Australian Cinema After Mabo by Felicity Collins

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By Felicity Collins

Australian Cinema After Mabo is the 1st finished examine of Australian nationwide cinema within the Nineties. utilizing the 1992 Mabo determination as a kick off point, it seems at how the Mabo choice, the place the founding doctrine of terra nullius used to be overruled, has destabilised the best way Australians relate to the land. It asks how we predict approximately Australian cinema within the publish Mabo period, and what half it performs within the nationwide strategy of reviewing our colonial earlier and the ways that settlers and indigenous cultures can co-exist. together with The Tracker, Kiss or Kill, The fort, Love Serenade and Yolngu Boy between various others, this ebook highlights turning issues within the shaping of the Australian cinema because Mabo. it's crucial analyzing for someone learning Australian cinema and for these attracted to the ways that land politics has impacted upon the best way we think ourselves via cinema.

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It is also implied in the context of an international, media-based politics of memory which speaks to contemporary experiences of dislocated identities based on nation, class, race, ethnicity or gender. Both films make it difficult to imagine a future built on a resurgent, populist desire for a unified national identity based on a whitewashed version of the British heritage. 3 Australian Rules and Walking on Water were released in 2002 as part of a reprise of a cultural-intervention strategy by the public sector in political circumstances that do not favour left-liberal initiatives.

P. 197. , pp. 200–1. , p. 204. 25 Encore, 19(8) 2001, p. 6. 26 Paul Sheehan, ‘Moulin Rouge is all it was hyped up to be – and more’, Sydney Morning Herald, General News Section, 6 June 2001, p. 26. 27 Stephanie Bunbury, ‘Luhrmann says his film’s strictly Australian-made’, Age, General News Section, 11 May 2001, p. 3. 28 Adrian Martin, Review of Moulin Rouge in The Age, Today Section, 24 May 2001, p. 5. 29 Deirdre Macken, ‘So superlatively superficial’, Australian Financial Review, General News Section, 26 May 2001, p.

18 Thomas Elsaesser, ‘Specularity and engulfment: Francis Ford Coppola and Bram Stoker’s Dracula’. In Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema, London: Routledge, 1998, pp. 191–208. , pp. 191–2. , p. 195. , p. 193. , p. 197. , pp. 200–1. , p. 204. 25 Encore, 19(8) 2001, p. 6. 26 Paul Sheehan, ‘Moulin Rouge is all it was hyped up to be – and more’, Sydney Morning Herald, General News Section, 6 June 2001, p. 26. 27 Stephanie Bunbury, ‘Luhrmann says his film’s strictly Australian-made’, Age, General News Section, 11 May 2001, p.

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