Titlebook: American–Australian Cinema; Transnational Connec Adrian Danks,Stephen Gaunson,Peter C. Kunze Book 2018 The Editor(s) (if applicable) and Th

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,Where I’m Calling From: An American–Australian Cinema?,panded and become more complex, Australian cinema has remained an important exhibition and production network for the United States for over a hundred years. In the Introduction, we trace some of the material and expansive histories of this relationship by exploring the dynamic and shifting interact

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Rudimentary Modernism: Ken G. Hall, Rear-Projection and 1930s Hollywoodsystem, which he quickly put to rudimentary use on his 1936 feature,?.. Primitive and modern, Hall’s often-maligned contribution to Australian film history needs to be re-examined. This chapter explores the ways this technology was utilized to modernize both production methods and transform the audi

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Simulated Scenery: Travel Cinema, Special Effects and ,ue suggests an alternate narrative that begins with the 1981 reconstruction of the film. The reconstruction ruptures the spatial and temporal unity of the film by incorporating into the diegesis archival material that spans temporally and spatially diverse domains of cultural production. Through an

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Representations and Hybridizations in First Nation Cinema: Change and Newness by Fusionorical context for what would become a vibrant and diverse Indigenous cinema, I discuss how Indigenous peoples have been represented by non-Indigenous filmmakers, in particular in the Bushranger film genre, a hybridised Australian version of the Hollywood western. I explore the confluences and cultu

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Australian Horror Movies and the American Marketll domestic marketplace where Australian horror films have long struggled to resonate with domestic audiences, some filmmakers have attempted to pass their films off as American in an attempt to target international audiences. Other filmmakers have sought to trade upon ‘Australianness’ to differenti