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Anthony Lambert Anthony Lambert i(A113859 works by)
Gender: Male
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Works By

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1 Journal Editor's Note Anthony Lambert , 2016 single work essay
— Appears in: Studies in Australasian Cinema , vol. 10 no. 2 2016; (p. 177-178) 'Welcome to the second issue of Studies in Australasian Cinema for 2016. This issue comprises a special collection drawn and developed from papers originally presented at the 2015 XVIIth Film and History Association of Australia and New Zealand (FHAANZ) Conference in association with the Screen Studies Association of Australia and Aotearoa/New Zealand (SSAAANZ). Edited by Mark David Ryan and Ben Goldsmith, this issue focuses on the theme ‘Reviewing Australian Screen History’.' (Introduction)
1 An Australasian Lens? Anthony Lambert , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 7 no. 1 2013; (p. 3-7)

'The uses and understandings of the category ‘Australasian’ seem to shift and vary within the multiple contexts of the term’s application. Each new

volume of Studies in Australasian Cinema, for example, not only negotiates the elasticity of screen culture, production, and scholarship as critical ‘objects’, but also speaks simultaneously (often in the broadest and even tangential senses) to regional experiences of, or responses to, all of these. ' (Author's introduction)
1 y separately published work icon Studies in Australasian Cinema Imagining Religion and Spirituality vol. 6 no. 1 Anthony Lambert (editor), Holly Randell-Moon (editor), 2012 Z1911374 2012 periodical issue
1 'Modern' Cinematic Encounters : Border Crossing and Environmental Transformation in Some Recent Australian Films Anthony Lambert , 2011 single work criticism
— Appears in: Studies in Australasian Cinema , 24 August vol. 5 no. 2 2011; (p. 185-192) 'In Australia (and globally), refugees and 'the environment' are major sources of anxiety that define the experience of living in modern times. Contemporary social policy is then a representational technology that speaks to environmental and crosscultural transactions within 'modern' Australian cinematic texts. This article tracks the conversational contours between policy on climate change and border control in Australia and representations of self-other and self-environment relations in Australian film produced in the latter period of the Howard era (1996-2007). Films have frequently sought to mobilize a range of visions and understandings of both security and sustainability, and of the associated productions of policy, identity and space. Such exchanges necessitate critical scrutiny of the politicized cultural contexts that produce them - and an awareness of the normative reassertions that accompany these cinematic mediations of modern Australian experience.' (Author's abstract)
1 The Search for Captain Thunderbolt : An Interview with David Donaldson Anthony Lambert (interviewer), 2011 single work interview
— Appears in: Studies in Australasian Cinema , 6 April vol. 5 no. 1 2011; (p. 81-87) 'This issue's Vaultage feature is an interview with David Donaldson, the first-ever director of the 'Sydney Film Festival' (SFF), about his search for the original print of the 1953 Australian film Captain Thunderbolt. In this illuminating interview, Donaldson discusses the ups and downs of the search, how it became a search project with connections to the festival and the National Film and Sound Archive (NFSA). He reflects on his time at the festival's helm, the Film Users Association (FUA), the films of Cecil Holmes and his own recollections of Holmes - the director and the man.' (Editor's abstract)
1 White Aborigines : Women, Space, Mimicry and Mobility Anthony Lambert , 2009 single work criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 61-70)

'This chapter explores diaspora's signification flexibility and Aboriginality's appropriation within the Australian cinema. It also examines the movement of women into conceptual and physical spaces of Aboriginals citing the films "Journey Among Women" and "Over the Hill" where female characters mimic Aboriginal women in environments promoting female unity and survival.'
1 Introduction : Rethinking Diaspora - Australian Cinema, History and Society Anthony Lambert , Renata Murawska , Catherine Simpson , 2009 single work criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 15-27) 'The inspiration for Diasporas of Australian Cinema emanates from the diverse range of films dealing with diasporic experience produced in Australia over the past century. The vital relationship between migration and the moving image is often melancholically invoked, as in films such as Michael Bates' acclaimed short film The Projectionist (2002), in which a projectionist traipses through Sydney's darkened laneways as haunting memories flash across the surface of city buildings. Sergei Rachmaninoff's symphonic poem Isle of the Dead accompanies this 'gallery of ghostly visions' that includes images of migrant workers, a 'woman in pain', a 'man in despair' and refugees who have been forcibly displaced (Much Ado Films 2002). Using the live-action animation technique of 'Pixilation', these poetic images render urban Sydney an uncanny space, while at the same time hinting at both the animated origins of cinema and the imminent death of the cinema projectionist - a last vestige of modernity. The Projectionist exemplifes the ways film can evoke memories of things past, but shows how it can also be a way to make sense of the present and to imagine the future. In this case, the migrant projectionist's origins are never named. He is the modern Everyman who embodies the traumas of the twentieth century, and the subsequent cultural formations that have developed within a specifcally Australian context. While these images haunt the projectionist, they are also liberating as they are cast out and shared with others, a diasporic visibility that becomes part of our collective memory.' (p15)
1 6 y separately published work icon Diasporas of Australian Cinema Catherine Simpson (editor), Renata Murawska (editor), Anthony Lambert (editor), Bristol : Intellect , 2009 Z1762587 2009 anthology criticism (taught in 1 units) 'Diasporas of Australian Cinema is the first volume of essays to focus on diasporic hybridity and cultural diversity in Australian film-making over the past century. Topics include, post-war documentaries and migration, Asian-Australian subjectivity, cross-cultural romance, 'wogsploitation' comedy, and post-ethnic cinema. This collection also provides a comprehensive filmography making it a useful reference text for scholars of Australian film and cultural studies. The book is a vital contribution to the burgeoning international body of critical work on diasporic cinemas.' (Publisher's blurb)
1 Tracking a Non-Aboriginal Landscape 'tradition' in Australian Cinema. Anthony Lambert , 2009 single work criticism
— Appears in: Metro Magazine , December no. 163 2009; (p. 62-66) 'Critical attention to landscape in Australian cinema often reproduces and consolidates an inherently (white) masculine relationship to Australian space. At the same time, some of the best-known Australian films suggest otherwise. The movement of a group of white schoolgirls and female teachers towards the monolithic rock in Peter Weir's iconic Picnic at Hanging Rock (1975) provides a classic case in point. As Michael Bliss argues, 'the journey into the outback, which is also considered an Aboriginal domain, becomes a confrontation with the symbolic dark realm' that non-Aboriginal characters 'fervently attempt to deny', and although the trip to the rock is identified with 'an untamed, virtually Edenic region', the 'area around the rock is perceived of by humans in negative postlapsarian terms'.' (Introduction)
1 1 Arresting Metaphors : Anti-Colonial Females in Australian Cinema Anthony Lambert , 2005 single work criticism
— Appears in: Postcolonial Text , vol. 1 no. 2 2005; 'This paper attempts to advance new understandings of female cinematic agency by interrogating its connection to patterns of cultural colonialism in Australian film. The visual presence of female Aboriginality in contemporary Australian film undermines, in subtle and explicit ways, the possibility of a truly secure white identity tied to the Australian environment. It does so through the introduction of the complexities of Aboriginal difference, through the subversion of white cinematic narratives and mythologies, and through physical agency and action. In this way, the anti-colonial impulse in the cinema emerges, in films which effectively 'unearth' the continuing cinematic metaphors of colonial power. -- From the journal.
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