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An Australian film reader / edited by Albert Moran and Tom O'Regan Sydney: Currency Press, 1985.
Call No: 71(94) AUSAuthor: Moran, Albert, 1942 ; O'Regan, Tom, 1956 Place: SydneyPublisher: Currency PressPubDate: 1985PhysDes: 391 p. ; 21 cmSeries: Australian screenSubject: FEMINISM AND THE CINEMA. AUSTRALIA ; DOCUMENTARY FILMS. AUSTRALIA ; AVANT-GARDE FILMS. AUSTRALIA ; SUPER-8 MM FILMS. AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; BERESFORD, BRUCE ; WEIR, PETER ; CHAUVEL, CHARLES ; Grierson, John ; HALL, KEN G. ; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919) ; GALLIPOLI (AT, Peter Weir, 1981) ; SCHOOL IN THE MAILBOX (AT, Stanley Haews, 1946?) ; FROM THE TROPICS TO THE SNOW (AT, Richard Mason and Jack Lee, 1964) ; BIG COUNTRY, A (AT, 1979) ; LAST TASMANIAN, THE (AT, Tom Haydon, 1978) ; MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982) ; SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983) ; INDONESIA CALLING (AT, Joris Ivens, 1948) Notes: Includes index; Bibliography: p. 376-379ISBN: 086819123X (pbk.) : $24.95 AustLON: anb86819123; 4105507
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Australian images / Barrie McMahon, Robyn Quin Marrickville, N.S.W.: Science Press, 1990.
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journal article
Driving Ms crazy : intersections of women, madness and automobiles in recent Australian cinema in Australian Screen Education (1999) iss.20/21 p.47-50
Author: O'Sullivan, Jane PhysDes: Article; Illustration(s)Subject: WOMEN IN FILMS. AUSTRALIA ; ROAD MOVIES ; AUTOMOBILES IN FILMS. AUSTRALIA ; MENTAL HEALTH ISSUES IN FILMS. AUSTRALIA ; TRUE LOVE AND CHAOS (AT, Stavros Andonis Efthymiou, 1997) ; DOING TIME FOR PATSY CLINE (AT, Chris Kennedy, 1997) ; KISS OR KILL (AT, Bill Bennett, 1997) ; SPIDER & ROSE (AT, Bill Bennett, 1994) ; DRIVING MISS DAISY (US, Bruce Beresford, 1989)
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Film in Australia : an introduction / Albert Moran and Errol Vieth Port Melbourne: Cambridge University Press, 2006.
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newspaper article
Gender agenda in Weekend Australian [Review] (16/01/2016) p.1
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Identification, gender and genre in film : the case of Shame / Stephen Crofts. With Shame : the screenplay / Beverly Blankenship and Michael Brindley South Melbourne, Vic.: Australian Film Institute, 1993.
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The man who met Raymond Longford / Anthony Buckley Australia: ScreenSound Australia, 2001.
Call No: 802.25 (94) BUCAuthor: Buckley, Anthony Edition: 1st ed.Source: AustraliaPlace: AustraliaPublisher: ScreenSound AustraliaPubDate: 2001PhysDes: [24] p. : ill., ports., facsims.Series: Inaugural Longford Lyall lecture 2001; ScreenSound Australia Monograph no.3Subject: AUSTRALIA ; AUSTRALIA IN FILMS ; AUSTRALIA. 1895-1930 ; AUSTRALIA. 1927-1932 ; AUSTRALIAN CINEMA PIONEERS, THE ; AUSTRALIAN FILM STUDIOS ; AUSTRALIAN SCREEN EDITORS ; WOMEN AND THE CINEMA ; WOMEN FILMMAKERS. AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; WOMEN, FILMS MADE BY ; PRODUCERS. AUSTRALIA ; DIRECTORS. AUSTRALIA ; BUCKLEY, ANTHONY ; LONGFORD, RAYMOND ; LYELL, LOTTIE ; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919) ; MUTINY ON THE BOUNTY, THE (AT, Raymond Longford, 1916) ; CHURCH AND THE WOMAN, THE ( AT, Raymond Longford, 1917) ; WOMAN SUFFERS, THE (AT, Raymond Longford, 1918) ; DINKUM BLOKE, THE (AT, Raymond Longford, 1923) ; ON OUR SELECTION (AT, Ken G. Hall, 1932) Summary: The ScreenSound Australia Annual Longford Lyell Lecture was established in 2001. It is named in honour of two significant pioneers of Australian cinema, Lottie Lyell and Raymond Longford, who were the foremost creative partnership in the pioneering years of Australian cinema. Anthony Buckley is regarded as one of the leaders of the Australian Film industry having worked as a documentary film maker, director and producer. In this lecture Buckley talks about the life and times of Longford and Lyell as well as his own extraordinary meeting with the legendary Longford at the age of fifteen.Notes: Includes filmography of Anthony Buckley's works. -- Includes bibliographic references.ISBN: 0642365180
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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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Romance, fantasy and female sexuality in Feeling Sexy in Metro (2000) iss.123 p.13-17
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The screening of Australia : anatomy of a national cinema / Susan Dermody, Elizabeth Jacka Sydney: Currency Press, 1987-<1988.
Call No: 71(94) DER v.2Author: Dermody, Susan ; Jacka, Elizabeth Place: SydneyPublisher: Currency PressPubDate: 1987-<1988PhysDes: v. <1-2 > ; 21 cmSeries: Australian screen seriesSubject: BUDDY FILMS. AUSTRALIA ; AUSTRALIA ; THEORY. AUSTRALIA ; CULTURAL IMPERIALISM. AUSTRALIA ; CLASS AND THE CINEMA. AUSTRALIA ; NATIONAL IDENTITY IN FILMS. AUSTRALIA ; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA ; COMEDIES. AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; MEN IN FILMS. AUSTRALIA ; POLITICAL FILMS. AUSTRALIA ; SEX IN FILMS. AUSTRALIA ; REALISM IN FILMS. AUSTRALIA ; AUSTRALIAN FILM COMMISSION ; BREAKER MORANT (AT, Bruce Beresford, 1980) ; ADVENTURES OF BARRY MCKENZIE, THE (AT, Bruce Beresford, 1972) ; CAREFUL, HE MIGHT HEAR YOU (AT, Carl Schultz, 1983) ; GALLIPOLI (AT, Peter Weir, 1981) ; MAD MAX (AT, George Miller, 1979) ; MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982) ; MY BROTHER JACK (AT, Gil Brealey, 1965) ; ALVIN PURPLE (AT, Tim Burstall, 1973) ; CHANT OF JIMMIE BLACKSMITH, THE (AT, Fred Schepisi, 1978) ; FAR EAST (AT, John Duigan, 1982) ; F.J. HOLDEN, THE (AT, Michael Thornhill, 1977) ; HEATWAVE (AT, Phillip Noyce, 1981) ; KILLING OF ANGEL STREET, THE (AT, Donald Crombie, 1981) ; MAD MAX II (AT, George Miller, 1981) ; NEWSFRONT (AT, Phillip Noyce, 1978) ; PALM BEACH (AT, Albie Thoms, 1979) ; PHAR LAP (AT, Simon Wincer, 1983) ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; SUNDAY TOO FAR AWAY (AT, Ken Hannam, 1975) ; TOWN LIKE ALICE, A (AT, David Stevens, 1980) ; WE OF THE NEVER NEVER (AT, Igor Auzins, 1982) Notes: Includes bibliographies and indexISBN: 0861911876 (v. 2); 0868191876 (v. 2)LON: 5369777
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Screening the past : aspects of early Australian film : selected papers from the sixth Australian History and Film Conference and other sources / edited by Ken Berryman Acton, A.C.T.: National Film & Sound Archive, 1995.
Call No: 45:93 SCRAuthor: Berryman, Ken CorpAuthor: National Film and Sound Archive (Australia); Australian History and Film Conference (6th : 1993 : La Trobe University, Melbourne)Place: Acton, A.C.T.Publisher: National Film & Sound ArchivePubDate: 1995PhysDes: 184 p. : ill., ports. ; 21 cmSubject: STATE AND THE CINEMA. AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; ABORIGINAL AUSTRALIANS AND THE CINEMA ; CENSORSHIP. AUSTRALIA ; VAUDEVILLE AND THE CINEMA. AUSTRALIA ; TRANSVESTISM. AUSTRALIA ; CENTENARY OF CINEMA. AUSTRALIA ; HISTORY OF EXHIBITION. AUSTRALIA ; PERCIVAL, LACEY ; WILMOT, CHESTER ; PARER, DAMIEN ; REALIST FILM UNIT AND ASSOCIATION, THE ; WOMAN SUFFERS, THE (AT, Raymond Longford, 1918) ; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919) ; LITTLE LORD FAUNTLEROY (US, Alfred E. Green & Jack Pickford, 1921) Notes: CIP confirmed; Includes bibliographical referencesISBN: 0642235309LON: 11944255Contents: "Sorry, Wrong Centenary!" by Chris Long, p.11-30 -- "Film in Footscray : Early Film Exhibition in the Suburbs" by John Benson, p.49-59 -- "The Sentimental Bloke : narrative and social consensus" by Ina Berttrand, p97-106 -- "Little Lord Fauntlreoy : an example of the relationship between vaudeville and film" by Anne Bittner, p107-115 -- "Dangerous Visions : "Films suitable and unsuitable for native races" by Marion Benjamin, p141-150 -- "Sheep's clothing : a dress in some Australian films" by Deb Verhoeven, p151-157 -- "Chester Wilmot and Damien Parer at Tobruk" by Neil McDonald, p159-169 -- "Making waves : The Realilst Film Unit and Association" by Deane Williams, p 170-184
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Solving the 'problem' of the motherless indigenous child in 'Jedda' and 'Australia' : white internal desire in the Australian epic before and after 'Bringing them home'. in Studies in Australasian cinema (2010) vol.4 iss.2 p.145-157
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The white woman's burden : whiteness and the neo-colonialist historical imagination in The proposition in Studies in Australasian cinema (2009) vol.3 iss.3 p.265-278
Author: Williams, Marise PhysDes: ArticleSubject: IMPERIALISM AND THE CINEMA AUSTRALIA ; WOMEN IN FILMS. AUSTRALIA ; PROPOSITION THE (AT/UK, John Hillcoat, 2005) Summary: John Hillcoat's film The Proposition (2005), written by Nick Cave and set in a late 1880s Australian outback, is a colonial ballad of rape, murder, revenge and fratricide. The central narrative arc is concerned with relations between men, the English Captain Stanley and the Irish Burns gang representing, respectively, the law and the lawless, civilizing imperialists and wild colonials. Drawing on Richard Dyer's White, this article explores the gender-coded white racial imagery of the film and argues that the figure of the white woman signifies what is really at stake: a cultural and racial logic of whiteness as definitive of the Australian.
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Woman as cure : Cynthia, Praise and a cinematic politics of difference. in Metro (2000) iss.124/125 p.9-15
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