Diasporas of Australian cinema / edited by Catherine Simpson, Renata Murawska and Anthony Lambert
Bristol: Intellect, 2009.
Available at ProQuest (RMIT login required) Call No: 408.3 DIA Source: UK Place: Bristol Publisher: Intellect PubDate: 2009 PhysDes: 213 p. : ill. ; 24 cm Subject: MULTICULTURALISM AND THE CINEMA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; LUCKY MILES (AT, Michael James Rowland, 2007); SILVER CITY (AT, Sophia Turkiewicz, 1984); BIRTHDAY BOY (AT, Sejong Park, 2004) Summary: Diasporas of Australian Cinema is the first volume of essays to focus on diasporic hybridity and cultural diversity in Australian film-making over the past century. Topics include, post-war documentaries and migration, Asian-Australian subjectivity, cross-cultural romance, 'wogsploitation' comedy, and post-ethnic cinema. This collection also provides a comprehensive filmography making it a useful reference text for scholars of Australian film and cultural studies. The book is a vital contribution to the burgeoning international body of critical work on diasporic cinemas --Cover Notes: Catherine Simpson and Renata Murawska are lecturers in the department of media at Macquarie University in Sydney. Anthony Lambert is a lecturer in the department of critical and cultural studies at Macquarie University.; Includes bibliographical references and index ISBN: 9781841501970 Contents: Preface -- Diasporas of Australian cinema - a provocation: Toby Miller; Part one: Theories -- Introduction: rethinking diasporas - Australian cinema, history and society: Catherine Simpson, Renata Murawska and Anthony Lambert -- Tinkering at the borders: lucky miles and the diasporic (no) road movie: Catherine Simpson -- Ethics and risk in Asian-Australian cinema: 'The Last Chip': Audrey Yue -- 'I'm falling in your love': cross-cultural romance and the refugee film: Sonia Magdelena Tascon -- White aborigines: women, space mimicry and mobility: Anthony Lambert; Part two: Representations -- Wogboy comedies and the Australian national type: Felicity Collins -- Excess in Oz: the crazy Russian and the quiet Australian: Greg Dolgopolov -- Anzac's 'others': 'cruel Huns' and 'noble Turks': Antje Gnida and Catherine Simpson -- 'Now you blokes own the place': representations of Japanese culture in recent Australian cinema: Rebecca Coyle -- Other shorelines, or the Greek-Australian cinema: John Conomos; Part three: Film-makers -- 'A European heart': Exile, isolation and interiority in the life and films of Paul Cox: Marek Haltof -- Sophia Turkiewicz: Australianizing Poles, or 'bloody nuts and balts' in Silver City (1984): Renata Murawska -- Lebanese Muslims speak back: two films by Tom Zubrycki: Susia Khamis -- Sejong Park's Birthday Boy and Korean-Australian encounters: Ben Goldsmith and Brian Yecies -- Diasporic filmography: Garry Gillard and Anthony Lambert URL status: URL: 'https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=457082'
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ETHNIC GROUPS IN FILMS. AUSTRALIA
Giorgio Mangiamele : cinematographer of the Italian migrant experience / by Raffaele Lampugnani
Ballan, Vic: Connor Court Publishing, 2012.
Call No: 81MAN LAM Author: Lampugnani, Raffaele Source: AT Place: Ballan, Vic Publisher: Connor Court Publishing PubDate: 2012 PhysDes: 196 p. : ill., ports. ; 21 cm Subject: AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; IMMIGRATION IN FILMS AND TELEVISION; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; MIGRATION; HISTORY AND THE CINEMA. AUSTRALIA; MANGIAMELE, GIORGIO; CONTRATTO, IL (AT, Giorgio Mangiamele, 1953) Summary: "Giorgio Mangiamele is without doubt one of the most interesting and artistically gifted filmmakers in contemporary Australian cinema, even though his ideas and talent were often hampered in a technical sense by material and financial circumstances; he is absolutely crucial as representative of the post-war Italian migration experience in Australia. His oeuvre has received considerable critical attention recently but a serious, organic, critical analysis has been hampered by misconceptions about his marginal position with respect to mainstream production and the typcasting of the author as a "migrant" cinematographer. This study has sought to bridge the prejudical divide between the diasporic context and the artistic value, talent and intentions of the filmmaker. Underpinning this argument with Deleuze and Guattari's theoretical framework of "minor" literatures, it is suggest that Mangiamele's diasporic cinematic production did have an influence on mainstream cinema and society, in the sense that "minor no longer designates specific literatures but the revolutionary conditions for every literature within the heart of what is called great (or established) literature" (Kafka, 18). In order to elucidate Mangiamele's acuity, and cinematographic talent and human observational skills, a socio-historical and cultural framing for his oeuvre is provided confirming the author's crucial importance for the post-war period, his highly individual style and work imbued with ethical and moral principles as well as compassion and humanistic concerns." -- BOOK JACKET Notes: Includes bibliographical references ISBN: 9781921421631 Contents: -- main abbreviations -- introduction -- 1. migrant bricoleur or influental pioneer? The Deleuzian theory of 'minor literature' as a critical tool to frame Giorgio Mangiamele's cinematic production -- 2. migrant bricoleur, neorealist imitator, scholar, or gifted artist? who is really behind (or in front of) the camera? -- 3. the mise-en-scene of history and of diasporic reality in Mangiamele's first film, Il contratto -- 4. Mangiamele, cinematographer of enduring perceptions of southern Italian migrant backwardness -- 5. constructing a filmic discourse on Italian canonical intertextual references -- 6. a 'nosographic' reading of Mangiamele's ambivalent emotional and psychological relationship with host society, depicting states and feelings of dislocation and banishment -- 7. observing and depicting human behaviour to restore dignity in society: the social mise e scene and social performance in Mangiamele's early films -- conclusion -- bibliography -- filmography -- appendix -- More info
Head on: multicultural representations of Australian identity in 1990s national cinema
Studies in Australasian cinema (2007) vol.1 iss.1 p.61-78 Author: Bennett, James PhysDes: Article Subject: NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; STRICTLY BALLROOM (AT, Baz Luhrmann, 1992); HEAD ON (AT, Ana Kokkinos, 1998) Summary: ...1990s Australian cinema provides a key site for the examination of Australian identity in multicultural terms. Drawing on the work of Ghassan Hage, Stuart Hall and Daniel Nourry, this article investigates how notions of Australian identity in a multicultural society are played out (and with) by Australian cinema in the 1990s. Particular attention is paid to Head on (Kokkinos, 1998) and Strictly ballroom (Lurhmann, 1992), as examples of different approaches to this issue. -- Taken from Abstract More info
Lieux et non-lieux: subverting spaces of recognition and belonging in Looking for Alibrandi
Studies in Australasian cinema (2008) vol.2 iss.1 p.21-31 Author: Percopo, Luisa PhysDes: Article Subject: NATIONAL IDENTITY AND THE CINEMA. AUSTRALIA; MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; LOOKING FOR ALIBRANDI (AT, Kate Woods, 2000) Summary: This article addresses Kate Woods' film Looking for Alibrandi (2000), its concern with the interdependence of space and subjectivity and its role in presenting alternative discourses of the Australian nation. Drawing on the spatial theorization of French anthropologist Marc Auge, I contend that the film offers new models of identity through the protagonist's subversion of the categorization of public and private spaces. I argue that Josie Alibrandi is portrayed in the film as an agent of change, and her 'acts of improvisation' result both in an active manipulation of cultural constructions grounded in these spaces, and in her claim to a multiplicity of identities.--Abstract More info
Liminality, temporality and marginalization in Giorgio Mangiamele's migrant movies
Studies in Australasian cinema (2007) vol.1 iss.2 p.209-221 Author: Rando, Gaetano PhysDes: Article Subject: ETHNIC GROUPS IN FILMS. AUSTRALIA; MANGIAMELE, GIORGIO; CLAY (AT, Giorgio Mangiamele, 1964); SPAG, THE (AT, Giorgio Mangiamele, 1962) Summary: Giorgio Mangiamele, born in Catania in 1926, migrated to Melbourne in 1952 and constitutes a rare example of CALD involvement in the early development of Australian cinema in the post-war period. His feature film Clay (1965) was the first Australian film to be invited to enter the competition at the Cannes Film Festival. However, despite his significant contribution to the emerging Australian cinematic culture, particularly to the development of ‘art’ cinema, he has received relatively little recognition. Over a thirty-year period Mangiamele made fourteen films as director or director/producer. His first productions – The contract (1953), Unwanted (c.1957), The brothers (1958), The spag (1961) and Ninety-nine per cent (1963) – present themes related to the Italian migration experience in Australia in the 1950s depicted in all its immediacy and contemporaneity as an integral feature of the existentialist condition of our times. The only Australian director consistently to deal with such themes at the time, Mangiamele focuses on the dislocation, the alienation, the loneliness and the recall of the home country that constitutes the experience of his emblematic characters struggling to make sense of a society that is in many ways unaccepting. This article proposes to apply the concepts of liminality and temporality elaborated by Hamid Nacify (2001) to the analysis of the themes related to the Italian-Australian diaspora in the films of Giorgio Mangiamele.--ABSTRACT More info
Oz so white? Diversity appears on Australian screen
Canberra Times [Saturday Forum] (23/01/2016) p.3 Call No: SUBJECT CLIPPINGS FILE; ETHNIC GROUPS IN FILMS. AUSTRALIA Author: Hawker, Philippa PhysDes: Clippings File Article Subject: AWARDS. ACADEMY; ETHNIC GROUPS IN FILMS. AUSTRALIA; ETHNIC GROUPS ON TV. AUSTRALIA Summary: Report on the amount of diversity of actors and filmmakers in Australian film and tv. This is done in relation to the recent discussion about the all white acting nominees for the 2016 Academy Awards. People quoted include: Idris Elba, Darren Dale (Blackfella Films), Bali Padda (from Actors' Equity), Fiona Cameron (Screen Australia) Notes: same article details: 'Hollywood's lack of diversity blindingly clear' in Saturday Age. p.27.; 'White wash' in Sydney Morning Herald. p. 28 [same author and date as article] More info
Race daze : Australia in identity crisis / Jon Stratton
Annandale, NSW: Pluto Press, 1998.
Reconstructing images of history : Christopher Doyle, Rabbit-proof fence and postcolonial collage
Studies in Australasian cinema (2008) vol.2 iss.2 p.121-140 Author: Chane, Queenie Monica PhysDes: Article Subject: ETHNIC GROUPS IN FILMS. AUSTRALIA; AUSTRALIAN ABORIGINES IN FILMS; POLITICS AND THE CINEMA. AUSTRALIA; DOYLE, CHRISTOPHER; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) Summary: Indigenous Australian and Asian Australian dialogues are still emerging in Australian cinema. This article will examine how Asian Australian cultural politics offer alternative accounts of indigenous-settler relations that are not reduced to a black and white discourse. A politics of cultural hybridity disrupts dominant modes of representation by revealing the fluidity and artifice of prevailing cultural boundaries. I expand on the critical framework of a ‘third space’ through Christopher Doyle's Rabbit-Proof Fence photo collages. While his subject matter is taken from the film's mode of production through his role as cinematographer, Doyle's interaction through collage and his Asian film background enables a hybrid engagement with indigenous cultural representations. -- Abstract Notes: Part of Special Issue: Transnational Asian Australian Cinema. Part 1. More info
Unsettling whiteness : the slippage of race and nation in Clara Law's Letters to Ali
Studies in Australasian cinema (2008) vol.2 iss.2 p.103-119 Author: Johnston, Meg PhysDes: Article Subject: NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; LAW, CLARA; LETTERS TO ALI (AT, Clara Law, 2004) Summary: This article focuses on Clara Law's Letters to Ali (2004) as a recent example of a refugee-focused documentary film that both complicates and destabilizes the essential and exclusive categories of ‘whiteness’ and ‘otherness’ that have shaped Australian identity politics through recent politics. Centrally, this article will position Letters to Ali as a subversive project in accordance with Homi Bhabha's ideas of unsettling, displacing and disturbing the authority of normative whiteness that pervades our national identity in this climate. Through positioning whiteness as neither fixed nor final due to the ‘incommensurable differences’ it must take into account, this article will discuss both formal and narrative elements of Letters to Ali as working towards destabilizing an essential and static whiteness and, instead, focusing on its ‘marked’ and constructed nature. Critiquing whiteness as an ideal, according to Bhabha, Ghassan Hage and others, this discussion will displace and disrupt its ‘invisibility’ or normativity. In doing so, whiteness will be examined as part of national strategies of dominance and subordination, rather than as an authentic or singular identity, ‘reveal[ing] within the very integuments of “whiteness” the agonistic elements that makes it the unsettled, disturbed form of authority’.
Clara Law's position as Asian Australian film-maker in relation to other national others such as ‘Ali’, the refugee subject of the film, will be crucial to this disruption: Law's own story of migration, of resettlement and naturalization is foregrounded in the film's narrative and, as such, she — and partner Eddie Fong — are the national citizens against which the refugee is to be measured in this binary logic. Taking into account these ‘incommensurable differences’ of the white identity, the categories of ‘Us’ and ‘Them’; of Australians and others, are ruptured and the frameworks of national membership are opened up to more liminal, transnational notions of identity and belonging. -- Abstract Notes: Part of Special Issue: Transnational Asian Australian Cinema: Part 1 More info
Whose story is reclaimed in The home song stories?
Studies in Australasian cinema (2008) vol.2 iss.1 p.15-20 Author: Tuccio, Silvana PhysDes: Article Subject: MULTICULTURALISM AND THE CINEMA. AUSTRALIA; ETHNIC GROUPS IN FILMS. AUSTRALIA; SPAG, THE (AT, Giorgio Mangiamele, 1962); HOME SONG STORIES, THE (AT, Tony Ayres, 2007) Summary: The home song stories offers a personal view of dislocation, family and the experience of difference; it widens the concept of what is an Australian story. The director of the film. who is also the narrator, reflects on his childhood and on his mother's experience of alterity in a foreign country, attempting in the process, to reclaim a part of himself. More info