Review : "The Square" -- Nash Edgerton

Synopsis and review of the Australian crime film The Square (Nash Edgerton, 2009). Includes cast and credits. The Square is the feature film debut of director Nash Edgerton, well-known in Australian film circles not only for his award-winning music videos and short films Deadline (first prize winner at Tropfest in 1997) and Spider, but also for his work as an actor, editor, producer, writer and stuntman on countless Australian films and television programs. The film was co-written by Edgerton���s regular partner and brother Joel, who also plays the arsonist Billy. Joel is familiar to Australian and international audiences for his television work in The Secret Life of Us as well as numerous film roles...

Review : "The Jammed" -- Dee McLachlan

Synopsis and review of Australian crime film The Jammed (Dee McLachlan, 2007). Includes cast and credits. One of the strengths of Dee McLachlan���s shocking and moving film is the extensive research undertaken in pre-production, which grounds the film in a reality of which many Australians are unaware. The film opens with a caption stating that it was inspired by court transcripts, and closes with an intertitle stating that in 2001 and 2002, two sex trafficked victims died in Villawood Detention Centre. The film makes it clear that human trafficking and the coercion of women into prostitution are as much problems in Australia as anywhere; Project Respect, an organisation that acts on behalf of trafficked sex workers, has estimated that about 1000 women are illegally brought to Australia to work as prostitutes each year. The film���s title is taken from the term used by support workers to describe how the women are ���jammed��� between their captors and the authorities; their illegal status and often heavy endebtedness, coupled with their innate fear of authority figures and the captors threats to their families back home, deter them from escaping or going to the police. The latter course of action may only lead to incarceration and deportation, as it does for Crystal in The Jammed. They are also deterred from speaking out by the implied (and often real) collusion between the traffickers and the authorities. While she is held in an apartment shortly after she arrives in Australia, Crystal threatens to call the police, only to be told by her captor ���My best friend is the police���...

Review : "The Man from Hong Kong" -- Brian Trenchard Smith

Synopsis and review of the Australian action film The Man from Hong Kong (Brian Trenchard Smith, 1975). Includes cast and credits. Australia���s first martial arts action film was a coproduction between Hong Kong production company Golden Harvest and director Brian Trenchard Smith���s Movie Company, with significant investment from BEF Distributors, a subsidiary of the Australian exhibition chain Greater Union. Two years previously, Golden Harvest had coproduced the Bruce Lee smash hit Enter the Dragon, with Warner Bros. The Man from Hong Kong was its first partnership with an Australian producer, and the first coproduction between Hong Kong and Australian based companies. Although the film was almost entirely set in Sydney, much of the production was shot in a Hong Kong studio, where sets including Wilton���s gloriously decorated apartment were built...

Review : "The Adventures of Barry McKenzie" -- Bruce Beresford

Synopsis and review of the Australian ocker comedy The Adventures of Barry McKenzie (Bruce Beresford, 1972). Includes cast and credits. The Adventures of Barry McKenzie, adapted from a comic strip written by Barry Humphries, is a landmark film in the revival of Australian cinema. It was the first film to be fully funded by the new federal agency, the Australian Film Development Corporation (AFDC), and its unexpected success (in Britain as well as in Australia) both demonstrated that Australian films could be popular, and helped establish the ���ocker comedy��� as the first indigenous (sub)genre of the Australian ���new wave���. In common with other ocker comedies including Stork (Tim Burstall, 1971), and Alvin Purple (Tim Burstall, 1973), The Adventures of Barry McKenzie was derided by critics despite its popular success. But as Tom O���Regan has argued, these films were vitally important in developing a public profile for Australian films, for encouraging private investment in production, and for convincing exhibitors to screen Australian films...

Review : "Not Quite Hollywood" -- Mark Hartley

Synopsis and review of the Australian documentary Not Quite Hollywood (Mark Hartley, 2008). Not Quite Hollywood might just as accurately have been titled Not Quite Australian Cinema. The film begins from the premise that the vast range of films it covers have been unduly overlooked by critics, historians and scholars of the Australian cinema despite often enormous box office success. Much of the blame for the marginalisation of these films is placed at the feet of former Sydney Film Festival director and long-time film critic for The Australian newspaper David Stratton, well-known to Australian audiences as one half of the ���David and Margaret��� couple who have dominated film reviewing on Australian television for many years. Stratton���s books on the Australian film revival The Last New Wave (1980) and The Avocado Plantation (1990) are said to have set the tone for later writers by reviling or simply ignoring many of the films produced in Australia in the 1970s and 1980s in favour of a canon of films and directors deemed more culturally and artistically worthy. Perhaps predictably, Not Quite Hollywood swings the other way. The back-slapping, anecdotal, revisionist history told through the many interviews with key figures from the time is only occasionally interrupted by Bob Ellis and Phillip Adams, who are only slightly uncomfortably cast as defenders of the mainstream views. The interviews and clips from the films are interspersed with the fan-boy enthusiasms of Quentin Tarantino whose geek-chic profile and encyclopaedic knowledge of exploitation and genre cinema are milked to the full. In sharp contrast, Ellis���s scorn for these filmmakers and their films is total, but it is his withering and slanderous assessments of the characters, talents and practices of producers like Antony I Ginnane and John Lamond that leavens this sometimes stodgy stew of selfcongratulation...

Show me the magic : the adventures of Don McAlpine

Synopsis Show Me The Magic takes us on an enthralling and joyful journey into the life and work of the legendary and world-renowned Australian cinematographer, Don McAlpine. A country kid from the small wheat-belt town of Quandialla in isolated south-western New South Wales, Australia, McAlpine was born in 1934 - the year before the first technicolour film was released. There wasn���t even a cinema in Quandialla. Don helped his mother support their family from the age of 14, when his father was stricken by tuberculosis. His part-time job at the Temora chemist as a darkroom photo developer struck a chord in young Don's soul. Soon, a school performance of The Mikado ignited in him the desire to entertain an audience. His fascination with the magical images emerging from his darkroom set him on the winding path that would eventually lead to the glittering lights of Hollywood, where, in 2009, he received the American Society of Cinematographers��� ���International Cinematographer of the Year��� Award in front of the foremost luminaries of the American film industry. That same year, Don shot his 50th film, X-Men Origins: Wolverine, a big-budget, effects-driven action movie directed by Oscar-winner Gavin Hood and starring Hugh Jackman. Show Me the Magic takes us on set and behind the scenes of that film. In 2011, Don posted another landmark: Mental, a low budget movie directed by PJ Hogan (Muriel���s Wedding, My Best Friend���s Wedding, Peter Pan). Mental was Don���s first digital film and his first Australian film in 25 years. As we travel with Don back into his past, and into the Australian outback landscape that he loves so much, we experience the extremes of movie making: embedded alongside him on the contrasting sets of Wolverine and Mental, we peel back the layers of what Don calls ���the beautiful deception' of cinema to illuminate the world behind the screen. Joined by celebrated Australian directors Bruce Beresford and Gillian Armstrong, we explore the heritage of the remarkable Australian films that Don photographed, including the iconic Breaker Morant and My Brilliant Career. In Los Angeles, Don reconnects with Paul Mazursky who gave him his big break in Hollywood with Tempest and followed up with Down and Out in Beverly Hills. And two Australians of a later generation - Baz Luhrmann and Catherine Martin - take us behind the scenes on Don���s spectacular creative achievements ��� Romeo + Juliet and Moulin Rouge! At once the story of a remarkable man and an exploration of filmmaking at the highest level, Show Me The Magic will engage and entrance anyone who has ever been touched by the magic of movies. - See more at: http://www.showmethemagic.com.au/film.htm#synopsis" This film is dedicated to the memory of South African film-maker Peter Henkel, 1924 - 1992.

The multi-platform user engagement and data visualisation tool

The ability to identify and assess user engagement with transmedia productions is vital to the success of individual projects and the sustainability of this mode of media production as a whole. It is essential that industry players have access to tools and methodologies that offer the most complete and accurate picture of how audiences/users engage with their productions and which assets generate the most valuable returns of investment. Drawing upon research conducted with Hoodlum Entertainment, a Brisbane-based transmedia producer, this project involved an initial assessment of the way engagement tends to be understood, why standard web analytics tools are ill-suited to measuring it, how a customised tool could offer solutions, and why this question of measuring engagement is so vital to the future of transmedia as a sustainable industry. Working with data provided by Hoodlum Entertainment and Foxtel Marketing, the outcome of the study was a prototype for a custom data visualisation tool that allowed access, manipulation and presentation of user engagement data, both historic and predictive. The prototyped interfaces demonstrate how the visualization tool would collect and organise data specific to multiplatform projects by aggregating data across a number of platform reporting tools. Such a tool is designed to encompass not only platforms developed by the transmedia producer but also sites developed by fans. This visualisation tool accounted for multiplatform experience projects whose top level is comprised of people, platforms and content. People include characters, actors, audience, distributors and creators. Platforms include television, Facebook and other relevant social networks, literature, cinema and other media that might be included in the multiplatform experience. Content refers to discreet media texts employed within the platform, such as tweet, a You Tube video, a Facebook post, an email, a television episode, etc. Core content is produced by the creators��� multiplatform experiences to advance the narrative, while complimentary content generated by audience members offers further contributions to the experience. Equally important is the timing with which the components of the experience are introduced and how they interact with and impact upon each other. Being able to combine, filter and sort these elements in multiple ways we can better understand the value of certain components of a project. It also offers insights into the relationship between the timing of the release of components and user activity associated with them, which further highlights the efficacy (or, indeed, failure) of assets as catalysts for engagement. In collaboration with Hoodlum we have developed a number of design scenarios experimenting with the ways in which data can be visualised and manipulated to tell a more refined story about the value of user engagement with certain project components and activities. This experimentation will serve as the basis for future research.

Introduction

This chapter discusses the various ways in which we can understand 'Australian film'. It is the introductory chapter to the Australian section of the second edition of the Directory of World Cinema: Australia and New Zealand.

Action and Adventure

This chapter discusses the history of action and adventure films in Australian cinema. It focuses on those films starring Australian actors who have gained international fame, and on those films featuring a female protagonist.

Mainstream monsters : the otherness of humans in Twilight, the Vampire Diaries and True Blood

The representation of vampires in horror movies and television programmes has changed considerably over the last two decades. No longer is the vampire portrayed simply as a monster or representation of death. Now, the vampire on our screen such as True Blood���s Bill Compton, or Twilight���s Edward Cullen, passes as human, chooses to make morally sound decisions, becomes an upstanding assimilated citizen, works in the community, and aspires to be a husband to mortal women. The success of recent series such as The Twilight Saga (2009, 2010, 2011, 2012), The Vampire Diaries (2009 - ) and True Blood (2008 - ) has popularised the idea of vampires who cling to remnants of their humanity (or memories of what it means to be human) and attempt to live as human, which builds upon similar ��� albeit embryonic ��� themes which emerged from the vampire sub-genre in the 1990s. Within these narratives, representations of the other have shifted from the traditional idea of the monster, to alternative and surprising loci. As this chapter argues, humans themselves, and the concept of the human body, now represent, in many instances, both abject and other. The chapter begins by considering the nature of the abject and otherness in relation to representations of classical vampires and how they have traditionally embodied the other. This provides a backdrop against which to examine the characteristics of the contemporary mainstreaming vampire ���monster���. An examination of the broad thematic and representational shifts from other to mainstream vampire demonstrates how mainstream monsters are increasingly assimilating into mortal lifestyles with trappings that many viewers may find appealing. The same shifts in theme and representation also reveal that humans are frequently cast as mundane and unappealing in contemporary vampire narratives.

Horror

The monstrous landscape and the revenge of nature are recurring motifs in Australian cinema. In the horror genre, the idea of the monstrous landscape emerges from, and builds upon, an established tradition in Australian cinema in which landscape functions not just as a setting for action, but also as a character in its own right. Rather than a picturesque wilderness or countryside, or a serene natural world untainted by civilisation ��� representations common in landscape cinema celebrating positive aspects of the Australian ���outback��� ��� the monstrous landscape is a dangerous, malevolent and threatening force. Drawing upon themes also common in Australian Gothic narratives such as entrapment in a hostile environment, isolation and fear of the unknown (Turcotte, 1988, see also Jonathan Rayner���s essay in this volume), the monstrous landscape acts according to its own logic indecipherable to non-Indigenous Australians and is represented in terms of its alien-ness and inhuman horror.

Orchids, intersex and the auto/biographical project

Auto/biographical documentaries ask audiences to take a ���leap of faith���, not being able to offer any real ���proof��� of the people and events they claim to document, other than that of the film-maker���s saying this is what happened. With only memory and history seen through the distorting lens of time, ���the authenticity of experience functions as a receding horizon of truth in which memory and testimony are articulated as modes of salvage���. Orchids: My Intersex Adventure follows a salvaging of the film-maker���s life events and experiences, being born with an intersex condition, and, via the filming and editing process, revolving around the core question: who am I? From this transformative creative documentary practice evolves a new way of embodying experience and ���seeing���, playfully dubbed here as the ���intersex gaze���.

The Brisbane Northbank Urban Film Studio : screening of shortlisted films

Research Statement: In this research project film groups of 4-5 students under my direction produced a 3-5 minute urban film that explored the Brisbane Northbank, and which would become the basis for an urban proposal and design of a small film studio for independent filmmakers in the site. The theoretical premise was that a film studio does not simply produce movies, it creates urban effects all around it and acts as a vortex of cultural activity and social life. For this modest facility where the cinema goes out into the street, the city itself becomes the studio. Students were called to observe the historical problematics of technique, image and effect that arise in the cinema, and to apply these to their own urban-film practice. A panel of judges working in film and architecture shortlisted the 12 best films in 2010 and a major public film screening event took place at the Tribal Cinema. The Shortlisted films today form a permanent "exhibit" in YouTube. The research project was funded by the Queensland University of Technology, School of Design and received accolades from film faculty in the Creative Industries Faculty. The diverse body of work that emanated from the screening contributed a unique analysis of the Northbank to Brisbane.

Australian animated feature films

Building on and bringing up to date the material presented in the first installment of Directory of World Cinema : Australia and New Zealand, this volume continues the exploration of the cinema produced in Australia and New Zealand since the beginning of the twentieth century. Among the additions to this volume are in-depth treatments of the locations that feature prominently in the countries' cinema. Essays by leading critics and film scholars consider the significance in films of the outback and the beach, which is evoked as a liminal space in Long Weekend and a symbol of death in Heaven's Burning, among other films. Other contributions turn the spotlight on previously unexplored genres and key filmmakers, including Jane Campion, Rolf de Heer, Charles Chauvel, and Gillian Armstrong.

Not as it seems : using Deleuzian concepts of the imaginary to rethink children���s drawings

Deleuze (1990) states in Negotiations that signs are realized in ideas. Although Deleuze referred to cinema, his thinking about signs and ideas can apply to drawings. Cinema is moving imagery and drawing is static, however both are informed and constructed from realized ideas that continue to shift beyond the artifact. Theories about children���s drawings have historically pertained to establishing schematic universalities rather than acknowledging the agglomerative connections they make to the multiple things occurring around a drawing as it is created. Universal schemas however persist within early childhood art discourses despite the growth of critical theory research into other aspects of childhood. Deleuze���s assertions about the signs and classifications of cinema help to contest notions of schematic development, i.e. children should progress through particular iconic drawing stages at particular ages. Deleuze���s quotes and thoughts on the imaginary and imagination are referenced to interrogate ���scientific��� knowledges and the gathering of evidential truths about children���s intellectual growth and development. Four examples from a dataset of drawings from a pilot study, undertaken by the author that tested the methodological potential of intergenerational collaborative drawing in early childhood settings, facilitate focused discussion on the above contestations.