Search Catalogue

Call No: 408.1(94) COU
Author: Couzens, Andrew James
Edition: 2019
Place: London ; New York
Publisher: Anthem Press
PubDate: 2019
PhysDes: ix, 246 pages : illustrated ; 24 cm
Series: Anthem studies in Australian literature and culture
Subject: KELLY [NED] IN FILMS; BUSHRANGERS IN FILMS; HISTORY OF CINEMA. AUSTRALIA; POPULAR CULTURE AND THE CINEMA. AUSTRALIA; STORY OF THE KELLY GANG, THE (AT, Charles Tait, 1906); GLENROWAN AFFAIR, THE (AT, Rupert Kathner, 1951); NED KELLY (UK, Tony Richardson, 1970); NED KELLY (AT/UK, Gregor Jordan, 2003); RECKLESS KELLY (US, Yahoo Serious [pseud. of Greg Praed], 1993); NED (AT, Abe Forsythe, 2003); PROPOSITION, THE (AT/UK, John Hillcoat, 2005); LUCKY MILES (AT, Michael James Rowland, 2007)
Summary: The bushranger legend is an important component of Australia’s cultural history, with names like Ned Kelly and Ben Hall still provoking strong, if ambivalent, responses. Storytellers mobilize this legend in unique and exciting ways that reflect upon both the cultural and actual history of bushrangers, as well as speaking to contemporary concerns and driving debate on the national character. ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is a multidisciplinary investigation into the history of cultural representations of the bushranger legend on the stage and screen, charting that history from its origins in colonial theatre works performed while bushrangers still roamed Australia’s bush to contemporary Australian cinema. It considers the influences of industrial, political and social disruptions on these representations as well as their contributions to those disruptions. ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is a comprehensive cultural history of representations of bushrangers in cinema and colonial theatre. Beginning with the bushranger legend’s establishment, it explores the formative years of the representational tradition, identifying the origins of characteristics and the social and industrial mechanisms through which they passed from history to popular theatre. Tracing the legend’s development, the book interrogates the promotion of these characteristics from a contested popular history to an officially sanctioned national outlook in the cinema. Finally, it analyzes the contemporary fragmentation of the bushranger legend, attending to the dissatisfactions and challenges that arose in response to political and social debates galvanized by the 1988 bicentenary. The cultural history recounted in ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ provides not only an into the role of popular narrative representations of bushrangers in the development and reflection of Australian character, but also a detailed case study of the specific mechanisms at work in the symbiosis between a nation’s values and its creative production. Bushrangers have had a heightened though unstable significance in Australia due to the nation’s diverse population and historical insecurities and conflicts over colonial identity, land rights and settlement. Community often defined the bushrangers in their stage and screen appearances, and the challenges that these marginalized communities faced were absorbed into the political and social mainstream. ‘A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017’ is an insight into the process through which the bushranger legend earned its cultural resonance in Australia. -- publisher's web site
ISBN: 9781783088911
Contents: List of Figures -- Acknowledgements -- Introduction: Defining the Bushranger Legend -- Part 1: Establishing the Legend; 1. The First Bushranger Melodrama; 2. Alfred Dampier and the Nationalistic Melodrama; 3. Wild West Shows and Wild Australia; 4. Hippodramas and Edward Irham Cole -- Part 2: Developing the Legend; 5. The Bushranger Genre from Stage to Screen; 6. The Bushranger Ban; 7. British and American Interventions in the Bushranger Legend; 8. Radical Nationalism and the Bushranger Legend -- Part 3: Fragmenting the Legend; 9. Historical Revisionism and the Bushranger Legend; 10. Diversification and Inclusiveness of the Bushranger Legend; 11. Globalization of the Bushranger Legend in Outlaw Road Movies -- Conclusion --Bibliography -- Index

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' Checked: 31/08/2021 1:18:46 PM Status: Moved Details: HTTP status 302 - Moved temporarily

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: LUCKY MILES (AT, Michael James Rowland, 2007)
ID2: 82

Call No: S LUC
Author: Barnes, Helen and Rowland, Michael James
Edition: draft 4
Place: AT
PubDate: [2004]
PhysDes: 109 leaves
Subject: LUCKY MILES (AT, Michael James Rowland, 2007)
Notes: Developed with the financial assistance of the South Australian Film Commission and the Australian Film Commission; Production script; Donated by the Australian Film Institute

Author: Michael Adams
PhysDes: Article
Subject: LUCKY MILES (AT, Michael James Rowland, 2007)
Summary: Review of Lucky Miles

Call No: P LUC
PhysDes: 1 poster : col. ; 100 X 69 cm.
Subject: LUCKY MILES (AT, Michael James Rowland, 2007)
Summary: Image: a picture of wasteland. Text: ' ... too much paradise.'
Notes: Have 2 copies.

PhysDes: Article
Subject: ROWLAND, MICHAEL; LUCKY MILES (AT, Michael James Rowland, 2007)
Summary: Interview with director of Lucky Miles, Michael James Rowland on the politics of the film

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