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y separately published work icon American–Australian Cinema : Transnational Connections anthology   criticism  
Issue Details: First known date: 2018... 2018 American–Australian Cinema : Transnational Connections
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Contents

* Contents derived from the Oxford, Oxfordshire,
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England,
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United Kingdom (UK),
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Western Europe, Europe,:Oxford University Press , 2018 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Where I'm Calling From : An American-Australian Cinema?, Adrian Danks , Stephen Gaunson , Peter C. Kunze , single work criticism (p. 1-15)
Rudimentary Modernism : Ken G. Hall, Rear-Projection and 1930s Hollywood, Adrian Danks , single work criticism
Explores Ken G. Hall's film-making career, with a particular focus on his use (unusual in the Australian industry) of the rear-projection system in the 1930s at Cinesound.
 (p. 19-39)
Simulated Scenery : Travel Cinema, Special Effects and For the Term of His Natural Life, Leslie DeLassus , single work criticism
Examines Norman Dawn's For the Term of His Natural Life as an example of 'sojourner cinema': that is, a film preoccupied with travel and location but which is neither set in the film-maker's place of origin nor a film of diaspora or exile.
 (p. 41-66)
Representations and Hybridizations in First Nation Cinema : Change and Newness by Fusion, Jane Mills , single work criticism
Explores the connections between Australian First Nation cinema and American cinema, particularly American genre cinema, through early representations of First Nations people by colonial film-makers; through bushranger films and their connection to westerns; and through the careers of Tracey Moffatt and Ivan Sen.
 (p. 67-90)
Of Mothers and Madwomen : Mining the Emotional Terrain of Toni Collette’s Anti-Star Persona, Fincina Hopgood , single work criticism (p. 91-114)
Accented Relations : Mad Max on US Screens, Tessa Dwyer , single work criticism
Tracks the American film industry's changing relationship to the Mad Max films over the course of forty years, from Mad Max to Mad Max: Fury Road.
 (p. 117-139)
Talking Trash with Tarantino : Auteurism, Aesthetics and Authority in Not Quite Hollywood, Peter C. Kunze , single work criticism
Examines the ongoing influence of Australian exploitation cinema on the work of American film-maker Quentin Tarantino.
 (p. 141-162)
Australian Horror Movies and the American Market, Mark David Ryan , single work criticism
Examines Australian horror films within the broader tradition of Anglophone horror cinema, with a particular focus on the extent to which Australian horror has been tailed to international markets.
 (p. 163-182)
The Terrible Terrace : Australian Gothic Reimagined and the (Inner) Suburban Horror of The Babadook, Amanda Howell , single work criticism (p. 183-201)
American Cartel : Block Bookings and the Paramount Plan, Stephen Gaunson , single work criticism
Argues that understanding of the Australian film industry requires understanding of how distribution and exhibition networks have shaped production.
 (p. 205-225)
The Multiplex Era, Jock Given , single work criticism
Analyses significant Australian films and their box-office reception in the United States through the structure of the 'multiplex' and its associated distribution networks.
 (p. 227-252)
'Zest to the jaded movie palate' : Wallace Worsley, Scott R. Dunlap and The Romance of Runnibede, Jeannette Delamoir , single work criticism
Examines The Romance of Runnibede as a case study for concerns about Hollywood's over-arching impact on early Australian (and international) film industries.
 (p. 253-274)
Defining Neverland : P. J. Hogan, J. M. Barrie and Peter Pan in Post-Mabo Australia, Jerod Ra'Del Hollyfield , single work criticism
Analyses P.J. Hogan's Peter Pan through J.M. Barrie's Peter Pan and the film's associations with Australian colonial history in the melancholic presentation of the multi-racial Neverland.
 (p. 275-294)
Baz Luhrmann’s The Great Gatsby : Telling a National Iconic Story Through a Transnational Lens, Lesley Hawkes , single work criticism
Examines Baz Luhrmann as a 'transnational' film-maker, with a particular focus on The Great Gatsby.
 (p. 295-313)
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