi Goldman, 2002) Summary: Documentary is a genre not widely understood through its capacity to engage the emotions. This article works to acknowledge the affective labour performed by documentary and, more specifically, the way emotions give meaning to documentary subjects. The analysis explores the production of Asian Australian subjects as documentary authors in four prominent films produced over the previous decade: Chinese Takeaway (Mitzi Goldman, 2002), Sadness: A Monologue by William Yang (Tony Ayres, 1999), The Finished People (Khoa Do, 2003) and Letters to Ali (Clara Law. 2004). These texts allow for a fruitful examination of the way the emotions that shape the expression of these author-subjects, such as mourning and care, might impact on the documentary representation of cultural otherness. Asian Australian subjectivity coalesces in and around these texts in a manner that is founded on the activity of mourning. Included here are not only the bereavements of loved ones, but also the losses that are bound to the movements of modernity, such as the lost fullness which is the promise of diaspora, the failure or absence of universal citizenship and the lack of safety in life lived in advanced capitalism. This article explores not only the absences suggested in these films, but also how these absences present a site of ethical encounter for the viewer that both resists reducing and assimilating the Asian Australian author to a devalued ethnic other while also addressing a community of viewers through a relation of reciprocity based in caring attachments to the social realm. -- Abstract Notes: Part of Special Issue: Transnational Asian Australian Cinema. Part 1 More info
The art of govenment : Khoa Do's The finished people and the policy reform of Community Cultural Development
Studies in Australasian cinema (2008) vol.2 iss.3 p.177-193 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 More info
The man in the picture : an interview with Mike Rubbo by Dave Jones
Lumiere (April, 1973) iss.22 p.10-15 More info
No koalas please : issues for film-makers in Asia and Australia / by Sylvie Shaw
Carlton, Vic.: Asialink, 1990.
Call No: 408.3(5/94) SHA Author: Shaw, Sylvie Source: AT Place: Carlton, Vic. Publisher: Asialink PubDate: 1990 PhysDes: vii, 29 p. ; 26 cm Subject: EXPORT OF FILMS. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; ASIAN COUNTRIES Summary: The book is in two sections. The first section is an issues paper for the Filmliks Conference which looks at various issues involving Australian films and tv shows and their depiction of Asia and the importance of Australian productions being made and shown in Asia. The second section of the book has a report of the discussions at the Filmlinks Conference and includes responses to the conference by Ron Hurrell, Frank Morgan, and Georgia Wallace-Crabbe More info
Queer Asian Australian migration : creative film co-production and diasporic intimicy in The home song stories
Studies in Australasian cinema (2008) vol.2 iss.3 p.229-243 Author: Yue, Audrey PhysDes: Article Subject: PRODUCTION DEALS. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; ADVERTISING FOR FILMS; PRODUCTION DEALS. AUSTRALIA; SEXUALITY AND THE CINEMA; HOME SONG STORIES, THE (AT, Tony Ayres, 2007) Summary: This paper examines Tony Ayres' recent film, The Home Song Stories (2007) using the framework of queer Asian Australian migration. First, queer migration is critically considered through the minor transnationalism of its co-production. Evaluating the marketing of the film in Singapore and Australia, this article shows how Chinese ethnicity is deployed as exclusive and inclusive to enable different tactics of queer mobility and how these tactics are incorporated by different film policies to fulfil competing national aims. Second, this article considers the queer mobility of diasporic intimacy. Diasporic intimacy disrupts the regulation of queer migration and shows how the private domains of memory, family and sexuality are reconstituted in the transnational Chinese diaspora. The framework of queer Asian Australian migration describes the non-normative migration of Asians to Australia, the disjunctive flows of mobility that constitute the Asian diaspora in Australia, as well as the regulation of non-normative Asian Australian migration in national symbolic and institutional economies. The framework of queer Asian Australian migration, this article argues, provides a theoretical platform to critically consider the transnationality of Asian Australian cinema. -- Abstract Notes: Part of Special Issue: Transnational Asian Australian Cinema, part 2 More info
Race daze : Australia in identity crisis / Jon Stratton
Annandale, NSW: Pluto Press, 1998.
'Small-fry' : suburban decline and the global outback in recent Asian Australian cinema
Studies in Australasian cinema (2008) vol.2 iss.3 p.195-212 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 More info
Transnational Australian Cinema : ethics in the Asian Diasporas / by Olivia Khoo, Belinda Smaill, and Audrey Yue
Lanham: Lexington Books, c2013.
Available at ProQuest (RMIT login required) 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 -- URL status: URL: 'https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=1155203'
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Twin peeks : Australian and NZ feature films / Deb Verhoeven
Melbourne: Damned Publishing, 1999.
Call No: 71(94) TWI Place: Melbourne Publisher: Damned Publishing PubDate: 1999 PhysDes: 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: 1876310006 LON: 20154200 ID2: 29 More info