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Daniel Reynaud Daniel Reynaud i(A111018 works by)
Gender: Male
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Works By

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1 National Versions of the Great War : Modern Australian Anzac Cinema Daniel Reynaud , 2014 single work criticism
— Appears in: The Great War in Post-Memory Literature and Film 2014; (p. 289-304)
1 Gallipoli Daniel Reynaud , 2011 single work criticism
— Appears in: Making Film and Television Histories : Australia and New Zealand 2011; (p. 128-132)
1 Film and National Mythology : The Anzac Legend in Australian Films Daniel Reynaud , 2009 single work criticism
— Appears in: Creative Nation : Australian Cinema and Cultural Studies Reader 2009; (p. 111-120)
1 2 y separately published work icon Celluloid Anzacs: The Great War Through Australian Cinema Daniel Reynaud , North Melbourne : Australian Scholarly Publishing , 2007 Z1439834 2007 single work criticism 'Of all the ways in which the Anzac legend has been transmitted, cinema, with its emotive power, has been among the most influential. This is the first study of how the Great war Anzac legend has been portrayed in Australian film and television productions over 80 years. Reynaud traces the evolving image of Anzac from its origins as a derivative of British military myths to the controversial early days of its Australian identity in the interwar years, when the legend adopted the comic and the lean bushman as its archetypical hero, and then to its depiction in the nationalistic fervour of the 1980s, when the legend finally acquired its exclusively Australian identity and sharp anti-British edge. By building the story into the broader Australian context, the book shows how films have both shaped and been shaped by one of Australia's most cherished defining national mythologies.' - back cover
1 Convention and Contradiction : Representations of Women in Australian War Films, 1914–1918 Daniel Reynaud , 1999 single work criticism
— Appears in: Australian Historical Studies , October vol. 30 no. 113 1999; (p. 215-230)

'This paper examines the representation of women in Australian cinematic war dramas made between 1914 and 1918, showing how the representations were shaped by political, industrial and ideological influences and identifying the range of representations present in the films. It observes that while there was considerable overlap with other media in the representation of women, there were images ignored by films, while others were unique to the cinema.'

Source: Abstract.
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