Australian Cinema After Mabo by Felicity Collins

By Felicity Collins

Australian Cinema After Mabo is the 1st entire research of Australian nationwide cinema within the Nineties. utilizing the 1992 Mabo choice as a place to begin, it seems at how the Mabo selection, the place the founding doctrine of terra nullius was once overruled, has destabilised the way in which Australians relate to the land. It asks how we expect approximately Australian cinema within the publish Mabo period, and what half it performs within the nationwide means of reviewing our colonial prior and the ways that settlers and indigenous cultures can co-exist. together with The Tracker, Kiss or Kill, The fort, Love Serenade and Yolngu Boy between a variety of others, this publication highlights turning issues within the shaping of the Australian cinema considering that Mabo. it truly is crucial examining for a person learning Australian cinema and for these drawn to the ways that land politics has impacted upon the way in which we think ourselves via cinema.

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This limited success is repeated in the local interest and international indifference which greeted Working Dog’s sly attempt to go beyond the parochial in The Dish by borrowing an American event and marketing it to the world from a down-under perspective. 32 Anxious Flesh in Lantana A curious feature of the 2001 AFI awards was the sureness with which Lantana stole the show from its major competitors, edging Moulin Rouge into the craft awards and eclipsing The Dish (a disappearing act in terms of film awards, despite success at home and its enviable distribution deal with Time-Warner).

The fact that The Dish was successful at the box office but a non-event in popular culture, and that it was ignored at the AFI awards, indicates that its tonguein-cheek homage to the more benign aspects of Howard’s nostalgic vision of the 1950s failed to resonate with the changes taking place in the social imaginary. The unexpected critical success of Lantana suggests that the film stole the AFI awards from both Moulin Rouge and The Dish because it offered its generic audience a more complex response to the anxieties of the urban middle class, broadly represented as inclusive of suburban battlers, at one end, and the cosmopolitan literati at the other.

1, 2001. Also see Tim Flannery, ‘Beautiful lies: population and environment in Australia’, Quarterly Essay, no. 9, 2003; David Malouf, ‘Made in England: Australia’s British inheritance’, Quarterly Essay, no. 12, 2003; and Germaine Greer, ‘Whitefella jump up: the shortest way to nationhood’, Quarterly Essay, no. 11, 2003. 18 See Susan Dermody and Elizabeth Jacka, The Screening of Australia, vol. 2: Anatomy of National Cinema, Sydney: Currency Press, 1988; Ross Gibson, South of the West, Bloomington and Indianapolis IN: Indiana University Press, 1992; Tom O’Regan, Australian National Cinema, London and New York: Routledge, 1996; William Routt, ‘On the expression of colonialism in early Australian films’.

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