標(biāo)題: Titlebook: Australian Screen in the 2000s; Mark David Ryan,Ben Goldsmith Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Australian Sc [打印本頁(yè)] 作者: proptosis 時(shí)間: 2025-3-21 18:04
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書(shū)目名稱(chēng)Australian Screen in the 2000s影響因子(影響力)學(xué)科排名
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作者: acrobat 時(shí)間: 2025-3-21 21:00
Picking Up the Pieces: Contemporary Australian Cinema and the Representation of Australian Film Histween the 1960s and 1990s—including . (1967), . (1978) and . (1995)—that acted to recognise a forgotten, if broadly conceptualised, history of Australian cinema and make claims for the resurgence and continuity of its ‘revival’. This chapter looks at a range of contemporary feature-length documentar作者: 新鮮 時(shí)間: 2025-3-22 03:35
Australian Blockbuster Moviescharacteristics of the Hollywood blockbuster can take on new meaning in different national production systems, they nevertheless provide a useful framework for distinguishing ‘local’ examples. Drawing on blockbuster studies, this chapter delineates peculiarities in defining high-budget movies in the作者: CRUMB 時(shí)間: 2025-3-22 07:47
UnAustralians: Australian Characters in Non-Australian Filmsbeen considered in the conversation around cinema in this country. Examples can be found from cinema’s early days, and in contemporary films. For the most part, they draw on conservative and anachronistic stereotypes that do not represent or reflect the cultural, ethnic and racial diversity of conte作者: 爭(zhēng)吵加 時(shí)間: 2025-3-22 09:10 作者: 意外 時(shí)間: 2025-3-22 16:41 作者: CAGE 時(shí)間: 2025-3-22 19:16 作者: Tremor 時(shí)間: 2025-3-22 23:25
The Laughter and the Tears: Comedy, Melodrama and the Shift Towards Empathy for Mental Illness on Sce describes as ‘the shift towards empathy’. Building on earlier films such as . (1990) and . (1996), these Australian films and TV shows offered portrayals of mental illness that went beyond cliché and stereotype, and instead presented complex, empathetic characters who were the protagonist or the p作者: Constrain 時(shí)間: 2025-3-23 04:05 作者: Irritate 時(shí)間: 2025-3-23 09:34 作者: 紀(jì)念 時(shí)間: 2025-3-23 11:14
Australian Indigenous Screen in the 2000s: Crossing into the Mainstreamver’ features, and Indigenous-produced and themed primetime television drama and reality television formats. This chapter also argues that whilst there is much to celebrate about the new wave of Indigenous screen production, there is also a critical imperative to closely analyse the different textua作者: OVERT 時(shí)間: 2025-3-23 15:39
Carving Out an Australian Sensory Cinemafeature films such as . (2004), . (2009), . (2011), . (2011) and . (2014). This chapter explores the emergence and aesthetics of this sensory cinema through an innovative interdisciplinary approach, combining the import of ‘new extremism’ and ‘cinema of sensation’ from European film theory and an an作者: optional 時(shí)間: 2025-3-23 19:10 作者: Aggregate 時(shí)間: 2025-3-23 22:43 作者: Ornament 時(shí)間: 2025-3-24 05:34 作者: 無(wú)能的人 時(shí)間: 2025-3-24 08:19
Mark David Ryan,Ben GoldsmithAdopts an approach that combines both national and transnational understandings of contemporary Australian screen media including film, documentary film and television.One of the most comprehensive ex作者: Anonymous 時(shí)間: 2025-3-24 14:38 作者: Observe 時(shí)間: 2025-3-24 15:39 作者: pancreas 時(shí)間: 2025-3-24 20:20 作者: 缺陷 時(shí)間: 2025-3-24 23:48 作者: FUSE 時(shí)間: 2025-3-25 05:59 作者: bifurcate 時(shí)間: 2025-3-25 10:17
A Natural History of English Life,tween the 1960s and 1990s—including . (1967), . (1978) and . (1995)—that acted to recognise a forgotten, if broadly conceptualised, history of Australian cinema and make claims for the resurgence and continuity of its ‘revival’. This chapter looks at a range of contemporary feature-length documentar作者: transient-pain 時(shí)間: 2025-3-25 14:24 作者: 媒介 時(shí)間: 2025-3-25 17:35
Science, Pseudo-Science and Transgression,been considered in the conversation around cinema in this country. Examples can be found from cinema’s early days, and in contemporary films. For the most part, they draw on conservative and anachronistic stereotypes that do not represent or reflect the cultural, ethnic and racial diversity of conte作者: 幸福愉悅感 時(shí)間: 2025-3-25 22:44
George Eliot, Judaism and the Novelsly; therefore, they form part of the corpus of ‘Asian Australian cinema’. The filmmakers’ experiences and the film narratives are discussed using Jane Mills’ (2014) concept of ‘sojourner cinema’. Comparison is made with earlier Asian Australian films, tracing the ambivalent paradigm of Asia as both 作者: 防御 時(shí)間: 2025-3-26 00:10 作者: Foment 時(shí)間: 2025-3-26 07:01 作者: Irritate 時(shí)間: 2025-3-26 09:34
Philosophy, Politics and Historye describes as ‘the shift towards empathy’. Building on earlier films such as . (1990) and . (1996), these Australian films and TV shows offered portrayals of mental illness that went beyond cliché and stereotype, and instead presented complex, empathetic characters who were the protagonist or the p作者: paleolithic 時(shí)間: 2025-3-26 13:42 作者: 抱怨 時(shí)間: 2025-3-26 20:41 作者: euphoria 時(shí)間: 2025-3-27 00:29 作者: stress-response 時(shí)間: 2025-3-27 02:44 作者: arbiter 時(shí)間: 2025-3-27 08:23 作者: FOIL 時(shí)間: 2025-3-27 11:07
https://doi.org/10.1007/978-1-349-12650-7ries produced by HBO—from . (1999?2007) to . (2011?)—. is an example of a new form of television with its own distinctive mode of narration. This chapter uses . as a case study through which to explore the ways in which the mode of narration employed in HBO series has influenced television made in A作者: Gudgeon 時(shí)間: 2025-3-27 15:32
Gordon S. Haight,Hugh Witemeyerhat explain how the public understands what Australian consumers have lost following the decline of video stores, or will lose in a post-video store era: from the materiality of filmic objects to, paradoxically, the loss of a perceived ease of access. These narratives complicate the notion that vide作者: Pastry 時(shí)間: 2025-3-27 18:01
: Australianising HBO-Style Television?ries produced by HBO—from . (1999?2007) to . (2011?)—. is an example of a new form of television with its own distinctive mode of narration. This chapter uses . as a case study through which to explore the ways in which the mode of narration employed in HBO series has influenced television made in Australia in the 2000s.作者: incredulity 時(shí)間: 2025-3-27 23:07 作者: Pituitary-Gland 時(shí)間: 2025-3-28 03:30 作者: crescendo 時(shí)間: 2025-3-28 10:06
Gender Matters: Gender Policy and the Rewriting of the Mother–Daughter Narrative in Contemporary Ausre Margot Nash’s personal essay documentary film . (2015), Sophie Hyde’s queered coming-of-age film . (2014) and Sue Brooks’ dramedy . (2015). Whilst these three films differ in genre, aesthetic and budget, each uses interruption as way of creating spaces for different kinds of intergenerational female stories.作者: THROB 時(shí)間: 2025-3-28 11:10
The Laughter and the Tears: Comedy, Melodrama and the Shift Towards Empathy for Mental Illness on Scoint of audience identification. To illustrate this shift, Hopgood examines five feature films that traverse melodrama and comedy—. (2007); . (2007); . (2008); . (2009); and . (2012)—and finds that each employs a range of strategies to encourage our empathy for the character living with a mental illness.作者: 兇殘 時(shí)間: 2025-3-28 14:38 作者: 惡意 時(shí)間: 2025-3-28 20:59
Carving Out an Australian Sensory Cinemaalogy with the revival of ‘direct carving’ in modernist sculpture. These conceptual frameworks focus analysis on texture, sensation and the crafts of filmmaking, and provide insight into how and why Australian filmmakers are carving out a sensory cinema within national cinema and the international marketplace.作者: 六個(gè)才偏離 時(shí)間: 2025-3-29 00:25 作者: GLUE 時(shí)間: 2025-3-29 05:30 作者: MOT 時(shí)間: 2025-3-29 08:26
mentary film and television.One of the most comprehensive ex.This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major 作者: 策略 時(shí)間: 2025-3-29 12:07
Carlyle (1834–1840); Alternative Revolutionsate questions of gender and sexuality in a genre often organised around the exploration of heterosexual romance. Ultimately, this chapter argues that these films negotiate a place for the representation of queer youth in Australian film culture, in addition to broadening and complicating a popular and enduring genre of the Australian film canon.作者: 秘方藥 時(shí)間: 2025-3-29 17:04 作者: 熔巖 時(shí)間: 2025-3-29 19:59
‘It Was the Summer When Everything Changed …’: Coming of Age Queer in Australian Cinemaate questions of gender and sexuality in a genre often organised around the exploration of heterosexual romance. Ultimately, this chapter argues that these films negotiate a place for the representation of queer youth in Australian film culture, in addition to broadening and complicating a popular and enduring genre of the Australian film canon.作者: 遺傳學(xué) 時(shí)間: 2025-3-30 01:25
Australian Indigenous Screen in the 2000s: Crossing into the Mainstreame is much to celebrate about the new wave of Indigenous screen production, there is also a critical imperative to closely analyse the different textual strategies employed by Indigenous screen creatives’ use of the mainstream as a space of cross-cultural exchange.作者: 晚間 時(shí)間: 2025-3-30 04:34
George Eliot, Judaism and the Novelsthreat and opportunity, described by Khoo, Smaill and Yue (2013), and reflecting on the productions with regard to the role outlined for the creative industries in the Australian Government White Paper, ..作者: 絆住 時(shí)間: 2025-3-30 08:49
George Eliot, Music and Victorian Cultureaesthetic characteristics can be understood in relation to contemporary international art-horror trends, whilst achieving Kent’s objective of using the horror genre to explore dark aspects of parenthood. . success as art-horror is an example of the ‘international turn’ in Australian film production during the twenty-first century.作者: 搖晃 時(shí)間: 2025-3-30 15:19
George Eliot: An Intellectual Lifere Margot Nash’s personal essay documentary film . (2015), Sophie Hyde’s queered coming-of-age film . (2014) and Sue Brooks’ dramedy . (2015). Whilst these three films differ in genre, aesthetic and budget, each uses interruption as way of creating spaces for different kinds of intergenerational female stories.作者: Substitution 時(shí)間: 2025-3-30 17:23
Philosophy, Politics and Historyoint of audience identification. To illustrate this shift, Hopgood examines five feature films that traverse melodrama and comedy—. (2007); . (2007); . (2008); . (2009); and . (2012)—and finds that each employs a range of strategies to encourage our empathy for the character living with a mental illness.作者: Detain 時(shí)間: 2025-3-31 00:38 作者: Foam-Cells 時(shí)間: 2025-3-31 04:12 作者: progestogen 時(shí)間: 2025-3-31 08:37
George Eliot’s Originals and Contemporariesred the text in terms of film genre. Yet, as this chapter argues, the film’s attempt to develop a subversive depiction of colonial Australian violence is limited by the film’s formulaic approach to genre and an orthodox representation of settler Australia.
