Anglo-Indians in Hollywood, Bollywood and arthouse cinema

Apart from a few disparaging remarks about offensive stereotypes by Anglo-Indian writers and politicians such as Gloria Jean Moore, Frank Anthony and Gillian Hart, critics have paid very little attention to the representation of “mixed-race” Anglo-Indians in the cinema. Drawing on screen theory and recent theories of cinema spectatorship, this essay provides a comparative analysis of how Hollywood, Bollywood and arthouse films represent Anglo-Indians. More specifically, it analyses three paradigmatic films: Bhowani Junction (1956), Julie (1975), and 36 Chowringhee Lane (1981). Combining formal analysis of narrative structure, mise-en-scegravene and genre with historical analysis, the paper examines the ideological work performed by these texts, which use Anglo-Indians to dramatise specific political conflicts in India such as those generated by the British partition of India in 1947 and the more recent issue of globalisation.

How Hollywood projects foreign policy

The interactions between popular culture and public policy in general, and foreign policy in particular, have always been an important area of scholarly enquiry and popular interest. However with the end of the bipolar world system and the emergence of a single world superpower in the form of the United States of America, which is waging a War Against Terror, this nexus has become critical. This is especially true because of the almost Manichean tendency of the United States to see other countries in terms of "good" or "evil". Indeed President Bush himself has coined the term "The Axis of Evil" for states, which in a kinder age were simply referred to by his predecessors as being "Rogue States".

This book draws together elements from several academic disciplines - politics, international relations, psychology, film and cultural studies and examines US foreign policy toward the so-called "rogue states" and the products of the Hollywood film industry in relation to these states, which promises to make a significant contribution to our understanding of the 'soft power' that is popular culture.

The cinema of Kathryn Bigelow : Hollywood transgressor

Kathryn Bigelow has undoubtedly been one of Hollywood's most significant female players, well known in popular terms for films such as Point Breakand Blue Steel, yet relatively unexplored in academia. Soundbites about women and guns and speculation about the role of ex-husband James Cameron ( Aliens, Titanic) in her career have often helped obscure rather than elucidate an understanding of her work. This collection explores how Bigelow can be seen to provide a point of intersection to a whole range of issues at the forefront of contemporary film studies and of the transformation of Hollywood into a post-classical cinema machine, with a particular emphasis on her most ambitious and controversial picture, Strange Days. Her place within new Hollywood is as a filmmaker that blurs genre conventions, reinscribes gender identites, and produces a breathless cinema of attractions.

Hollywood flesh

John Forrest combined fact and fiction to produce this exhibitions 120  artworks, designed to depict Hollywoood.

Book review : Hollywood's copyright wars : from Edison to the internet by Decherney, Peter

Exploration of landmark court cases and decisions in the copyright debate in the US, from Edison's attempts to extend to the fledgling film industry copyright law designed to protect photographs, to the Hollywood studios' responses to copyright breaches, and fair use exemptions granted to media educators and others since 2006.

Hollywood flesh

This was a major exhibition that received many online and printed reviews and described  John Forrest as a leading Australian artist. It also resulted in television interviews on ABC 7.30 Report and Inside Art.
Works were also published on the covers of two editions of The Melbourne Review.
Visual documentation can be acessed via Metro Gallery or via  Google (John Forrest Australian Artist)

Boom and bust in Australian screen policy: 10BA, the Film Finance Corporation, and Hollywood's 'race to the bottom'.

In recent years, a narrative has emerged in the Australian popular media about the box office 'unpopularity' of Australian feature films and the 'failure' of the domestic screen industry. This article explores the recent history of Australian screen policy with particular reference to the '10BA' tax incentive of the 1980s; the Film Finance Corporation of Australia (FFC), a government screen agency established in 1988 to bring investment bank-style portfolio management to Australia's screen industry; and local production incentive policies pursed by Australian state governments in a chase for Hollywood's runaway production.

We argue the 10BA incentive catalysed an unsustainable bubble in Australian production, while its policy successor, the FFC, fundamentally failed in its stated mission of 'commercial' screen financing (over its 20-year lifespan, the FFC invested 1.345 billion Australian dollars for 274.2 million Australian dollars recouped - a cumulative return of negative 80 percent). For their part, private investors in Australian films discovered that the screen production process involved high levels of risk.

Foreign-financed production also proved highly volatile, due to the vagaries of trade exposure, currency fluctuations and tax arbitrage. The result of these macro and micro-economic factors often structural and cross-border in nature was that Australia's screen industry failed to develop the local investment infrastructure required to finance a sustainable, non-subsidised local sector.

Marginalising the marginal in holocaust films : fictional representations of jewish policeman

This paper explores the issue of how Jewish victims who occupied so-called 'privileged' positions during the Holocaust are represented in fictional films. Such figures, particularly Jewish policemen in the ghettos, may be seen to inhabit the 'marginal' in two ways, both in terms of the unprecedented ethical dilemmas they faced, and the relative lack of attention such figures have received. Taking Primo Levi's paradigmatic essay on the 'grey zone' as a point of departure, this paper analyses how Jewish policemen are represented in mainstream, 'Hollywood' fictional films, namely Steven Spielberg's Schindler's List, in order to reveal that the narrative concerns of such works preclude any serious engagement with themes of moral ambiguity and 'compromise'. Attention will also be given to a more recent trend in the genre of Holocaust film that directly confronts these issues, nonetheless such films may themselves be viewed as marginalised due to their subject matter.

Picture boys : biography, community and travelling picture shows

This thesis explores the relationship between the travelling picture shows, the lives of the "Picture Boys" who ran them, and the rural communities of Westland, New Zealand, 1932 to 1956. The shows brought change, as represented by Hollywood, but they also added significantly to social cohesion in the remote communities.

Collapse

Collapse was a visual performance installation presented at the Old Port of Melbourne in 2008. The audience travelled by boat across Port Phillip Bay to witness the performance begins at Sciencework’s Spotswood Jetty, where the audience travelled by ferry across the Port Phillip Bay to a remote location, where society has “collapsed”. The performance then becomes a walking tour around this new location, encountering and experiencing the world that Red Cabbage has created.

“At that point…the collapse of their morale, their will power and their patience was so abrupt that they felt they would never be able to climb back out of their hole…Hence, floundering halfway between the abyss and the peak, they drifted rather than lived, given up to aimless days and sterile memories, wandering shadows who could have only found strength by resigning themselves to taking root in the soil of their distress.”- Albert Camus The Plague

Floundering halfway between the abyss and the peak…exist those that have not yet fallen…in a state of recurring collapse. The girl in the yellow dress, the man in the grey suit, the old man in the brown pants, the woman in the blue shirt and the man in the red hat are suspected carriers of the white sickness. They have been removed from their homes to the edge of the city for standard assessment. Here they meet the others, processed…waiting…isolated. By boat…they travel across the bay to their final destination. Not another Hollywood style apocalyptic melodrama in which our heroes find grace, hope and redemption in the utter destruction of modern civilization…in the collapse of lived time the ruins of humanity are exposed as already existent…the limits of our ability to be graceful were discovered long ago…the trauma of the end of time a given…the plague is now.

Questions of (re)production and legitimation : a second screening of 3 films on teacher-student relations

This study considers three Hollywood films that take, as their subject, a teacher-hero confronted with a 'problem' group of students and, as their narrative, the rehabilitation of these students and the resolution of their problems. Employing a Bourdieuian analysis, we attempt a second screening of these films on two levels: first, by stepping inside these celluloid classrooms, so to speak, and narrating a different text, one that is spoken from the position of students and which challenges each film's portrayal of good people achieving fine things; and secondly, by screening for gaps in their accounts of schooling, exposing their limited frames of reference and their legitimacy to speak on behalf of authentic classrooms. The first of these projects is undertaken as a way of challenging teachers and interested others to be wary of uncritical readings of popular images of teaching, whereas the second provides a beginning from which to consider how teachers' pedagogy and school curricula can be informed by a radical democratic view of education - how teachers might embrace the foreign.

(Electronic music) beginnings (full length)

This is an optimistic, full length pop instrumental featuring piano, dub-step styled drums, synth bass, muted trumpet, Hollywood styled strings and vibraphone. The break is touched with the melancholy.

Cinema of Australia and New Zealand

From The Story of the Kelly Gang in 1906 to the Lord of the Rings trilogy, Australia and New Zealand have made a unique impact on international cinema. This book celebrates the commercially successful narrative feature films produced by these film cultures as well as key documentaries, shorts and independent films. This coverage also invokes issues involving national identity, race, history and the ability of two small film cultures to survive the economic and cultural threat from Hollywood. Chapters on well-known films, and directors, such as The Year of Living Dangerously (Peter Weir, 1982), The Piano (Jane Campion, 1993), Fellowship of the Ring (Peter Jackson, 2001) and Rabbit Proof Fence (Philip Noyce, 2002) are included with less celebrated, but equally important, films and filmmakers such as Jedda (Charles Chauvel, 1955), They're a Weird Mob (Michael Powell, 1966), Vigil (Vincent Ward, 1984) and The Goddess of 1967 (Clara Law, 2000)