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James Bennett James Bennett i(A126744 works by)
Gender: Male
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Works By

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1 ‘Breaking Out of the Nationalist/ic Paradigm ’: International Screen Texts on the 1915 Gallipoli Campaign James Bennett , 2014 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 28 no. 5 2014; (p. 640-653) 'Peter Weir's 1981 feature film, Gallipoli, is perhaps the most influential modern text on the 1915 campaign in Turkey. Underpinned by a radical nationalist interpretation of events, Weir's film is a text that reinforced Australian (and Turkish) national mythologies and simplified a complex multiethnic campaign with key international linkages through its exclusive interrogation of the British–Australian imperial relationship. Weir's film has been profoundly influential in educational circles both within and beyond Australia. The limitations of the nationalist paradigm have increasingly been challenged in the new millennium by historians and filmmakers who have reinterpreted Gallipoli through a more layered and nuanced transnational lens...'
1 Bob Hawke's Legacy James Bennett , 2011 single work review
— Appears in: History Australia , April vol. 8 no. 1 2011; (p. 255-257)
— Review of Hawke Glen Dolman , 2010 single work film/TV
1 Head On : Multicultural Representations of Australian Identity in 1990s National Cinema James Bennett , 2007 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 1 no. 1 2007; (p. 61-78) 'Suffused with a sense that earlier filmic imaginings of Australian identity were "beginning to look threadbare" (Turner 1994a: 68), 1990s Australian cinema provides a key site for the examination of Australian identity in multicultural terms. Drawing on the work of Ghassan Hage (1998, 2003), Stuart Hall (1990, 1993) and Daniel Nourry (2005), this article investigates how notions of Australian identity in a multicultural society are played out (and with) by Australian cinema of the 1990s. Particular attention is paid to Head On (Kokkinos, 1998) and Strictly Ballroom (Lurhmann, 1992), as examples of different approaches to this issue. Enlisting a Bakhtinian approach, whereby identity is conceived in terms of "thinking from the margins", I argue that whilst films such as Strictly Ballroom enlist a "good multiculturalism" to extend, through tolerance, the boundaries of Australian identity to the Other, Head On provides a way of thinking about Australian-ness that refuses to simply assimilate or incorporate its Greek-Australian protagonist. By co-opting the audience to a position on the margins of society, Head On opens up a notion of Australian identity that is not only or simply hybrid, but also never finally fixed (Hall 1990).

Source: Studies in Australasian Cinema 1.1 (2007): 61. (Sighted 01/09/2009).
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