The third part of a three-volume work devoted to mapping the transnational history of Australian film studies, Volume 3: Documents concludes the project by gathering together the documents that were produced during the rise of film studies in Australian academia from 1975–85. Through these sources we see the development of the particularities of Australian film theory and criticism, its relationship to its international counterparts and the establishment of key positions and the directions in which they develop. Editors Deane Williams and Constantine Verevis here collect key articles, including the works of Paul Willemen, Sam Rohdie, Ross Gibson and Meaghan Morris, among many others, in order to conclude this pioneering historiographic account of Australian film studies.
İçerik tablosu
Acknowledgements
Introduction: ‘Notes for a History of Contexts’
Constantine Verevis and Deane Williams
1972
Experimentalists 1
Sylvia Lawson
1974
Francis Birtles: Cyclist, Explorer, Kodaker
Ina Bertrand
1975
Feminist Critique
Meaghan Morris
1976
Corsetway to Heaven: Looking Back at Picnic at Hanging Rock
Ian Hunter
Editorial Article
John Tulloch
1978
Gilda: Images of Women – Notes for Discussion
Lesley Stern
1979
Fetishism in Film ‘Theory’ and ‘Practice’
Ian Hunter
Towards Decolonization: Some Problems and Issues for Film History in Australia
Sylvia Lawson
The Australian Journal of Screen Theory
Adrian Martin
Independent Feminist Filmmaking in Australia
Lesley Stern
Oedipal Opera: The Restless Years
Lesley Stern
1980
Editorial
Robert Rothols [as R.R.]
1981
Stock Shock and Schlock
Stuart Cunningham
Film and History: Canberra Conference
Anna Grieve
Recent ‘Political’ Documentary: Notes on Union Maids and Harlan County USA
Noel King
The Second Australian Film Conference: Theory Weary
Adrian Martin
The Second Australian Film Conference, or A Long Way from Lana Turner
Brian Mc Farlane
Editorial
John Nicoll
On Screen
Tom O’Regan
1982
Feminist Film Theory: Reading the Text
Barbara Creed
‘The Public Wants Features!’: The (Creative?) Underdevelopment of Australian Independent Film Since the 1960s
Helen Grace
1983
Super 8: The Phenomenon Turned Eventful
Ted Colless
Independent Feminist Filmmaking and the Black Hole
Felicity Collins
Pornography and Pleasure: The Female Spectator
Barbara Creed
The Australian Film Industry and the Holy Roman Empire
Susan Dermody and Elizabeth Jacka
Camera Natura: Landscape in Australian Feature Films
Ross Gibson
Changing the Curriculum: The Place of Film in a Department of English
Noel King
Australian Documentary Cinema
Albert Moran
The Practice of Reviewing
Meaghan Morris
Australian Filmmaking: Its Public Circulation
Tom O’Regan
A National Cinema: The Role of the State
Sam Rohdie
‘Murder, Murder, Dangerous Crime’
Bill Routt [as Bill Gent]
Remarks on Screen: Introductory Notes for a History of Contexts
Paul Willemen
1984
‘National Identity’ / ‘National History’ / ‘National Film’: The Australian Experience
Ina Bertrand
The Australian Journal of Screen Theory
Felicity Collins
After Futur◊Fall
Ross Gibson
Second History and Film Conference Report
Sally Stockbridge
1985
Glimpses of the Present
Philip Brophy
Don Ranvaud: Of Framework and Festivals
Rolando Caputo
Yondering: A Reading of Mad Max Beyond Thunderdome
Ross Gibson
1987
Charles Chauvel: The Last Decade
Stuart Cunningham
About the Editors
Yazar hakkında
Constantine Verevis is associate professor in film and screen studies at Monash University, Melbourne. His recent publications include Flaming Creatures (Columbia University Press, 2020) and (with Daniel Herbert) Film Reboots (Edinburgh University Press, 2020). With Claire Perkins, he is founding co-editor of Screen Serialities (Edinburgh University Press, 2022).
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