This edited collection assesses the complex historical and contemporary relationships between US and Australian cinema by tapping directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition associations between Australia and the US. To explore this idea, the book investigates the influence that Australia has had on US cinema through the exportation of its stars, directors and other production personnel to Hollywood, while also charting the sustained influence of US cinema on Australia over the last hundred years. It takes two key points in timethe 1920s and 1930s and the last twenty yearsto explore how particular patterns of localism, nationalism, colonialism, transnationalism and globalisation have shaped its course over the last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although this concentration on US production, or influence, is particularly acute in relation to developments such as the opening of international film studios in Melbourne, Sydney, Adelaide and the Gold Coast over the last thirty years, the book also examines a range of Hollywood financed and/or conceived films shot in Australia since the 1920s.
|Publisher:||Springer International Publishing|
|Edition description:||Softcover reprint of the original 1st ed. 2018|
|Product dimensions:||5.83(w) x 8.27(h) x (d)|
About the Author
Adrian Danks is Deputy Dean, Media in the School of Media and Communication at RMIT University, Australia. He is the editor of A Companion to Robert Altman (2015).
Stephen Gaunson is Senior Lecturer and teaches Cinema Studies in the School of Media and Communication at RMIT University, Australia. He is the author of The Ned Kelly (2013).Peter C. Kunze earned a PhD in English at Florida State University, USA and is currently pursuing a second PhD in Media Studies at the University of Texas at Austin, USA. He is the editor of The Films of Wes Anderson: Critical Essays on an Indiewood Icon (Palgrave, 2014).
Table of Contents
1. Adrian Danks, Stephen Gaunson and Peter C. Kunze, Where I’m Calling From: An American-Australian Cinema?
Part I. Across the Pacific: Looking to America
2. Adrian Danks, Rudimentary Modernism: Ken G. Hall, Rear-Projection and 1930s Hollywood3. Leslie DeLassus, Simulated Scenery: Travel Cinema, Special Effects and For the Term of His Natural Life
4. Jane Mills, Representations and Hybridisations in First Nation Cinema: Change and Newness by Fusion
5. Fincina Hopgood, Of Mothers and Madwomen: Mining the Emotional Terrain of Toni Collette’s Anti-Star Persona
Part II. The View From There: Australian Films in the US
6. Tessa Dwyer, Accented Relations: Mad Max on US Screens
7. Peter C. Kunze, Talking Trash with Tarantino: Auteurism, Aesthetics and Authority in Not Quite Hollywood
8. Mark David Ryan, Australian Horror Movies and the American Market
9. Amanda Howell, The Female Gothic Meets the Terrible Terrace House: Transnational Exchanges and the Suburban Australian Horror of The Babadook Part III. Here and There: Crossing Between Australian, US and International Cinemas
10. Stephen Gaunson, American Cartel: Block Bookings and the Paramount Plan
11. Jock Given, The Multiplex Era
12. Jeannette Delamoir, “Zest to the Jaded Movie Palate”: Wallace Worsley, Scott Dunlap and The Romance of Runnibede (1928)
13. Jerod Ra’Del Hollyfield, Defining Neverland: P. J. Hogan, J. M. Barrie, and Peter Pan in Post-Mabo Australia
14. Lesley Hawkes, The Great Gatsby: Telling National Iconic Stories Through a Transnational Lens