This book represents a new way of thinking about Australian cinema by asking where the origins of the new film lie. It begins by tracing the indebtedness of Australian cinema to the classical narrative style of Hollywood filmmaking, with its firm grasp of melodrama. Several films are studied in detail within this framework, including Picnic at Hanging Rock, Blood Oath, The Empty Beach, and Shame. The book continues by comparing the problems faced by "high" British cinema of the 1940s and 1950s with those faced by Australian cinema of the 1970s and the 1980s in the attempts by both countries to establish national film industries. Many parallels are drawn between the responses of British and Australian cinema to the overall dominance of Hollywood, despite the thirty-year gap between these two periods of filmmaking.
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This book presents a new way of looking at Australian cinema by inquiring into the origins of the filmmaking revival of the 1970s and 1980s and acknowledging the influences of previous periods of British Cinema and Hollywood upon it.
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Inside This Book
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First Sentence:
By now the new Australian cinema's progress-through the 'ocker' commercialism and tasteful literary adaptations of the 1970s to the blockbuster-oriented thinking of the 1980s and its concomitant casualties-has been pretty thoroughly canvassed. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
classical narrative system, narrative redundancy, social realist films, melodramatic tradition, bush legend, narrative cues, moral signs, national cinema, melodramatic structures, film revival, realistic motivation, classical cinema, theatrical melodrama, national fictions, melodramatic mode, documentary movement, excessive form, melodramatic imagination, literary adaptation, powerful climax, narrative paradigm Key Phrases - Capitalized Phrases (CAPs): (learn more)
Hanging Rock, United States, Crocodile Dundee, Snowy River, Goodbye Paradise, Pretty Woman, New York, Far East, Sunday Too Far Away, World War, British Film Institute, Cinema Papers, Peter Weir, Tom O'Regan, Michael Powell, Mad Max, Dilys Powell, Mark Whitney, Richard Attenborough, Brighton Rock, Screening of Australia, The Silence of Dean Maitland, Blood Oath, Bruce Beresford, David Bordwell New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
By now the new Australian cinema's progress-through the 'ocker' commercialism and tasteful literary adaptations of the 1970s to the blockbuster-oriented thinking of the 1980s and its concomitant casualties-has been pretty thoroughly canvassed. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
classical narrative system, narrative redundancy, social realist films, melodramatic tradition, bush legend, narrative cues, moral signs, national cinema, melodramatic structures, film revival, realistic motivation, classical cinema, theatrical melodrama, national fictions, melodramatic mode, documentary movement, excessive form, melodramatic imagination, literary adaptation, powerful climax, narrative paradigm Key Phrases - Capitalized Phrases (CAPs): (learn more)
Hanging Rock, United States, Crocodile Dundee, Snowy River, Goodbye Paradise, Pretty Woman, New York, Far East, Sunday Too Far Away, World War, British Film Institute, Cinema Papers, Peter Weir, Tom O'Regan, Michael Powell, Mad Max, Dilys Powell, Mark Whitney, Richard Attenborough, Brighton Rock, Screening of Australia, The Silence of Dean Maitland, Blood Oath, Bruce Beresford, David Bordwell New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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This book cites 100
books:
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- The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess by Professor Peter Brooks on 5 pages
- The Empty Beach by Peter Corris on 5 pages
- Brief Encounter (Lorrimer Film Scripts) by David Lean on 4 pages
- Great Expectations (Penguin Classics) by Charles Dickens on 4 pages
- The British Film Catalogue, Vol. 2 by Denis Gifford on 4 pages
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