Outback Movie House

well done all, and happy holidays!

2008-12-21T13:08:00.000-08:00

Final grades will be posted before midnight tonight.

I thought you all might enjoy reading the blog that Kerry and Lauren created for the creative project, at http://aussiegabba.blogspot.com/.

I have finally caught up on these blog posts and wanted to say I appreciate the effort and interest displayed in them. This blog will stay online indefinitely and is open to the public, so feel free to come visit again.

Hope you all have a safe and enjoyable winter break!

Peg A.

Let Us Go Then You and I...

2008-12-11T08:59:00.000-08:00

Before the semester ends and we go off for the holidays, I wanted to put up one more post. It's pretty much just a recommendation for a movie you might enjoy: Till Human Voices Wake Us.
It's a drama, but I would also consider it a bit of a romantic mystery.
In this film, Sam and Dr. Sam Franks (Guy Pierce) is a stable, emotionally guarded man who returns Victoria, Australia. This is where he grew up, found his first love, and lost her through a tragic accident.
Stay with me -- this is not your typical love story.

When Sam comes back as an adult, he must face these ghosts of the past, quite literally. Enter Ruby, a woman he encounters whom he suspects is more than she claims to be...

I'd hate to put the "..." on you but I don't want to give too much away. If you haven't seen Til Human Voices Wake Us, I'd highly recommend it. It has stunning scenery, characters with depth, and a unique storyline.

If nothing else, read some of "The Love Song of J. Alfred Prufrock," the poem by T.S Elliot on which the title (and some elements of the poem) are based.
It's quite long, but very beautiful. Here is the beginning:

LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats	5
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …	10
Oh, do not ask, “What is it?”
Let us go and make our visit.

Anyways, have a lovely break everyone!

PS - Tonight I'm bringing pie. It's no Sweetie Pie, but it's got some quality fruit in it.

Over the Rainbow

2008-12-05T19:57:00.000-08:00

Growing up with an older sister who adored The Wizard of Oz and a family that eventually became centered around performing in and auditioning for musicals, "Over the Rainbow," while I never hated it, was a song that came to be overdone and performed on way too many occasions, by people who were just not talented enough to do it any justice. Harsh, I know, but true. As a result, it was a song that I came to like less and less.
Then, I was introduced to Israel Kamakawiwoʻole’s version of “Over the Rainbow” through movies like Finding Forrester and You’ve Got Mail, among others. Not to forget this precious Rice Krispies commercial. Thanks to Mr. Kamakawiwo’ole my love for the song was renewed. The first few films I saw the song used in used it quite well and I was always pleased to hear it. Happy to hear the version of a great song that made me love it as though it was new. That is, until his version too became overplayed and didn’t quite pack the same punch as it had the first time I had heard the song.
And yet again, my love for “Over the Rainbow” has been reborn. Thank you Mr. Luhrmann for showing me the song in a new light. Hearing the song played on the harmonica, especially toward the end when Nullah was playing it on the front of the boat as he, The Drover, and the other mission children returned from the island, nearly gave me chills. It was haunting, beautiful, and romantic. It was wistful, but hopeful and, for me, enhanced the moments of the film when it was heard in ways I cannot eloquently describe.

Despite my best efforts I couldn’t find any online version of the harmonica rendition of “Over The Rainbow,” but a small bit of information about the soundtrack can be found here.

Check out some interesting facts about the song here.

Writing Australia in Tasmania

2008-12-04T13:48:00.000-08:00

Not sure if another Australia review is what this blog needed so… Adventure Magazine included an article this month about Richard Flanagan, the Tasmanian novelist and leading conservationist, who spent two years working and writing Australia with Baz Luhrmann. Tasmania (according to this map below) is an Australian island located south of eastern half of the rest of the continent. From the pictures I’ve seen of the island, it is absolutely breathtaking. However, I think its landscape has more of a New Zealand resemblance than an Australian one.

Anyways, in the article, here, Flanagan describes his initial work and creative experiences with Luhrmann. Flanagan explains, “I had no idea how to work with Baz, and I don’t think he had any idea how to work with me. He first came to see me in Tasmania, at my shack on Burnby Island, where it’s so quiet I can identify the birds by the sound of their wings. My home’s surrounded by kangaroos and penguins. We drank, told stories, made up new stories, and eventually a third creative force arose that was neither me nor him but that we both liked. And we discovered, rather improbably, that we liked each other too.” I thought this explanation of Flanagan’s work environment was intriguing and so ideal. What a perfect place to write such a film.

I also did some research about film production in Tasmania. After see the grandeur and scale of the landscape, I was surprised that I hadn’t heard of any large productions being based within Tasmania. I found Screen Tasmania, which is the “State Government agency responsible for supporting and developing the state’s film, television and multimedia industries by increasing the amount of independent screen production occurring in Tasmania. “ – Screen Tasmania. I couldn’t find any current production information, but found information about specific productions the agency had support in the past. The financial support and funding provided though this agency is very similar of that of The Australian Film Commission, which as of May 2007 has been replaced by an agency called Screen Australia!!!

A Cinematic Extravaganza

2008-12-04T13:15:00.000-08:00

I've given myself several days to process Australia, but I'm still a bit befuddled. I don't know what specific facet or aspect of the film to write about with focused concentration. It has been interesting to read my classmates' reviews and Australia-related blog posts before and after watching the film. I think I would be best suited at the moment to just share my general impressions of the cinematic extravaganza.

First, I'll try to focus on the positives that I took away from the film. As has been noted in another blog post, the film is visually captivating. I can't deny that the color schemes and special effects are awe-inspiring. Knowing that Baz Luhrman is responsible for Moulin Rouge, I was worried that Australia would be too over-stylized to enjoy on any level. I was pleasantly surprised (although I had lowered my expectations after reading some of the early feedback posted by my classmates). Now that I think about it, I think that having a forewarning of sorts helped me to enjoy the film more than I otherwise would have. I was expecting a campy, over-done, overly ambitious film... and I got exactly what I was expecting, more or less. The only other positives that I can recall are watching Wolverine return to his Australian roots, getting to see David Gulpilil's familiar (although drastically aged) visage, and being introduced to the young actor that played Nullah.

I don't know whether I'm in the minority or not, but I feel like I was not exposed to a lot of advertisements for Australia before its release or before I went to see it. Even now, after having seen it, I still don't feel like I'm exposed to a lot of advertisements for the film. My girlfriend has, apparently, and she mentioned something interesting after Australia finally ended. The young actor who plays Nullah recieves virtually no attention in the majority of the advertisements that she has seen. I find it curious that the young actor recieves such little attention, especially considering that he puts forth (what I thought was) the best performance in the film... and the film, as the text that bookends it suggests, is narratively strung together by the plight of the stolen generation.

In terms of the negatives that I took away from the film...

While I can identify all of the Australian trademarks in Australia (except for mateship), and the Australian landscape dominated so many hours of screen time, I still don't feel like the film was that Australian in terms of tone or genre. The first half felt like an American Western, and the second half felt like Pearl Habor only set in Darwin. I think that the running time of Australia hurts it or will hurt its success in America. I know I have ADD as an audience member, and I found that I felt lost or confused at multiple points throughout Australia because there was so much to keep tabs on. Luhrman needed to trim the fat a bit more and decide which story he wanted to tell and which movie he wanted to make. Other things that didn't sit well with me were instances of contrived timing (e.g: Drover arriving just as Kidman's character wonders aloud where she will find a driver, the Japanese arriving at Mission Island at the same time as Drover and the rescue crew, etc. etc.) and music that counteracted the mood (e.g: all of the uplifting music during the various and many deaths... The music that plays during the drunk bookkeeper's death scene feels quite uplifting to me).

All in all, it wasn't a movie I would have ever seen had I not been assigned to see it. It's also not a movie I would ever watch again, or at least not in the near future. However, having had a forewarning of sorts from my classmates and consequently altering my expectations, I was able to enjoy Australia more than it seems that some others have. I'll update this blog post with a picture and links to make it "legitimate" in the next couple of days.

Vastly Inferior to Australia, the Country

2008-12-04T12:09:00.000-08:00

What else can you say about the film? It was what I like to call "a bit much" with a pace, running time, and excess to make Michael Bay look like Werner Herzog this was definitely not my kind of thing. Granted, I was not expecting it to be.

First, what did not work for me: The fact that everything was so big and flashy - could anything have been shot, or at least remained at twenty four fps in the beginning? I felt all of this was just to mask the thin plot line. Speaking of which, the opening was just too long, with everything needing to be so significant throughout the whole thing I can understand the need for development, but really wasn't everything just significant for the purpose of significance? Then there was the end... I cannot even remember what it was but at one point it was grossly apparent that the film was ending, or at least the "end" was beginning, something did not feel right so I looked at my watch and saw that I had only been sitting in the theater for about an hour and forty minutes. Okay, so bottom line: didn't like it.

Anyway, as far as how this relates to class: I felt that this film could have been tailor-made to by analyzed from the perspective of this course. Of course there was the obvious allusion to Walkabout in the opening, but at a slightly deeper level, it was clear that Luhrman's intent was to capture nothing more than the country itself. I just don't feel that should take three hours. We've got the landscape, everything that makes "Oz" (that was a bit much too, right?) so otherworldly was there, and in my opinion this was by far the best part of the film. One example being the thought that crossed my mind of the stampeding cattle reminiscent of America's great planes. These animals are not indigenous and could a continet so unfertile support such life? Just a thought. Then of course, there's the aborigines. We've got the stolen generation - the presentation of which was practically stolen out of Rabbit Proof Fence. Oh and the British - what is there to even say about the way the British are interpreted? The same stuck up pricks they are always portrayed as in every Australian film, though understandably.

Then of course, there's the big buzz word we have been discussing since the beginning that was pounding us over the head constantly in this film - "Man's Country". In future classes a 30 second clip of this film would be enough for everyone to get that trademark.

So yeah, not my kind of thing, but very, very, Australian.

Just Another Australia Review

2008-12-04T11:50:00.000-08:00

Well, here it is. With almost every aspect of this film having been dissected and scrutinized, I feel the only contribution worth giving is my own review of the film as a whole. Baz Luhrman, though obviously a successful director, is not usually my cup of tea. Romeo and Juliet and Moulin Rouge were both heavily stylized, with a unique set design and camera work that has become Luhrman's calling card.
I was hoping, however, that this film would be different. When one names a movie after an entire continent, it's kind of implied that the nature of the film itself will be pretty epic. In some ways, this film was. Luhrman certainly hit just about every topic we've talked about in class, from wide open land to the Aussie battler, and managed to scrape together a story that included members of every culture and race on Australia, which widened the umbrella even more. He also threw some obvious shout-outs to the canon of Aussie film, with a lot of Walkabout references scattered all over the place.
And this might be my biggest problem with the film, for by trying to hit every little marker, the story and conflict were cheapened. Every character was essentially brought to their cliche base. The half caste kid can stop a herd of stampeding cattle through his understanding of nature, Nicole Kidman's British character is stuffy and originally is seen as unfit to survive the harshness of the Outback, and Hugh Jackman is a class A Australian badass who doesn't take shit from anyone, except maybe Kidman. These are just a couple, but really the whole film tries to do too much because it scatter bombs, attempting to hit every cultural point in a film that's three hours long. Had they picked a few points to hit, instead of so many, they would have been able to concentrate more on creating real characters and not archetypal placeholders. Of course, this film was made to be marketable, like most films, which in this case was a problem only because it so clearly dominated every aspect of it. The story had to be relatively simple, and they probably felt like they had to hit every point to increase the amount of people who would want to view it.
But I digress, since I started by talking about the style. I was happy to see that he had at least toned it down, enough so that I didn't immediately pass the movie off as utterly ridiculous. Still pretty stylized, with a lot of unecessary camera movement and a set design that was also fairly characteristic of Luhrman. This didn't do too much to hamper the movie to me however, and was to be expected in the end.
All in all, I can see why we were assigned to view this movie, as in some ways it is a culmination of everything we've spoken of in class. I just wish it could have been culminated a bit better.

Female DP

2008-12-04T11:12:00.000-08:00

I saw the film am immediately looked p the cinematographer, and it was a female! I was very excited because I am a girl majoring in cinematography. Typing that word a lot is difficult. I found this youtube video about the cinematography of Australia and Mandy Walker, the DP. Watching this makes me get camera and equipment envy. It also makes me feel bad that such a beautiful film is getting such terrible reviews. It takes so much work to make a film like 'Australia' that it is sad that someone didn't stop them along the way and say, okay, it's a little long for the general public. Anyway back to Mandy- here is an article about her nomination for Hollywood Film Festival's Cinematographer of the Year.
Lines like: "...things are looking good for Walker to become the first female Best Cinematography nominee in Oscar history." are pretty inspiring. I happen to agree that she does incredible work and I hope she gets the recognition she deserves.

Here are some interesting statistics about female cinematographers from the article:

- By genre, women were most likely to work on romantic comedies, romantic dramas, and documentaries and least likely to work on science fiction, horror, and action-adventure features.
- Among the top 250 films, women were most likely to serve as cinematographers on documentaries (17%), followed by comedy dramas (9%) and animated features (9%), and comedies (7%).
- Women did not serve as cinematographers on dramas, romantic dramas, romantic comedies, action- adventure features, sci-fi features, or horror features.
- Only 4% of cinematographers on the largest budget American films are women.

Dr. Martha M. Lauzen, a professor at San Diego State University in the US, recently published a report called The Celluloid Ceiling that revealed only 2% of the people working as cinematographers on the top 250 films made in 2007 films in Hollywood were female. Ninety eight percent (98%) of the films had no female cinematographers, which translates roughly to a grand total of five (5) camerawomen working on the top 250 big budget movies.

Even so Mandy Walker may be the woman to start making a change in those numbers. I also found an interview with her in which she states:

"I never knew until I started working in the industry that there weren't many women in the camera department, and I couldn't see why. Basically, I have never taken it on as an issue, and I think that people will hire me because I am good at my job, not whether I am male or female"

right on.

The Lost Generation...still lost?

2008-12-04T09:53:00.001-08:00

Since almost every topic that I wanted to write on from the film "Australia" has been covered (thats what I get for waiting too long) I thought I too would delve into the aboriginal culture it portrays. The Lost Generation seems to be a major theme in many Australian films, and Luhrman does not leave it out of "Australia". However, I find that his take on the abuse of the aboriginal people was very generic.

Already we have seen many films where the abuse of the aboriginal people has been shown, and it has been disturbing to say the least. However, I decided to google search "the lost generation australia" and see what the first hits would be. I was surprised when I discovered that even the minor websites that appeared featured more information than what I had gathered from watching multiple films. While I was happy to find that Luhrman addressed the abuse that the aboriginal women faced, and how it affected their lives, he (and many other film makers) left a crucial part of the story untold. Perhaps because the abuse of the aboriginal people was so horrible, or perhaps because modern societies like to romanticize older cultures, but never once in a film have I seen the portrayal of a drunk, homeless, or down on their luck aboriginal.

Since before the 1900's the aboriginal people were being persecuted. This website has the basic information on the history. With a history of abuse this long, it was not surprising when I read that many aboriginals, in order to try and adapt to the new culture being forced upon them, became drunks and beggars. While this may not fit the the romantic notions of an oppressed culture, it is real. The only images we as an audience get through film, are those aborigines who defy the white man and continue to live in their own culture. The grandfather in "Australia" is a perfect example of this. He teaches his grandson the old ways, and the boy Nahla learns from him and grows to love the culture. However, this was not the only option, many of the children were taken away (an estimated 8,000-great website for information on the children) and sent to work in white homes. Those who were cared for by nuns and priests were not treated like real children. According to one website, they were fed food with maggots in it. While the notion of taking children away from their families is bad enough, why not address the actual conditions that these children lived in. It was lightly touched on in "Rabbit Proof Fence" when the children had to dump their toilet (a bucket) outside every morning. However, "Australia" had many opportunities to address the actual conditions these children were forced to live in, and it skimmed over the topic.

Many are saying that Luhrman tried to attack too many topics, and that it why his film suffered. I kind of agree with this, and perhaps if he had created a less romantic notion of how the aborigines rose above their treatment, it would have been too much; however, why address a topic and not fully show all sides to it. Luhrman is not the only one, I have yet to see a true rendering of what really happen to the culture. Obviously it is a strong one, since it is still around today, but instead of romanticizing the pain and suffering by only showing those characters who rose above the persecution filmmakers should feel free to explain how many were beaten down into an existence of poverty.

Today's screening

2008-12-04T07:31:00.000-08:00

I had planned to show WOLF CREEK today but do not have access to it at the moment. (But I can bring it for next week).

If anyone has a copy, feel free to bring it to class today. Otherwise, we may watch SIRENS...or, more likely, AN ANGEL AT MY TABLE.

Or if anyone has other ideas, let's hear 'em. Other choices might include: LAST DAYS OF CHEZ NOUS; DANNY DECKCHAIR; ANGEL BABY; THE PIANO.

"Australia" a dud?? Where does Kidman go next?

2008-12-02T17:58:00.000-08:00

According to a recent E! Online article (as well as a number of other reports I've come upon), Australia does not seem to be doing very well at the box office - and neither does Nicole Kidman's career. Interestingly enough, despite its blockbuster appearance and budget, the film did not do nearly as well as expected it seems...at least in America. The movie hit the top of the box office in Australia and is currently the number one film in its respective country. But critics and other moviegoers do not seem to feel the same sentiments about the film in America for some reason.

Many attribute this failure to Nicole Kidman's drastically dwindling career and performances which do not seem to stand out any longer, no matter the variation of roles she continues to play. Is this a fear that is keeping Kidman up at night? It seems as though the diminishing success of her latest film (which may be quite personal considering the plot revolves around her home country) is affecting her on one level or another after multiple articles have been published, including one from the Boston Globe which describes the film's setting as "depressingly unconvincing" at times. A recent interview (link below) on the Dave Letterman show features a very scattered Kidman who pauses awkwardly at some of Letterman's questions and seems to have no idea what's going on at various times throughout the interview.

An AP review of the film (link below) describes Australia using terms such as "repetitive", "predictable", and "self-indulgent." And the chemistry between Jackman and Kidman is likened (however unsuccessfully) to the onscreen legends of Humphrey Bogart and Katharine Hepburn in The African Queen. And despite his awe-inspiring performance, the half-caste boy in the film is also commented upon playing to a racial stereotype. The AP review also comments on the homage the film makes to The Wizard of Oz, declaring that you'll never want to hear the song "Over the Rainbow" again after leaving the theatre.

I found the film's strong points lay in its breathtaking cinematography and visual effects which can't be missed, no matter what one may think of the performances. I must admit Kidman's acting and chemistry with Jackman was a bit cliche and at times didn't work as successfully as director Luhrmann would have hoped for. The biggest disappointment for me was the outcome of the film after discovering they worked with an astronomical budget of $130,000,000!!! With the economy still stuck in a place similar to the Depression, I am surprised and sickened by the fact that this film's allowance wasn't put to greater use with a better script and possibly cast. I like both actors separately in their own regard but they just weren't convincing enough for my taste. Definitely a film I could have waited to Netflix.....not worth the $10 in the theatre in my opinion.

The articles/video below make some very interesting arguments in regard to Australia and are definitely worth reviewing.

Is Nicole Kidman over?

This is the article from which I titled this blog post. The E! online article presented by Yahoo discusses Kidman's performance in the film and speculates the possibility that her career may be close to over, after the repeated failure of some of her latest films.

Dave Letterman Interview

Hilarious interview with Kidman which highlights the extremely awkward moments between her and Dave, including the long, confusing pause when he asks her about her husband's music career (which she seems to know nothing about).

AP Review of Australia

Film critic Christy Lemire rips apart the film, commenting on Kidman and Jackman's lackluster performances and "self- indulgent" plot.

Australia: An Elaborate Joke

This review, which is directly out of the country of Australia, elaborates on how they absolutely detested this film on every level possible.

Luhrmann: Idiosyncratic Goofball or Hardened Conformist? Either Way: Blechh.

2008-12-02T15:42:00.000-08:00

Baz Luhrmann

During the brief clip screened in class of Moulin Rouge, a favorite back in 8th grade, I wondered how I could have once taken such grotesquely heightened drama seriously. I wondered that too, a bit, during Australia, but the feeling had settled from bafflement into inquiry. Baz Luhrmann isn’t my cup of tea, but he’s not pompous, either: the new film has a tonally jarring, anything-goes approach that is fascinating, if not satisfying.

Anyone eager to fill out a perfunctory checklist of Australian themes should be satisfied: David Gulpilil is back, now taking his grandson on a Walkabout of his own, and as for Landscape, a character says, “this land has a strange power,” followed by the usual ominous pan across the outback. (It has always seemed obvious to me that there’s nothing more inherently mysterious or deep about the Australian landscape than, oh, the streets of Cambridge, and the former has only been enshrouded so because of formal techniques—a customary didgeridoo here, a swooping crane shot there—used to frame it. Any place in the world—the Commons, the Taj Mahal, any old bathroom—can be associated with mystery or banality, depending on context.) Any “foreignness” with which the land is perceived, however, is emphatically reversed: Nicole Kidman, scowling, trampling, and sulking, is not inaccurately called “the strangest woman I’ve ever seen” by the film’s half-caste narrator.

In some respects, Luhrmann retains a cartoonish sensibility, which one imagines he is to some extent incapable of resisting: this is the sort of movie where men anxiously gulp upon seeing an attractive woman, and the score gracelessly flails about, trying to find a suitable refrain for each moment. Luhrmann is indifferent to moral perspective: he’s equally likely to beautify kangaroos one moment and cackle at their murder the next. And even if one can’t find a coherent sensibility amidst the muck, there’s a rule of adjustment that works for films like this, even if it doesn’t make them any more tolerable: that if it seems bizarre that minds of adult intelligence felt inclined to inflate the sensitivities of adult characters far past the point of plausibility, then Drover and Sarah’s behavior might make more sense were both characters about 12 years old. Were this Luhrmann’s goal, I’d be impressed, but my guess is that this is the effect of adherence to convention.

Australia Review

2008-12-01T19:05:00.000-08:00

Baz Luhrman's, "Australia" has received mixed reviews and has done less than anticipated at the box office. In US markets (a main target audience for the film), it came in fifth place this past weekend with just $14,800,723. "Australia" came behind "Four Christmases," "Bolt," "Twilight" and "Quantum of Solace." For such an expensive movie to make, and with all the hype leading up to its release, this was definitely a disappointment. However, the film is still good, and may still be award worthy in several regards, but this may not be that huge influential epic they had hoped it would be.

In the film, there are several references to old-time Hollywood movies such as "Gone With the Wind," and "The Wizard of Oz." While interesting, it can be a little distracting and take one out of the film. Baz seems to enjoy this postmodern style of artwork that mimics other art forms though, as he uses the same style in many of his past films including, "Moulin Rouge," and "Romeo + Juliet."

The movie is long, and at times extremely slow and boring. The acting chemistry is good, not great, and the story is okay. The cinematography and production quality, however, is amazing - the sweeping camera shots of the landscape are phenomenal. The visuals keep me interested for a while, but generally three-hour-long romantic period pieces are not my cup of tea. I do like Baz Luhrman though, and many of his past films.

An interesting article about our pal, David Gulpili, about his nomadic lifestyle removed from modern society, and how he was unaware of the passing of his old friend Jimi Hendrix.

As I mentioned in my first blog post, Baz worked with Apple to create the "Set to Screen" podcast series. Interesting stuff in regards to filmmaking, Australia, and Baz Luhrman himself.

- Matt Colbert

'Australia' and the Stolen Generation

2008-12-01T10:51:00.000-08:00

So yesterday evening I saw Baz Luhrmann's 'Australia.'
I made a point to avoid reading any reviews or even watching any trailers prior to seeing the film, simply because what little hearsay I had heard already began to skew my perspective. "I hear that film is like an Australian 'Pearl Harbor'" someone told me. Recalling the three hours of torture I had endured watching 'Pearl Harbor' back in 2001, I found this comment to be extremely unsettling.

Regardless, yesterday I watched ‘Australia’ and I have to admit.. it wasn’t bad. Though running at close to three hours seemed rather long, I was definitely entertained for a good portion of the film (or at the very least visually stimulated by the beautiful cinematography). I especially enjoyed noticing the references to Peter Weir’s ‘Walkabout’ that occur at a handful of places throughout the film, as well as seeing our friend David Gulpilil making another appearance on the big screen. Having said that, I feel that the film was a little too ambitious; covering too many plot points and historic events in the span of one two and half hour movie.

Upon glancing at various reviews online, I find that others shared this opinion. In fact, I’ve come across numerous reviews by actual Australians who found this film rather offensive. One reviewer went as far as saying it was tactless of Luhrmann to discuss so many aspects of Australia’s young history in such a brief and over the top approach. Particularly on the topic of the ‘lost generations,’ an event still so recent in the countries history – especially in light of the fact that only now, in 2008, a formal apology was issued to the Aborigine population by Prime Minister Kevin Rudd.

But what of the ‘Stolen Generations’? Now that time has passed, what was the outcome of ‘The Aboriginal Protection Act’?

The alleged goal of the act was to help these Aboriginal children integrate into a modern western society - so that they could gain and education and one day be employed. Unfortunately, the outcome for these children turned out to be very different. One study I found in ‘Decades of Change: Australia in the Twentieth Century’ compared statistics of removed children in the city of Melbourne to children who remained with their Aborigine parents, and the results are rather shocking. The study showed that removed children were less likely to gain a secondary education, twice as likely to use illegal drugs and three times as likely to have a police records. The only real area of improvement according to the study, was that those removed had a slightly larger income – though this probably attributed to the fact that the removed children in the study were living in the city and hence had better access to welfare checks than those non removed living in their home communities.

Today the indigenous community suffers from increased unemployment (20% of Aborigines unemployed verses 7.6% of non indigenous Australians), more health problems and according to this study they are twice as likely to be victim of violent crime. Furthermore there is reported huge increases in alcoholism and sexual abuse amongst present day Aborigine families.

Considering that I've only found two cases of reparations being paid, and that only this year has an apology been issued by Australia's Prime Minister.. I wonder what the future holds for Australia's Aborigine population?

Whales

2008-12-01T07:39:00.000-08:00

This is a very disturbing story of whales were beached themselves and died on the coast after being unable to swim back to the sea, near the town of Hobart in Tasmania.

CRIKEY!

2008-11-30T18:36:00.000-08:00

As many of you may have noticed, it seemed that Baz Luhrmann and the other writers were attempting to make a catch phrase of "crikey!" via numerous, mostly unhumorous uses throughout the movie. I can't be sure it wasn't their intention to use it as an homage to Steve Irwin or Australian culture in general, seeing as much of the flavor of the film was nostalgic, or if it was simply historically relevant for the film.

In any case, I thought I'd do a little investigating on the word's etymology to truly understand its history. The word is what is known as a "mincing oath," or more simply euphemism, used in place of the blasphemous explication of "Christ!" It is in fact considered a swear word by the Oxford English Dictionary, but that seems to only be relevant to Australian or New Zealand culture at this point in history. The first syllable is meant to mimic the initial sound of "Christ" (i.e. Chri- vs. Cri-) and is similar to the comparison of "damn" vs. "dang."

It's first recorded use in print was in 1838, though it's understood that the word was a part of the spoken language long before that. Surprisingly, the word originated in Great Britain and was adopted later by the criminals and English expatriates who migrated to Australia at its inception. "Cripes!" is an off-shoot of "Crikey!" and is essentially meant to convey the same sense of exasperation or displeasure.

Some info and examples

Overall, I found Australia to be a bit of a disappointment, and, like most people have already commented in some way, I found the performances and visuals to be strong but the story was trite and the dialogue was less than stellar. It was like Gone With the Wind sans the dynamic characters and compelling relationships. Though I did appreciate the ways in which it was almost a microcosm of everything we've been talking about in class this semester.

In memory of a great Australian, Steve Irwin, and the man who brought "Crikey!" into most of our vocabularies, I include a compilation of his bloopers that all deserve a hearty "Crikey!" or two.

Crikey!

- Matt Holden

The Japanese are Coming!

2008-11-30T07:54:00.000-08:00

(Image Source here)

After taking some time off (ok, a lot of time off) yesterday to go see Baz Luhrmann’s Australia, I had a few questions about the Japanese attacks on Australia. I’ve taken several 20th century history courses in both high school and college, yet these events had never been mentioned. So, I did a little research and found out just what actually happened.

As it turns out, the Australian mainland was attached over 90 times over the course of the war. 64 of those raids were on Darwin, the first of which, occurring on February 19th, 1942, was shown in the film. Apparently, Darwin was a key defensive position against the Japanese onslaught in the Pacific, and on the day the Japanese attacked, there were 46 ships, both Australian and allied, in the bay. 8 ships were lost and many damaged, and the casualties are somewhere between 900 and 1100 people, just from the first attack. It is said that the Australian government suppressed this information in order to keep public moral up. Later in the day, the Japanese would attack again, destroying the Royal Australian Air Force base.

The Japanese attack was lead by a man named Mitsuo Fuchida, the pilot that also lead the attacks on Pearl Harbor (Fuchida was the one who radioed “Tora! Tora! Tora!”). They attacked with 188 planes and destroyed all but one (out of the ten) of the Australian fighters located there.

Darwin was attacked again and again until November 1943. I found a list of the attacks here.

For more information about the Japanese attacks, check out this site

Beauty in a land called Oz

2008-11-28T14:35:00.000-08:00

I took in a screening of "Australia" this afternoon.

First, let us take a moment to mourn the loss of Nicole Kidman's beauty. Remember the days when her hair was red, her lips weren't inflated, and her forehead didn't resemble a windshield? I miss those days.

I was, however, quite taken with the visual beauty of the film. This is especially true ofthe cinematography- the shot compostion and lighting coupled with the outback landscape is really quite striking.

What is even more exciting to me is that these images were captured by a female director of photography: Mandy Walker. Woman DPs seem to be a rarity in Hollywood- one has never been nominated for an Academy Award in Cinematography.

She came into the business of moviemaking in the same way that most people do: working odd jobs on set and consistently pestering her superiors. Her first film as DP was a small Aussie film called "Return Home" in 1990. She worked steadily in the Australian industry throughout the 1990s.

One of her first films that was widely seen on an international level was 2001's "Lantana". Said in a Senses of Cinema interview that this was perhaps her biggest challenge, due to the use of natural light. This led into her first American job, "Shattered Glass". This was the last film she completed before working on "Australia" (which was apparently long in development). She spends time between features working on commercials.

Walker has won awards from the Australian Film Institute and has received Kodak Vision Award. She says that even though she is often a rarity within her department, she wishes that she be hired solely for her skills, and not for gender reasons.

"I had always loved going to the movies; I find it is like entering a dream," she says. I agree, and I wish to see more of her work in the future. I hope she inspires more girls to join the more male-dominated aspects of film.

To top things off, here's the Chanel commercial she shot for Baz Luhrmann, also starring Kidman:

Somewhere Over Australia

2008-11-28T13:22:00.000-08:00

Luhrmann knows his audience. Americans will respond well to his latest feature, Australia, not necessarily with awe over the landscape (or should I say pastel skyscape?) but the film’s relationship to the American fairy tale The Wonderful Wizard of Oz. In the United States, we take pride in L. Frank Baum's fairy tale, the good ole’ story of a small girl on the Kansas prairie and her dreams of reaching some sort of home but realizing that it was right there in her backyard. "Home is where the heart is," in a sense.
The main characters of Australia must all learn what Dorothy learned, that they do not need to seek out their home and that Australia is the perfect nation to settle down in. Lady Sarah Ashley finds a home in Faraway Downs (this link is great!),Drover realizes that his home is not miles away with cattle but with the woman he loves and Nullah realizes that he does not have to identify himself as either black or white. He can stay creamy. He may be a half-caste but he is an Aborgine at heart. His story is like Dorothy’s, she feels lost in the real with her aunt and uncle and seeks a home away from home.

This film is made for us Americans that are always looking for that little something called the American Dream. Interestingly enough, us Yanks have a tiny cameo in the film and in the end, it is the American story, The Wizard of Oz, that saves the day. The songs of the 1938 film relate to everyone’s search to adulthood and that greener grass on the other side. This song was cut from the film: http://www.youtube.com/watch?v=Nf1bcjQPO00

Movie Rating=It was okay.

Not worth three hours of my time but the references to The Wizard of Oz kept me amused.

David Gulpilil: Old Face of Australia

2008-11-27T08:16:00.000-08:00

I too, wanted to blog about the mysteriously enchanting boy who played Nullah...but Kerry beat me to it. So now I will write about another face from the film, someone we should all recognize: David Gulpilil.

I had no idea David was in this film, so when I saw him I was very excited. I'd always assumed he was of Aboriginal descent (as opposed to an actor who had learned to play an aboriginal) but hadn't confirmed it before now. So if that was in question for any of you, yes he is a legitimate Aborigine. And he has played an Aboriginal part in over 20 films and television series since his debut in Walkabout in 1971. Talk about type casting. He even has his own webpage, although he's not the one who created it or keeps it running, found at www.gulpilil.com.

No doubt that David has become one of Australia's most recognizable faces, maybe not internationally, but certainly within his own country. And now, thanks to Baz Lurhmann, maybe he will finally be able to claim international success as well.

The aspect of his career that intrigued me the most was what Aboriginal culture might think about his portrayal of their people. Is it frowned upon by other Aborigines for David to use their way of life as a means to make money? What do they think of his choice of career? And how has it affected him? Sadly, I could not find much in the way of an answer to my questions. Though I did find a short article on a film he made in 2002 titled Gulpilil: One Red Blood that may hold some answers if anyone is interested in seeing it. Here's the link:

http://www.australianscreen.com.au/titles/gulpilil-one-red-blood/

As far as Australia goes, I thought his performance was wonderful (as always) and seemed to be an honest representation of Aboriginal culture. The way he moves and speaks can be very haunting at times. His grace (and perhaps balance, he always seems to be on one leg in this movie) can be attributed to the fact that he is an extremely accomplished Aboriginal dancer. I dug up this youtube video of him performing a few traditional dances. You should check it out:

www.youtube.com/watch?v=L08e91HxX-w

Maybe David Gulpilil's legacy will open doors for new Australian actors, Aboriginal and otherwise, like Brandon Walters.

...and I never did figure out how to embed those links, my apologies for that.

-Megan R.

Brandon Walters: New Face of Australia?

2008-11-26T17:57:00.001-08:00

(Here is the page I got the picture from.)

I had the pleasure of seeing Australia tonight, with my sister. I must say that when we got out of the theater and started talking about the movie, one thing we absolutely agreed upon was how much we enjoyed the performance of the boy who portrayed Nullah. Everything from his acting, to narration, to his hauntingly beautiful voice when he sings (I can't find any information saying it isn't him, so I assume he did that as well) is really captivating! His name is Brandon Walters and from what I gather, he is only twelve years old (I'm finding conflicting information online, but that is what most sources say. He is still a few years older than I actually would have estimated for his tiny size). It took a decent internet search to find anything on him, as this his is big debut, but I have a feeling there will be more to come very soon!

Very big things are expected from this little package in the future and Baz Luhrmann seems to be his main supporter. This Australian Herald Sun article uses the phrase "plucked from obscurity" when describing how Brandon was cast for the role and the UK Times Online reported about how he and Luhrmann bonded over the course of the casting and filming. A lot was also mentioned, in various articles, about how well Walters seems to have connected with Nicole Kidman. The term "maternal instinct" was used multiple times in describing her behavior around him at press conferences and public appearances. It doesn't surprise me at all, as the performances these two put on felt very genuine and mutually affectionate. This interview with Kidman explains their connection in a bit more detail.

There was just something about watching Brandon that made me very happy. He brought a certain brightness and presence to the screen that I feel might have been lacking without him there. That isn't to say I didn't enjoy any other performance or any other aspect of the film, I just feel like Brandon's role made the film extra special in helping Luhrmann to create that dreamlike note with the audience. I found this article in my search that states that at the age of seven, Walters overcame Leukemia. Again, I'm not sure of the details because there is so little information about him, but assuming this is a true statement, it could be said that perhaps this remarkable personal triumph accounts for that feeling of Walters' genuine optimism and true belief in that "somewhere over the rainbow" mentality. Regardless of why, the fact is that he does bring this charm to the screen and I would recommend going to see Australia so you may be introduced to this young actor!

Thanksgiving!

2008-11-26T12:59:00.000-08:00

Hope you all have a nice holiday and break.

I will be away from email for the next two days, until Friday night.

"Hello Possums!"

2008-11-23T14:35:00.001-08:00

When reading through Xander's post, I was caught by the name Barry Humphries. It sounded familiar, so I looked him up and was led to Dame Edna, his "most famous and enduring creation" as a comedic actor. Have you guys heard of her? I actually hadn't, but she is a really funny character!
You can go here for her biography (the one he created for her!):

http://www.dame-edna.com/biography.htm

This Melbourne housewife has made appearances on Alley McBeal, A Night with Dame Edna (1979), and recieved a Tony Award for Dame Edna: the Royal Tour.

As fun as Dame Edna is, I'd actually like to see more of Barry Humphries. He's clearly a very creative and talented comedian.

Mary and Max

2008-11-23T11:08:00.000-08:00

Mary And Max, an Australian stop-motion animation feature, has been chosen to open this year’s Sundance Film Festival. This is THE FIRST TIME an Australian feature has been given the highest profile slot at Sundance!!! This is amazing, not only because the fact that it’s an independent Australian production, but that it’s a clay animation!
The story is about an eight-year old Melbourne girl who has a 44-year-old New Yorker with Asperger’s syndrome as a long-time penfriend (pen-pal). The director, Adam Elliot, said the story is based on 20 years of letters between him and his American penpal. I found most of this information through the Sydney Morning Herald.

I decided to explore further and sought out Sundance’s homepage to see how they were promoting the animation’s premiere. Of course, the film was on a headlining banner, promoting the film’s World Premiere at Sundance. The film’s press release revealed that it starred Philip Seymour Hoffman, Toni Collette and was narrated by Barry Humphries.
I also learned that this would be Adam Elliot’s second time at Sundance. Prior to Mary and Max, Elliot directed a film, Harvie Krumpet, which screened at Sundance in 2004 and went on to win the Academy Award for Best Animated Short Film.
I’m looking forward to following the success of Mary and Max beyond Sundance and the festival circuit.
Also, check out the film's super cool website: www.maryandmax.com

Textbook: URGENT

2008-11-21T12:59:00.001-08:00

I have been told there has been a problem with the textbook being on reserve in the library. Any text ordered by the bookstore that is also in our collection should be automatically be placed on reserve. It was my understanding this had been done at the beginning of the semester.

I am not sure why there has been a problem with this book being on and off reserve. I am currently trying to resolve this with the reference desk.

The book has been signed out to a student and they won't tell me who. A recall for it has been placed.

If any of you have signed the book out, could you please return it immediately, so it can be placed on reserve so that other students who did not buy the book can use the only library copy?

THANK YOU FOR YOUR COOPERATION.

Last Day of Class: December 11th!

2008-11-21T11:37:00.001-08:00

This year the final week of class schedule has shifted from what it has been the last couple of years. Instead of having classes end on a Wednesday, with Thursday being a "Reading Day", this year classes officially end on December 12th (a Friday).

So we will have our final class meeting on December 11th. This will be a full class with screening; we will probably watch The Rage in Placid Lake. We can also have our end of semester party that night.

The final class meeting during final exam week, Dec. 16th, at 8 pm, will proceed as scheduled. I will hand back any and all remaining essays, projects, etc. at that time.

Sorry for the confusion; they seem to change this scheduling every year.

Keisha Castle-Hughes Audition

2008-11-20T19:33:00.000-08:00

I was looking for a clip of Keisha Castle-Hughes meeting Johnny Depp and no luck. But I did find:
Keisha Castle-Hughes Audition for Whale Rider:
http://www.youtube.com/watch?v=qRbv5oBwpMg

Baz Luhrmann

2008-11-20T09:39:00.000-08:00

While "Australia" seems to be on almost everybody's mind, I couldn't help but become interested in the director Baz Luhrmann. Luhrmann reminds me on a young Peter Weir; his films are experimental but they also resonate with major audiences. Luhrmann is know primarily for "Romeo + Juliet" and "Moulin Rouge!", and now he is garnering praise and attention for his upcoming film "Australia".

Baz Luhrmann was originally born Marc Anthony Luhrmann in 1962. He was born and raised in Southern New Wales, Australia, and graduated from St. Augustine's College in Sydney. His wife, Catherine Martin, is the production designer on all of his films. (for more biographical information check out Wikipedia Baz Luhrmann)

The fact that his wife is his primary production designer interested me, especially because when I think about "Moulin Rouge!" or "Romeo + Juliet" I can't help but think about their production design. From the elephant in "Moulin Rouge!" to the church in "Romeo + Juliet", the set strikes a chord. There is a certain fantasy aspect to their design, which help the viewers further immerse themselves into the world that Luhrmann creates, but at the same time these sets are grounded in reality. The marriage (literal and artistic) between Baz and Catherine seems to be an equal blending of ideas, which transforms the stories and the film into something completely different than most Hollywood films.

Luhrmann originally worked in theater, and he directed the original stage version of "Strictly Ballroom". Then, in 1992 Luhrmann released his first feature film, smartly titled, "Strictly Ballroom". It is a romantic comedy (according to Wikipedia Strictly Ballroom) and while the theatrical production was short, it transfers well into a feature length film. I happened to see this film years ago, in my freshman or sophomore year of high school, and what is really interesting is that I don't remember the plot, as much as I remember the clothes. The costume design was very interesting because there was a lot of room for imagination in ballroom costumes. As you can see from the poster (above) the saturated colors are very reminiscent of the Baz Luhrmann from "Moulin Rouge!" which was made almost ten years later. "Strictly Ballroom" is the first of the three 'red curtain' trilogy films, including "Romeo + Juliet" and "Moulin Rouge". These are the first three films of Baz, and they are all very similar in production.

On a complete side note, Luhrmann is also credited with the single Everybodys Free (To Wear Suncreen) which was a #1 single in the UK. The original video is posted on YouTube.com . This is an interesting song, the narrator talks his way through it, while there is music playing in the background. It starts off with images like those in "An Inconvenient Truth" and then adds in old photographs and videos. I would recommend watching a minute or so, its very interesting, and good for a laugh.

Kidman on her way out?

2008-11-20T07:16:00.000-08:00

It seems Nicole Kidman may be retiring from acting. There is nothing definite persay. She hasn't made a Jaoquin Pheonix - style announcement and is you look at her filmography you can see that she still has a possible three projects in some level of production.

I think Nicole Kidman has been a little buried and forgotten in the last few years. However, I think she is a fine actress that has made some poor decisions recently: The Golden Compass, The Invasion, Bewitched, The Stepford Wives. But she still did take her time to make interesting pieces that showed her capabilities as an actress: Margot at the Wedding, The Interpreter, Birth.

My point is that Nicole Kidman is one of the most famous and talented actors to come out of Australia and it will be unfortunate to see her go.

You can read more here.

Hello Mr. Jackman

2008-11-19T18:42:00.000-08:00

It seems everyone is under Baz Luhrman's spell waiting in eager anticipation for Australia. And People Magazine, it seems, is smart enough to realize it. People's Sexiest Man Alive 2008? None other than the leading man of Australia, perhaps both the movie and the country, Hugh Jackman.

Hugh Jackman at People.com

Alas, the man is getting the recognition I've felt he's deserved for years. Sexiness aside, though I'm not one to pretend that I have not fallen under Mr. Jackman's spell, his acting, singing, and dancing chops deserve much recognition. Having only really come into view in 2000's X-Men as Wolverine, Jackman has proceeded to have a surprisingly well-rounded career in the past eight years. From Wolverine, Leopold in Kate & Leopold, the legendary Van Helsing, to his turn as Robert Angier in The Prestige, and the voice of Memphis in Happy Feet, Jackman has covered quite the spectrum.
Lest we forget, Hugh Jackman also won the 2004 Tony Award for Best Actor in A Musical, portraying fellow Aussie, songwriter Peter Allen in The Boy from Oz. You can read about some of Jackman's thoughts on the experience in this CBS article.

Those who would like to still further wet their appetite for the talented Mr. Jackman can watch him sing, dance, and melt the hearts of women as Curly in a stage production of Oklahoma! and here acting as the aforementioned Peter Allen at the '04 Tony Awards--and yes, that is Sarah Jessica Parker.
Just something to think about as you watch Luhrman's soon to be released Australia. And for the doubters that he should be People's Sexiest Man Alive, well, perhaps I can't convince you otherwise, but at least recognize his talent. This Aussie is certainly doing his country proud.

(Images thanks to: http://www.sydentcent.com.au/index.cfm?s=content&p=event_detail&event_id=101937
and http://seat42f.com/site/index.php?option=com_content&task=view&id=3192&Itemid=299)

BBC: Australia hopes Luhrmann's film boosts tourism

2008-11-18T05:51:00.000-08:00

They're hoping for another Crocodile Dundee, apparently. I will be seeing this three-hour long film on Thursday afternoon.

Second Essay

2008-11-12T16:52:00.000-08:00

For those of you who want to start thinking of topics for your second essay (due December 4th), here are some guidelines.

The essay will be slightly longer than your first one: between 1800-2000 words (6-7 pages). You'll follow the same MLA format for citations. You are expected to use at least three exterior sources, and one of these should be your text Australian Cinema in the 1990s. Don't choose a topic that merely mirrors the chapter headings or main points (i.e. "disability in Sweetie")--instead try to use the readings and class discussions as a guideline to create a topic based on your own unique interests and concerns.

Your topic focus should be on films we have viewed in the second half of class so far, starting with Jane Campion's Sweetie. It is recommended you write about one of the films viewed in class, however, if you want to write about another film by one of the filmmakers we've studied, for example Jane Campion or Peter Jackson, this is permissible. If you want to write about a filmmaker we have not studied closely in class, for example Gillian Armstrong (who directed My Brilliant Career and Last Days of Chez Nous) or Baz Luhrmann, you may, but you need to get your topic approved by me first. It makes sense to focus on Australian films by Australian directors, but if you'd like to go outside of this guideline, again, give me a heads up. I would prefer that your essays focus on ONE film, not a survey of an entire career or ouevre.

I highly recommend that you all submit an abstract for your essay via email before you start working, to make sure your topic is on track. The abstract should be a paragraph in length and should clearly state your topic, in the form of a thesis statement and mentioning your main line/s of inquiry. The abstract can substitute for your first paragraph of your essay and you should aim to have the abstract contain the same kind of information you'd include in an opening paragraph.

Morbid Fascination

2008-11-12T13:29:00.000-08:00

OK... I am happy to report that I am not the only one struck with a morbid fascination since seeing the film, Heavenly Creatures. Maybe its the abnormal psychology thing or simply the viciousness/apparent premeditation of the attack. I do know that the film captured my interest, or was it the story itself?

After researching, I was astonished to find that Juliet Hulme is now Anne Perry, a crime novelist with an impressive fan base. It seems amazing to me that her readers seem to draw no sense of irony related to her true identity. Maybe many are unaware of her true identity, though there is plenty of information available. Perry has been somewhat tight-lipped (as you can imagine) about this episode in her early life. But there is a very interesting interview she granted to Ian Rankin in which she discusses redemption and responsibility. However, she also refers to herself as an 'accessory' to the murder and claims that Pauline threatened to kill herself if they did not kill Pauline's mother, the 'obstacle' to their remaining together. In the past, she has also alluded to her TB medications causing her mental incapacitation at the time. Perry also refutes that her relationship with Pauline was homosexual in nature. She is a devout Mormon and seems to have come to some kind of peace with herself and her past. She resides in Scotland.

Pauline's life after prison has not been as glamorous, though decidedly successful considering that she was convicted of murdering her mother. She went on to study and teach, acquiring the post of headmistress before retiring. She managed to maintain her anonymity a bit longer than Juliet. She took the name Hilary Nathan and now owns and operates a riding school in rural England. She is considered a devout Roman Catholic and our only real understanding of her inner life comes from a brief explanation by her sister, Wendy, that she is fully remorseful for the murder.

Neither Pauline nor Juliet ever married. Juliet classifies herself as heterosexual and there a bit of evidence that Pauline is homosexual. I do find it interesting that Juliet claims that there was no homosexuality involved. No matter the physical relationship the girls had, without benefit of the film and only when reading the diary passages and trial testimony, it is clear that the relationship was an explosively charged and intense one. Though the insanity defense did not stick, the defense psychologist explains that the girls were suffering from a folie a deux, or 'communicative insanity'. This disorder is generally characterized by one dominant ego and another receptive ego. What may have been a more accurate diagnosis is folie simultanée, where two equal egos influence each other in shared delusions. What is most amazing is that these women have been to a precipice of madness and it seems that each were able to pull back from that step, in deed, anyway. There is no way that we will ever know the truth about the girls, their mental states and, ultimately, who they were and why they murdered Nora. The story's unfolding in Heavenly Creatures does show us a vivid, rich possibility. In the end, though, its just a movie and the truth of it all will never be truly understood.

Queer Mateship

2008-11-12T13:13:00.000-08:00

Muriel's Wedding has been a favorite film for years. I own it and every once in a while pop it in for a good laugh/cry. In the context of this class, I have been able to appreciate it in a new way. Related to this film, I better understand that oh-so-macho concept of mateship.

Muriel's Wedding is, first and foremost, offering biting social commentary about machismo. It turns on its head the concept of mateship that we've been discussing by exploring the same bond between women who ultimately choose to live life together, and without husbands. Although not surprising or controversial, I found the classroom discussion regarding homoerotic tensions in the film interesting. Before this discussion, it would never have occurred to me that Rhonda and Muriel's relationship is homosexual in nature. However, in the narrative as presented I can certainly see how and why the relationship is easily seen as homosexual, even if not in action but spirit alone. There is a sense of dramatic camp to the film (which is closely tied to queer expression.) Greg Taylor is quoted: http://salymanderfilmaslit.blogspot.com/2007/01/camp-campy-campiness.html "camp is fundamentally an aesthetic declaration of the spectator’s ability to choose and manipulate the cultural meaning surrounding her. Camp has been appealing to dominated cultures […] precisely because it asserts control over one’s own symbolic identity." ABBA has long been described as campy, and Hogan's use of their music must have been fertile soil to create the story.

So, what is it that the film critiques? I think it is the very essence of mateship as an understood extension of the concept of 'a man's country'. By deconstructing the patriarchal figure-head of the Helsop family and reconstructing mateship in the context of female relationship, Hogan takes a postmodern swipe at the heart of what can be seen as misogynistic national ideals. And what better choice than a campy production fueled by camp music to make his point. Essentially, this is what camp has attempted to illuminate (Sorry Susan Sontag, I do take some exception to your thesis.)

I suppose, in the end, I do not think that the movie is homosexual, necessarily. I do believe that it is an example of queer expression, which has grown to illustrate and give voice to heterosexual lifestyles operating outside of and rejecting the artifice of the 'norm'.

Australian Films on IFC!

2008-11-09T15:05:00.000-08:00

There are a number of Aussie films being shown on IFC (the Independent Film Channel) this weekend. Yesterday they showed Picnic at Hanging Rock (which I wanted to watch but my husband's eyes started to glaze over). This afternoon they showed The Cars That Ate Paris (damn I missed it!) and right now they are showing Proof, and tonight at 11:05 pm is Lantana, starring Anthony LaPaglia, Geoffrey Rush and Barbara Hershey. Some of these films are repeating later this month.

Australian Cinema Today

2008-11-07T11:20:00.000-08:00

So this far in the class we have watched several of Australia's finest movies from the seventies, eighties and nineties - many of the films which defined Australia's cinema and exposed cultural themes found in no other country.

But what of Australian cinema today?

I'm sure many of us have heard about or even seen the preview of the soon to be released 'Australia', starring both Nicole Kidman and Hugh Jackman. The film is directed by Baz Luhrmann of 'Moulin Rouge', 'Romeo + Juliet' and 'Strictly Ballroom' fame - all Australian influenced films which have achieved mainstream success in America. 'Australia' seems to fit the exact same profile as Luhrmann's previous films: it stars Australian born but mainstream Hollywood actors, it is produced by American Hollywood studios and appears to be targeted at American movie goers.

I refuse to believe that 'Australia' will do the nation's cinema much justice; so I set out and searched the internet to see what critically acclaimed yet non-mainstream Australian films have been produced in the last two years. And here are my findings:

The Black Balloon (2008)

Starring 'Muriel's Wedding''s own Toni Collette, 'The Black Balloon' was released just this year and filmed entirely in New South Whales, Australia. It is about a boy trying find a normal adolascence and come to accept his autistic brother. The film received two notable Australian awards and was well regarded by audiences and critics alike.
The Black Balloon

The Jammed (2007)

'The Jammed' is a low budget but multiple award winning independent film that was entirely filmed in Australia. The story follows the lives of a handful of women and their struggle with sex trafficking and deportation in the city of Melbourne. The film was acclaimed for its realism and award winning script.
The Jammed

The Unfinished Sky (2007)

Australian Director Peter Duncan tells the story of an outback farmer who takes in an Afghani woman who has fled from a local brothel. The entirely Australian funded film was nominated for nine awards and praised for its stunning cinematography and portrayal of the outback around Queensland, Australia.

The Unfinished Sky

A Man's Home is his Castle

2008-11-06T14:12:00.000-08:00

We’ve seen many critically acclaimed Australian films in class that have garnered attention around the world. The Castle is a lesser known, but equally entertaining Australian comedy from 1997.

The Castle concerns the contended life of the Kerrigan family. Father Daryll Kerrigan purchased the family home adjacent to the Melbourne Airport and beneath several major power lines for next to nothing. In fact, the son proudly reports the house is worth “almost as much today as when we bought it.” The house features numerous add-on rooms and a fake chimney. Daryll is exceedingly proud of his offspring and their achievements, the greatest of which is the degree his daughter earned at Sunshine Taffe Hairdressing. All seems right with the Kerrigans until an eminent domain case threatens the family’s home.

The film was shot in 11 days for less than $500,000 and went on to gross over $10,000,000. Though the film did not receive much international attention, it is critically acclaimed in Australia. At face value, the film is a comedy but it also touches on themes of land rights, the Australian constitution and the concept of the Aussie Battler. The Castle was Eric Bana’s first film and it also starts Sophie Lee (Muriel’s Wedding).

NY Times Review

The Castle and Eminent Domain

First 8 Minutes on YouTube

Blind Photographers

2008-11-06T13:44:00.000-08:00

After watching Proof and reading about Joceyln Moorhouse’s inspiration to write the story after hearing a story about a blind photographer, I decided to search for blind photographers myself on the Internet. Google instantly gave me 10,600 websites, articles and pictures that were relevant to the phrase, “blind photographer.” The idea of being blind, yet channeling your creative energy into an art that is purely visual is astonishing to me. I don’t think any non-visually impaired individual will ever truly understand the relationship between photography and the visually impaired. There seems to be a sort of magical connection between the impossibility of this relationship.

Google’s search varied from articles about exhibitions, newspaper articles and photography programs for blind people. There was one article that really stuck out to me the most. The San Francisco Chronicle had written an article about a man named Pete Eckert who had hadn’t always been blind, but lost his sight due to a eye disease called retinitis pigmentosa. Eckert, however isn’t just an ordinary photographer. Besides being blind, he also works with infrared photography. Eckert describes using all his senses the feel the world around him. "I can see lots of ... really weird things," Eckert says in the Chronicle article written by Delfin Vigil. Eckert is also quoted in the article by Vigil saying, "I can feel light so strongly that it allows me to see the bones in my skeleton as pulsating energy, or like in an X-ray. At times I can sort of see sound. Sometimes I can even see things from the back of my head."
The photo shown here is one of Eckert’s and is titled “Saloon.” In the article, Vigil talks about Eckert’s photography process. Vigil describes that the photo was “shot at the old Saloon on Grant Avenue in North Beach, once a favorite hangout. Relying on his hazy memories of past drinking days, Eckert entered the Saloon, scoped out a spot in the back and waited for tourists to fill up the bar and create sounds of the room. He then snapped the pictures in about the same time it took to drink a Manhattan.” The process of feeling and understanding all the aspects of an environment before photographing it makes perfect sense to me. So many people are so quick to take a photograph of a location, event, or area before they even know all its nooks and crannies. As also shown through the character Martin in Proof, blind photographers may be visually impaired, but their intuition and relationship with their other senses is well beyond those of sighted artists.

The Missing Genre

2008-11-06T12:45:00.000-08:00

In American film, there has been a recent increase in musicals. With films like Mamma Mia, Sweeney Todd, Hairspray, Across the Universe, Dreamgirls, The Producers, and The Phantom of the Opera all released within the past four years fans of the musical have had no shortage of films to watch. Add to that the extraordinary success of Disney's High School Musical trilogy and it becomes evident that audiences are not solely comprised of people looking for a film reminiscent of the classic musicals, but also of young people only first getting introduced to the genre. Still, the rebirth of musicals is exactly that a re-birth. Stateside, the musical is a genre that has been around for decades, bringing an appropriate amount of cheese (with exception of the particularly gory Sweeney Todd) to bring a smile to everyone's face and, perhaps, to get people singing along and maybe even dancing in the aisles. Peruse through the AFI website and you'll find out that while their final list of the Greatest Movie Musicals only consisted of 25 films, 180 films were nominated.

http://www.afi.com/tvevents/100years/musicals.aspx

Yet, Australian cinema seems to lack such an enthusiasm to the genre. The classic American musicals of yesteryear, think Bing Crosby, Judy Garland, Fred Astaire, Ginger Rogers, Gene Kelly, etc, lack a counterpart in Australia. Visit australianscreen.com and see the sparse selection of Australian musicals.

http://australianscreen.com.au/genre/musical/

If the difference between American and Australian opinion on musicals wasn't evident by the vast difference in number, it is also apparent in the theme found in musicals. While most American musicals are overly upbeat, candy-coated versions of society (especially in classic musicals), Australian musicals investigate things like disappearances as seen in One Night the Moon. Even in Moulin Rouge!, Baz Luhrmann's musical that had great American success and features a great many references to classic musicals, is about a prostitute with tuberculosis--not quite dance in the aisle material.

Perhaps, it's all a result of the countries being in completely different phases at different times, but, still, the fact that the musical has not been explored much in Australia, but perhaps over-explored in American, is certainly something to think about.

(Images thanks to: http://www.allposters.com/-sp/Moulin-Rouge-Posters_i306935_.htm
and http://www.movie-forumz.org/showthread.php?t=38195)

From Dusk till Dawn-Tasmanian Style

2008-11-06T12:41:00.000-08:00

While skimming the blogs, I came across a mention of Tasmania and how it isn't represented very well, or really at all, in Australian cinema. This could be due to the fact that it is small and not heavily populated, but if I had to guess I'd say it's because most Australians view Tasmania the way most Americans view Appalachia. Anyway, I got curious, so I decided I'd check out what film industry Tasmania might or might not possess.
Low and behold, Dying Breed. Coming out in Australia today, it is the story of four travelers to Tasmania coming across a town of flesh-eating cannibals descended from Alexander "Pieman" Pierce. Pierce, an actual historical figure, escaped from the penal colony on Tasmania and did actually survive by eating people.
Now I'm sure there's going to be some naysayers for this movie, but I think it's awesome. What better way to show the rest of Australia that Tasmania isn't a bunch of inbred psycho's: by throwing it in their face. Tourism Chief Daniel Hanna was definitely excited. "Any film that shows the key parts...like the rugged wilderness, is going to be a good thing and hopefully spark some interest." Of course, he later said, "Obviously as long as visitors don't expect there to really be cannibals in Tasmania." Apparently, some Tasmanian's were disappointed that they couldn't be involved as extras. "Most of us would have fit the bill admirably and true to life. Because we're all descendants of the Pieman." Of course, West Coast Mayor Gerrity was joking, but whatever.
The film was mostly shot in western Tasmania, a first for Australian cinema, and was directed by Jody Dwyer, who also wrote it. He's done some other smaller films, but this is his foray into more commercially viable work.
Whenever this gets shown here, I'm definitely seeing it. It's almost like the Australian Deliverance, without the banjo playing and anal raping. And of course, it's good to know that Tasmania is finally getting its just desserts.
http://www.theaustralian.news.com.au/story/0,25197,24581134-26103,00.html

-Brady Nelson

Weir turns his back on Australia

2008-11-06T12:27:00.000-08:00

At this point we are all very aware of Peter Weir and some of his earlier works. In this class alone we have watched 'Picnic at Hanging Rock' and 'Gallipoli'; two films that encapsulate almost all of the traditionally Australian themes we have seen, studied and written numerous papers about. However, unknown to many, Weir has directed and contributed enough to Australian cinema that on June 14th, 1982 he was awarded the 'Member of the Order of Australia' medal as a recognition for his achievements and celebration of Australian culture.

Interestingly enough, Weir directed his first feature film in 1974 - less than a year before he released his groundbreaking feature 'Picnic at Hanging Rock'. This first film was called 'The Cars that ate Paris' - taking place not in Paris, France but rather a fictional, middle of nowhere small town called Paris. While unfortunately the film has had little staying power in history, it does act as a sort of prelude/inspiration both to the 'Mad Max' saga - through the concept, use of vehicles, violence and portrayal of the outback; and as the inspiration and celebration of the Australian quirkiness found in films like 'Muriel's Wedding' and again in 'Mad Max'.

The following years he directed several other landmark Australian films:

Picnic at Hanging Rock (1975)
The Last Wave (1977)
Gallipoli (1981)
The Year of Living Dangerously (1982)

So, as I previously stated in June of 1982 Weir received the 'Member of the Order of Australia' medal celebrating his contributions to Australian National cinema. This was the same year as the last film he directed in Australia. Since then he has directed 8 feature films - starring everyone from Jim Carrey, Sigourney Weaver to Harrison Ford, yet not one of these films takes place in Australia or was even filmed in Australia.

So my question is; after contributing so much and being internationally recognized as a pioneer of Austrian Cinema, why did he all of a sudden decide to turn his back and no longer celebrate the land that created both him and his renowned career?

Review of 'The Cars that ate Paris'

The Order of Australia Medal

Newcastle

2008-11-06T11:58:00.001-08:00

Australia is a country known for the outback, reptiles/wildlife, and gorgeous beaches. however, Australian films rarely showcase the ever-popular beach and surf culture. The outback and wildlife are shown over and over again in films like, "Picnic at Hanging Rock," "Walkabout," "Australia," etc. However, surfers aren't seen as much. There was a Russell Crowe narrated documentary about Sydney's notorious Maroubra surfing gang in 2007, but an actual surfer's tale hasn't been seen since 1972's "Morning of the Earth," or 1981's "Puberty Blues".

Well, recently released in Australia was "Newcastle," a coming-of-age surfer's story about elusive dreams and the eternal wave. The film is set in the coastal Australian town, following a teen, Jessie, as he tries to become surfing's next big thing.

In a recent Australian news article, Lachlan Buchanan, who stars as the protagonist, Jessie, says, "Surfing's something that hasn't been touched on much before... We keep coming out with all these movies in the Outback and the bush, and it's funny - these movies are meant to depict us, but not everyone can relate to."

The film is directed by American, Dan Castle. This will be his first feature. Castle is a critically acclaimed director of short films, including "Visitor," starring Barry Otto, which received awards at the national and international festivals including an AFI (Australian Film Institute) nomination for best short fiction film in 2003.

-Matt Colbert

Australia's Electoral System

2008-11-06T11:43:00.000-08:00

Some of you may have noticed that the United States of America has elected a new president. All this talk of high voter turnout and history-making moments got me to thinking. How does voting go down in the land down under?

Australia practices compulsory voting. All citizens, ages 18 and above, must enroll to vote and in turn, attend a polling location during election time. In 1924 compulsory voting was enacted on a national level. Aborigines were let off the hook until 1984, whereupon they too were made to partake in their (former) country's electoral process. If an Aussie doesn't want to cast a vote, electors are known to cast 'informal votes' whereby one turns in a blank ballot.

The penalties for not voting aren't excessively severe. If a citizen fails to show up on election day, they must provide a reason for their absence or face a $20 fine. If the citizen does neither within 21 days, they face an additional $50 fine, plus court costs. Ouch.

What nation, you ask, can call itself a democracy when it forces its citizens to vote!? Consider these statistics, dear reader. The voter turnout in Australia during the last election was 91.4%. That's pretty good, right? In fact, Australia has the highest voter-turnout of any democratic nation in the world. And the U.S.? Preliminary estimates are showing that on Tuesday, November 2nd, 2008, 64.1% of eligible U.S. citizens cast their votes.

Interpret those numbers as you will but ask, dear reader, what citizen can call themselves part of a democracy if they do not exercise the right to vote?

For more information on Australia's Electoral Process and the debates surrounding compulsory voting, check out these links:

Voting Within Australia • Frequently Asked Questions

Compulsory Voting

December Boys...The Devil's Playround II?

2008-11-06T11:10:00.000-08:00

Here's the story:
Four orphans, all born in December (tada: December Boys) are given a seaside vacation as a gift for their birthdays. What starts out as the best time they have ever had turns ugly when they discover that the fantastic couple next door is planning to adopt one of them. All the boys want to be chosen, with the exception of "Maps" who as the oldest fears it is too late for him. A fierce competition to win over the couple’s attention ensues between the younger three, threatening to break the strong bond between them.

You can watch the December Boys trailer to get an idea.

I started watching this with my roommate to see if Harry Potter (Daniel Radcliffe) can be a non-wizardy kid. We both decided that he did all right but his character, Maps, was pretty much the same person as Harry but without the wand. Oh well, at least he wasn't naked in this. The entire film reminded me of Devil's Playground due to the emphasis on religion, being an adolescent boy, naked women, sex, and the importance of family and acceptance.

On IMDB, one of the tag lines for Devil's Playground is:
"Young men torn between physical desire and religious discipline"
This pattern is seen multiple times in December Boys, for example: when Misty tells the other boys they are going to hell for looking at naked women, or when Maps tells Lucy he doesn't want to be a priest as she sexually awakens him.

Overall, I thought December Boys was in fact too similar and cliche. I felt like I knew what would happen right from the beginning. There was also a subplot that was just like Big Fish involving a rather large fish. I would have appreciated some new fresh ideas but I guess the ones they used are pretty solid and timeless.
Apparently I am not alone in this feeling, Rotten Tomatoes seems to agree...
So- sorry Harry, don't drop out of Hogwarts...

Geography Lesson

2008-11-06T11:05:00.001-08:00

I feel that to understand a lot of Australian Cinema, or really anything you need to understand the geography of the place. By this, I mean political boundaries rather than the simple understanding of their diverset biospheres.

This map should give you a pretty good understanding of the place - especially in how most of the continent is uninhabited. As you may know, the five largest cities are the mainland state capitols. A complete list of cities by population is here. Note the great distances between each major city, particularly Perth which sits thousands of miles from the main population crescent.

As far as the film industry is concerned, most of it is based in Sydney and Melbourne, after those two Gold Coast, the sixth largest city, located in Southern Queensland near the border of New South Wales and quite near Brisbane is the largest city for film. Locations are listed on IMDB, but I will save you the trouble and break them down in general for you. Most of the films we have viewed have been shot and set in Victoria such as The Devil's Playground, Proof, Romper Stomper, and surprisingly, due to its rural setting, Mad Max, although its sequel Road Warrior was in fact shot in the outback of both New South Wales and Western Australia. Although Picnic at Hanging Rock seems to be set in Victoria, it was in fact shot entirely in the much less developed South Australia. South Australia doubles for another state as well in Gallipoli where despite the dramatic open expanse it captures, it was not shot at all within the Broders of Western Australia in which it is set. Despite the constant references to Adelaide, the urban sections of Walkabout are in fact shot in Sydney while the outback adventure is shot in almost every mainland area of the country, primarily Northern Territory and South Australia. Oddly enough, we have only viewed one and a half films set and filmed in Sydney - Sweetie and Muriel's Wedding. The other pasrts of Muriel's Wedding are in the Gold Coast.

Unfortunately, Tasmania has not been represented in any of these films. However, the films we have viewed do portray each state quite accurately with temperate Sydney and Melbourne as the sprawling Western Metropoli with outer agricultural areas reminiscent of America's midwest. Though shot elsewhere, Gallipoli captures Western Australia's isolation and almost separate identity from the rest of the country. Walkabout portrays Adeliade as it rests on the very edge of civilization to the Outback, and Muriel's Wedding's fictional Porpoise Spit captures the warm beach lifestyle of Gold Coast and much of Coastal Queensland.

Either way, all I am saying is when you see an Australian film you need to ask yourself "where are we?" as it matters just as much as it does here.

Knowing

2008-11-06T11:03:00.000-08:00

There is a new Nicolas Cage movie coming out next year called, "Knowing," which is supposed to be a real thriller... It is directed by Alex Proyas, an Australian raised filmmaker - he grew up in Australia since he was three years old, and went on to attend the Australian Film Television and Radio School.

The premise of this science fiction picture revolves around a professor (Cage) finding truth behind contents of a time capsule, leading him to believe that the world is ending and that he and his son are involved in some kind of apocalypse. It is set for theaters March 20th, 2009.

the film is set in Boston, and location shooting took place in Westford Massachusetts in September. However, they were only shooting here for just a couple of days because the majority of the film was shot in Australia. To represent the city, filmmakers used Australia's Camberwell High School, Geelong Ring Road, Melbourne Museum, Mount Macedon, and Collins Street. The Australian Synchrotron conference room was transformed into Cage's on-screen office, and the Camberwell High School was converted to John Adams Elementary in Boston circa 1958. In studio shots were done at the Melbourne central City Studios. It is interesting that Australia was chosen to represent Boston for the shooting of this film.

-Matt Colbert

Australia

2008-11-06T09:53:00.001-08:00

As most of us are well aware, director Baz Lurhmann has been working on his latest feature film, "Australia," set to be released November 26th. The film is highly anticipated, and is already getting a lot of oscar buzz. This will be Luhrmann's first feature since 2001's "Moulin Rouge!".

The film is a period epic set in Australia during World War II, starring Nicole Kidman and Hugh Jackman. It follows an English aristocrat (Kidman) who, left in control of a cattle selling station in northern Australia, sets off on a journey across the country with her romantic interest, a rough-hewn drover (Jackman), due to threats of the bombing of Darwin.

Principle photography took place in Australian cities - Sydney, Darwin, Kununurra, and Bowen from April 2007 to December 2007. It was originally set to have Russell Crowe star alongside Kidman, but Crowe backed out stating that he didn't want to work in an environment that was influenced by budgetary needs. To replace Crowe, Lurhmann sought Heath Ledger, but Ledger declined, opting instead to work on "The Dark Knight" as the Joker. Ultimately, Hugh Jackman was brought onboard.

Throughout this project, Lurhmann worked with Apple to put together a "Set to Screen" series. Every few weekes since April, itunes has released a podcast featuring Baz and his production team introducing different aspects of filmmaking. Through examples from the "Australia" set, Baz details what goes into set photography costume design, cinematography, sound design, etc. (I've been watching these all summer and they are really interesting. The podcast on "movie scoring" was just released yesterday.) These podcasts are great becasue they give you insights from the artists at work on "Australia," allowing you to watch them in action, view footage the rest of the world hasn't seen yet, and follow along as the movie comes together.

- Matt Colbert

2008-11-06T08:44:00.000-08:00

Mateship, as we all know by now, is a uniquely Australian concept featuring two men (or, occasionally, women) in a very intimate but non-sexual relationship. But what about those who feature a relationship that is both initimate and sexual?

I speak, of course, of the GLBT film. These apparently have a long tradition in our Antipodean friends, though they are often unknown on our shores.

The Adventure of Priscilla, Queen of the Desert, which does enjoy quite the cult following in America. It tells the tale of three drag performers, one transsexual and two gay (though one was previously married to a woman). The film is largely a comedy, but it also deals with themes of abuse that many gay individuals face. Their bus is defaced with anti-AIDS slurs,and Guy Pearce's character is attacked for flirting with men in a rural Outback town. Still, the gay heroes are embraced at the end, and are allowed to be who they are, relationships and all.

The same year, 1994, also gave audiences The Sum of Us, which is notable for containing a performance by notorious he-man Russell Crowe as a sensitive gay man. The film features a young man and his widowed father, both looking for love, the only difference being that the son is gay. Homosexuality isn't treated as a great tragedy as it is in many American films. I have not yet seen this, though it has been my intent to do so for quite some time. A review can be found here.

While gay men seem to get fair, even-handed portrayals throughout this area in film, lesbians seem to be laregly ignored. One exception is Heavenly Creatures, made in neighboring New Zealand. Pauline and Juliet's relationship is not only romantic, but obsessive and insular. The girls refuse to be parted. The film is thought to be quite accurate, based on the accounts of Pauline's diary. However, there are those who take issue with the idea of lesbianism equating murder. (I personally do not think that should apply in this case, since it is a true story.)

Further searching really didn't turn up much else in the realm of lesbian film. I'm sure there's SOMETHING, but perhaps just nothing of note. But why? In a country so long dominated my extremely masculine ideals, one would think that fair portrayals of gay man would be seen as somehow threatening. On the other hand, a focus on masculinity may cause a general disinterest in films featuring women. Whatever the case, there's certainly room for change.

Boots: From Ugh... to Uggs!!

2008-11-06T08:26:00.000-08:00

Leave it to the Aussies for that sexy, rugged look! Ugg boots, those cozy hoofs you see on girls during the cold winter months (or sometimes in the summer, strangely enough), are everywhere these days. Not only are they used for strutting down college dorm hallways, but fashion runways as well.

Uggs, love 'em or hate 'em, have a very distinct style from the classic leather boot. (Like Julie Robert's Pretty Woman thigh-highs.)

Here's a brief history:
1978 -- Brian Smith, an Australian surfer who came to California in 1978 with big dreams and a new product: sheepskin boots.

1995 --Decker's Outdoor Corporation acquires Ugg Australia

1998 -- Slowly but surely, the product line expands. Now there are top of the line Ugg boots, slippers, and clothing. It is becoming high end fashion. Ads can be seen in Vogue.

2003 -- Sheepskin footwear is acknowledge as a new category. Ugg is named Footwear News "Brand of the Year."

2008 -- I want a pair, but don't have $200 to drop. Ugh! The angst!

So, this Australian product (since that's where Smith was from and where the the sheep are raised) has made quite a mark on fashion. I'm wondering if they show up in newer Aussie films the way Manolo Blahniks do in the Sex in the City movie. If you see a movie from a certain decade, certain fashion trends do show up. If not in the cinema, I'll bet we can count on Aussie model Gemma Ward to represent on the catwalk.

Follow to rabbit-proof fence...

2008-11-06T07:13:00.000-08:00

On January 20, 2009, America will inaugurate a new president. It's first African-American president, to be precise. One can only sense that a biopic will be in the works somewhere in the near future.

Political films, both biographical and issues-based, are no stranger to American audiences. But what of the Aussies? Surely a country with such a rich and unique history must want to preserve it in filmic form.

In my searches, almost all of the Google hits for "Australian political films" lead to films about race. This is something we've seen in class multiple times already. We've had the portrayal of native Aboriginal land invaded by white Britons in Walkabout. We've seen the reverse in Romper Stomper, where white Australian skinheads fight back against Vietnamese immigration. But there are many other films that deal with these racial tensions.

Once such film is Philip Noyce's 2002 film Rabbit-Proof Fence, about the Aborigines' "Stolen Generations". The film depicts the story of three young half-Aboriginal girls who escape from a government camp in the 1930s where they were to be trained as domestic servants. It was thought at the time that it would be "beneficial" to the Aborigines to fully incorporate into white society. A.O. Neville, played by Kenneth Branaugh in the film, wrote, "Eliminate the full-blood and permit the white admixture to half-castes and eventually the race will become white," essentially enforcing the idea that the Aborigine race needed to be bred out. These policies remained in effect throughout a significant portion of the 20th century. The girls in the film were eventually successful in their escape, which is detailed at the end by showing two of them today. It's a very simple, yet powerful and effective film. The DVD review can be found here.

Others include the little-seen 1952 documentary Mike and Stefani, Australian Rules, about white and black conflict on the football field, and Lucky Miles, about a group of Iraqi and Cambodian men trying to brave the Outback after being dumped there by their boat.

However, some have become critical of the current political landscape of Australian film. "Immigration since 1946 has probably changed this country more than any single factor, but you'd never know it from our national cinema. It's as if we came from nowhere," one reviewer writes. Last year, the Syndey Underground Festival had a specific emphasis on the political. "There seems to be a serious degree of conservatism that has crept back into the system," veteran director David Perry said. America is now being brought in another direction, and maybe Australia will do the same.

Female Mates Living in America?

2008-11-06T04:51:00.000-08:00

One of the themes we discussed in Muriel's Wedding was the concept of female mateship. Now while I believe the that male mateship is still a uniquely Australian concept, despite JD and Turk's singing confessions, I think that female mateship is a much more widely accepted social relationship.

When one looks at our own cinema you can see not only acceptance of this type of relationship, but a celebration of it. American filmmakers have taken female friendships and portrayed them with all kinds of different tonal view points. There is Ridley Scott's action-paced road trip Thelma and Louise and the Wachowski Brothers' lesbian thriller Bound if you are after the more thrilling version. There is Jon Avnet's Fried Green Tomatoes and Herbert Ross's Steel Magnolias is you are after a more dramatic, sentimental take. And if you want a laugh there is the outrageous Romy and Michelle's High School Reunion. All of these films take the relationship between two women and place them in different contexts but always treat the relationship as an important bond to be respected. Yes, even in Romy and Michelle's. I would argue especially so in that film, in fact.

My question is why? Why are cultures more willing to accept a female-female relationship than a male-male one? In any context. Lesbian relationships are less frowned upon the their male counterparts. I am genuinely asking why? I would like to hear what you all think as I have not found anything on the internet so far that I find satisfactory.

...then there are others

2008-11-05T20:47:00.000-08:00

1st watch: Harvie Krumpet

Now! Wasn't that great? I stumbled upon this short whilst reading about the best Australian films of all time. I saw "2004 Oscar for Best Animated Short Film" and thought I'd give it a try. Afterward I seriously considered buying Adam Elliot's DVD off of his Website and still might do so. According to the source of all human knowledge, Wikipedia:

"His films including: UNCLE, COUSIN, BROTHER and HARVIE KRUMPET, have participated in over five hundred film festivals and won over one hundred awards. Adam has won 5 AFI (Australian Film Institute) Awards for his 4 films and they have been translated, sold and distributed to broadcasters, airlines and theaters, as well as festivals, around the globe. The DVD of his films has been released in Europe, Australasia and America, with sales in Australia of over 40,000 copies. In 2006 HARVIE KRUMPET was included in the Annecy International Animation Festival’s Top 100 animated films of all time . In 1999 Adam was made Young Victorian of the Year and he is a voting member of the Academy of Motion Pictures Arts and Sciences. He also has served as a juror at numerous international film festivals and is in demand as a public and corporate speaker".

Not too shabby. So why haven't I ever heard of him? Have you ever heard of him? I thought maybe it was because he was Australian but eventually decided it is because he makes shorts. I think shorts have lost their place in film and animation due to the intense popularity of feature length Pixar-ish animations that seem to be cranked out daily. However Elliot's shorts are not meant for children. Harvie alone contains nudity (albeit clay), cigarette smoking, sex, drugs, and alcohol. Not exactly your everyday Shrek story.
So since this film is geared towards older audiences, how and when does it get viewed by the general public? The Internet! I doubt people rent shorts DVDs...does anybody do that who isn't a pretentious film student desperate for material? So thanks to sites the likes of youtube, Harvie has been viewed hundreds of thousands of times. (174,083 at this moment) So send the link to all your friends and get people to watch. It's worth it since it deals with real life, real problems, real humor and its all made out of clay.

That's awesome.

Also: more is on the way! "Currently Adam and longtime collaborator, producer Melanie Coombs (Melodrama Pictures) are in production of their feature animation “Mary and Max” is due for completion in late 2008 and will feature the voices of Toni Collette, Barry Humphries and Eric Bana"
Yay! We get more Toni and that's always a good thing. So keep an eye out for that one.

Here is a compilation of more Aussie shorts
They aren't all animations but you get the idea.

Last thing: Did anyone see a similarity between Harvie and Amelie Poulain? Just me? Watch and discuss!

Who Doesn't Like Candy?

2008-11-05T18:44:00.001-08:00

I may be looking back through rose-tinted glasses or whatever, but… I can’t help but think of Candy (2006) as the perfect film to view, especially after reading the chapters in our textbook about vulnerable bodies and unhappy endings. It’s been approximately a year since I’ve seen the film, and I’ve only seen it once, so I’m relying partly on IMDb and Wikipedia to jog my memory for this blog post. The film features Heath Ledger -- putting forth one of his best performances, in my opinion -- and Abbie Cornish as lovers, Dan and Candy (respectively), with addictions for heroin and each other. I don’t want to spoil the film for anyone, but it chronicles the downward spiral of Dan and Candy as a drug-addled and hopeless couple. Dan and Candy both embody the notion of vulnerable bodies because their addictions render them socially and emotionally impaired.

After reading the chapter about unhappy endings, Candy sounds very similar to Monkey Grip. In fact, Beth and JP from The Last Days of Chez Nous remind me a bit of Candy’s parents. I think it would be interesting to watch/re-watch Monkey Grip, The Last Days of Chez Nous, and Candy in order to look for similarities and influences and so forth.

IMDb and Wikipedia claim that Dan is a poet and Candy is an art student, but I cannot recall any instances of creative expression from the film. However, I maintain that Dan and Candy embody the notion of vulnerable bodies. Furthermore, I think that their lack of creative expression could possibly be linked to their downfall and unhappy ending.

From what I recall, Candy lacks a strong example of same-sex mateship. Geoffrey Rush plays Casper, Dan’s good friend. Despite being good friends, I don’t believe that Casper and Dan are mates. I think that Dan’s lack of mateship throughout the film contributes to his miserable experience. I don’t know where else I was going with this, but I think that Candy deserves consideration as a solid film about the consequences of lacking creative expression and a healthy mateship. However, be forewarned that it is not upbeat… but that’s okay if you’re aiming for an unhappy ending for vulnerable bodies.

I may watch Candy again before the end of the semester. If I do, I’ll be sure to post a more detailed entry about how the film addresses unhappy endings, vulnerable bodies, and mateship and so on and so forth.

Here’s a link to two interesting articles about/interviews with Heath Ledger about his role in Candy and other various productions. He certainly has (or at least had) a disposition to play characters with vulnerable bodies, even in his American body of work: Dan, The Joker, a Brokeback Mountaineer, Sir William Thatcher from A Knight’s Tale, and, of course, Patrick from 10 Things I Hate About You.

Articles linked here
and here

(Again, I'm sorry for not being technologically savvy enough to embed these. Ed's note: just replace second html tag with text you want to embed.)

http://www.amazon.com/gp/reader/0345423879/ref=sib_dp_pop_fc/181-6336598-8606569?ie=UTF8&p=S001#

Through the link above, I think you should be able to actually access and read the novel, written by Luke Davies, that the film was based on and took its name from. Personally, I have not read the novel and cannot comment on whether the movie stays true to form in terms of source material or not.

Music/Soundtrack Throughout Australian Cinema

2008-11-05T15:35:00.000-08:00

After viewing over eight films from the world of Australian cinema, one very important aspect has stuck in my mind from the first screening of "Walkabout." The music that accompanies many of these films seems inappropriate and corny in my opinion and adds nothing to the film's underlying themes or purpose. "Picnic at Hanging Rock" was definitely a perfect example in which the music made the plot laughable and took me completely out of the world that Peter Weir is attempting to create. This particular choice of soundtrack may have been intentional in this case, but I found myself getting annoyed as each dramatic scene with the rock featured the cliche horror music in attempt to make the audience as fearful as the naive girls who are intrigued by it on screen.

A more recent film, "Sweetie" featured possibly the most annoying, Gospel-like song from the very start of its opening credits. After hearing Professor Aloi specifically comment on the music, I attempted to listen with an open mind, hoping to find a connection with it to assist in understanding the film better. But from the moment I heard this choir song, I was giggling to myself a bit and found it very difficult to take the film seriously from that point on. Things only worsened after discovering the song is intermittently played during the "dramatic" scenes in Kay's life. This was very disappointing for me since this was by far the most creative of the Australian films we had seen so far. I loved how its subject and content was unlike many of the traditional Aussie features that had been screened previously.

"Proof" offered a similar distaste in music to my liking. Granted, this film was released in 1991, I still think the music could have been a bit less hokey. I momentarily forgot prior to screening that I had actually seen this film before for a Photo 2 class in which we were given an assignment based on the blind photographer and his concepts of shooting. I remember making a mental note to myself, even then, that the music was mawkishly laughable. In fact, after it had ended, someone else during the class period even commented on the choice of soundtrack. My mind immediately flashes to the scene after the vet office appointment where Martin's photos are displayed across the screen, one after another. The music almost reminded me of something out of a G-rated Disney movie, yet the subject of the film is one of great importance and hardly deserves anything close to a kid-friendly rating as the music suggests.

I am very impressed in some areas, how Australian cinema differs from the traditional high-budget, CGI integrated films that we have all become accustomed to in the US. But honestly, I think the Aussies could take a page from our book when it comes to creating soundtracks for their films. I would agree, as some of the links below mention, that many American film sountracks may be predicable and somewhat boring in one regard, but at least they aren't typically distracting in a way that diverts an audience to a state of annoyance. Surely there is someone out there who agrees with me...?

Below are a list of a few supportive links...

Classics of the Cinema
This is from an Australian online newsletter discussing the soundtrack for films and how they seem to appear useless without the existence of the film itself.

Looking Back at Looking Back
A brief overview of the DVD, "History of Australian Cinema" and highlights a few older films and the related music that accompany them.

Cinesonics and Australian Cinema
Concentrating mostly on the 1997 Australian film, "The Boys" this article also discusses film music throughout Australian cinema.

Chopper Madness

2008-11-05T15:12:00.000-08:00

After watching Romper Stomper, I got curious about other movies of the same type made in Australia. That is, movies about criminals; since the island itself was basically a repository for England to toss some undesirables into, I thought that they might have a strange outlook on crime in general. So, my search led me to Chopper.
It's the autobiographical story of Marc Brandon "Chopper" Read, who was in his own way a pretty legitimate badass. The film follows his life as an extortion artist and his trips in and out of prison, during which time some very Shakespearean stuff unfolds. He starts a gang in prison, but is eventually betrayed by his close childhood friend. His ears are chopped off, which is one of the theories behind his nickname, and he's thrust back into the real world, where he can no longer tell the difference between friend and foe.
One interesting aspect of it is that it follows his writing of an autobiography in the movie, and portrays peoples reactions to his fame there as well, which in a way puts him in a sympathetic light. There's no doubt that he is ways a gigantic asshole, knifing people in bars and other acts of violence anyone would expect in a gangster movie, but at the same it is meant to make you feel sorry for him. He is betrayed constantly, and is caught in harsh world he can't find any foothold in anymore, which is one aspect that certainly ties it to other movies we've watched in class, such as Mad Max.
The film has Eric Banna as Chopper, his breakout role and one that won him some acclaim and a ticket to Hollywood. It's also directed by Andrew Dominik, who went on to direct The Assassination of Jesse James. All in all, a film worth checking out if you want to see Romper Stomper taken to the limit.

Written by Brady Nelson

Praise (John Curran, 1998)

2008-11-05T11:20:00.001-08:00

Gordon (Peter Fenton) and Cynthia (Sarah Horler) share a bath in Praise

As much as I’d like to celebrate my favorite Australian novelist, Christina Stead (check out The Man Who Loved Children), or my favorite Australian band, Falling Joys—to my mind the greatest artists the country has produced—I’ll go ahead and praise Praise, a 1998 film by John Curran, an American-born director who began his career in Australia, later moving to the U.S. to direct the Naomi Watts vehicles We Don’t Live Here Anymore and The Painted Veil. I think Praise is a step above Curran’s later work: it’s not only my favorite Australian film, but is perhaps more expressive of the tendencies noted in Liz Ferrier’s “Vulnerable Bodies” to give disadvantaged characters creative expression than Proof, Romper Stomper, or Muriel’s Wedding.

The list of disadvantages is borderline-encyclopedic. Cynthia (Sarah Horler) resembles two characters from those films: like Romper Stomper’s Gabe, she’s an on-and-off heroin addict, and like Muriel, she’s overweight and insecure. She also suffers from the skin condition eczema, and throughout the course of the film, contracts genital warts and an unwanted pregnancy. Whether wryly dismissing her problems or crying out in agony, Cynthia needs too much sympathy for her own good. Gordon (Peter Fenton), although handsome, is soft-spoken, emotionally detached, and asthmatic. These characters, both deficient in radically different ways, somehow undergo a plausible relationship: he’s passive enough to tell her what she wants to hear, and she’s excitable enough to ignore his lack of enthusiasm.

The mode of creative expression? Sex. Cynthia is a nymphomaniac, and although initially apprehensive as to whether Gordon is interested, makes her move in subtle, non-commital ways. Even while assuming a platonic air around him, she’ll take a dry, vulgar crack at referencing her past like “I love penises.” The first morning after they wake up together, fully clothed, she bluntly tells him “I get horny in the mornings,” while gently ushering him away. Whether she’s reeling him in or dismissing him, she doesn’t seem to know herself. The way Muriel foolishly gawks at the swimmer in Muriel’s Wedding seems all the more absurd alongside Cynthia, whose tactlessness in courtship has its own nuanced sense of mystery.

When Cynthia finally gets what she wants from Gordon, it occurs frequently and aggressively. And yet Curran somehow manages to de-eroticize sex by emphasizing the non-sexual pleasures that Gordon receives from the experience: the “mathematical” mindset he adopts when fingering her to a particularly evocative rhythm, for example, or counting the number of thrusts before coming. The irony is that he performs these experiments to optimize Cynthia’s sexual pleasure, and detracts from it in the process: although demanding, perhaps Cynthia would be better off with a lover as animalistic and uninhibited as herself. Drugs bear a complex relationship to the couple’s sex life as well: Gordon finds that heroin makes kissing better, more vivid, but a sexual follow-through is virtually impossible. The depiction of the drug in Romper Stomper as a straightforwardly enticing social problem seems crass in comparison.

Cynthia and Gordon are too incompatible to carry on a healthy relationship at any point, and bliss is inextricably bound up with dissatisfaction. Things don’t turn out too well for the couple, but Curran’s quiet, poetic ending gives us hope that perhaps merely witnessing romantic harmony offers a more satisfying experience than trying to live it.

- Sky Hirschkron

Banned!

2008-11-04T19:29:00.000-08:00

According to a poll done by Bond University, 90% of Australians want to create an “R18+” rating for video games.

Yes, video games.

Okay, so this isn’t exactly Australian cinema, but one can argue that video games, especially in recent years, are essentially interactive movies, with powerful stories, relatable characters, and incredible visuals. One thing common to both films and video games are the rating guidelines that help dictate which games are appropriate for what demographic. In the United States, we have the MPAA and the ESRB (Electronic Software Ratings Board), both of which are “self-regulatory” bodies that analyze and assign a rating to their respective media. However, both of these organizations are not government controlled, and both have come under fire regarding their rating practices (especially the MPAA, see here).

In Australia, the system works a little differently. Still somewhat of an independent body, the Classification Board deals with all media, including film, video games, music, and even magazines. However, their ratings criteria are set out in the National Classification Code, which was developed by the government and the individual states and territories. This organization also has the full support of the Attorney General’s office, providing support for the Board’s decisions.

What does this all mean? Well, because it deals with both medias, the Classification Board’s ratings are the same for films and video games. Whereas in the US we have the G, PG, PG-13, R, and NC-17, Australia has the G, PG, M, MA15+, R18+, and X18+. However, the game ratings there only include up to the MA15+ rating, which has caused some issues in the past. To anyone who has frequented gaming websites, Australia (among some others) has a history of either banning games or forcing publishers to censor content in order to grant them a rating to be sold on their shores. As a result of this, games available in Australia can only be as “mature” as the MA15+ guidelines allow. In more familiar terms, the highest rating a game can get is roughly equivalent to the ESRB’s “T” rating for ages 13 and up. The ESRB also has “M” (17 and up) and “AO” (Adults Only) ratings to cover more mature content.

Games like “Silent Hill: Homecoming”, which is rated M in America, was refused a rating in Australia. The “Grand Theft Auto” series has only been available there in a censored form (again, rated M in the US). According to Interactive Entertainment Association of Australia’s CEO Ron Curry, the average gamer age is around 30, so limiting these older gamers to play content deemed suitable for a 15 year old is really tearing a big hole in the industry. Imagine if there were no R-rated movies. That could put a damper on things, now wouldn’t it?

Ratings systems dictate a lot about how we will do our work in the future. Different ratings will attract a different audience and may even prevent the work from ever being seen. Looking at it from this perspective, what does this say about ratings in general? Are the systems in place even worth it? Any thoughts?

ESRB
MPAA
Australian Classification Board
The Age Article that started this all
Wikipedia list of banned games in Australia

Creative project proposals

2008-11-04T18:19:00.000-08:00

Just a few more ideas for your proposals this week...

In addition to the project examples I talked about in class (Powerpoint presentations, performances, musical compositions, short films, slide shows, essays, etc.) I remembered a few other unusual forms the creative projects have taken...

Collages
Interviews
Perfumes (created to mimic the colors in a particular film; the perfumes were made to look and to also smell a certain color; this was for the Color in Narrative Cinema class)
rituals
poems
illustrated journals
character sketches

Really, the only limit is your imagination, and the basic criterion: it must have to do with Australian cinema.

Proposals should be no more than one page, preferably explainable in a paragraph or two.

Voting, Horses, and the Lumiere Brothers

2008-11-04T16:33:00.000-08:00

While we Americans are making an attempt to choose our nation’s leaders and a great number of us watch the coverage like some sort of twisted sporting event, Australians are in the midst of the Melbourne Cup, the “greatest day on the Australian sporting and social calendar” (at least according to the Cup’s website). What is the Melbourne Cup? Imagine the Kentucky Derby, move it to Melbourne, and create a holiday in the entire state of Victoria and even the Australian Capitol Territory. Starting back in 1861, the Melbourne Cup is a thoroughbred handicap horserace unlike any other in the world.

Now, you may be asking yourself, why are we talking about a silly horse race? Well, it turns out that very recently, some footage has been rediscovered in a French archive showing crowds and horses with their jockeys from back in 1896. This discovery has been a big deal to Australian film buffs and researchers alike, since surviving silent Australian films are incredibly rare. Originally shot by Marius Sestier for the Lumiere brothers (yes, those Lumiere brothers), this 60 second print is part of larger collection of possibly fifteen films shot at the 1896 Cup, but it is only the seventh film to actually be uncovered. While this may not be the most earth-shattering discovery, it does make one wonder what else may one day turn up in a far-flung archive some day. This isn’t the first time that an Australian film has been found in Europe; earlier this year, one of Australia’s oldest surviving sound films (from 1927) was “repatriated” from a British archive. Who knows what other Australian films are out there, waiting to be discovered?

More on the Melbourne Cup here.
The story about the film can be found here.

Image via Google Images.

Why do Australians Love ABBA so Much?

2008-11-04T14:56:00.000-08:00

*I just noticed the person below me made an ABBA post—my sincere apology.

Sure, in the mid 1970s ABBA was doing all right in the United States with four Top 30 singles, as well as achieving some success with their first European tour—but no one seemed to cherish this Swedish pop foursome quite like our dear old Aussie “ABBAholics.” Australians loved ABBA so much that the group held onto the #1 spot on both single and album charts for months after the release of their third album, which included such heart-thumping tracks as “S.O.S., “I Do, I Do, I Do, I Do, I Do,” and, of course, “Mamma Mia."

Perhaps the reason the album topped the charts Down Under had to do with the inclusion of the 6th track- “Bang-A-Boomerang” in which the musical quartet explains just how the throwing of a Boomerang symbolizes love’s turbulent nature. Coincidence? You decide. Catchy? I’ll decide for you- Yes.
Anyway, Australia’s tender feelings for ABBA are also evident in the country’s cinema. I am sure all of you remember our friend Muriel “Mariel” Heslop in P.J. Hogan’s 1994 film, Muriel’s Wedding, recalling her days sitting alone in her room listening to ABBA songs for hours. Of course, there was also Muriel and Rhonda’s memorable choreographed on-stage performance of "Waterloo"

Similarly, in Stephan Elliott’s film released the same year, The Adventures of Priscilla, Queen of the Desert, Guy Pearce’s character, Adam AKA “Felicia Jollygoodfellow,” and Huge Weaving’s character, Anthony AKA “Mitzi Del Bra,” perform a lovely, also beautifully choreographed rendition of "Mamma Mia" during their drag-tastic voyage through the Australian desert.
(If you have not seen Priscilla, here is another fabulous, elaborate drag performance from the film, Work it, Pearce).

After all of this exhausting research, I still cannot seem to conclude just why Australians love ABBA so much. In my opinion, it was the group’s fabulously formfitting, sparkly, spandex-abundant Thunderdome-esque wardrobe. Let’s just say that I’m sure Mad Max had a few posters of the Swedish sensations hanging somewhere in that bungalow of his. Those men in ABBA certainly were not afraid of emphasizing a bit of the ol’ hanging rock- am I right, or am I right?
Okay enough of that. Why do you think Aussie’s love ABBA so much? I guess we can always just blame it on the 70s, may God bless ‘em.

*Additionally, in the spirit of Election Day ’08, Senator John McCain has listed ABBA as one of his favorite musical groups of all time- his favorite of the fabulous foursome's gems include “Dancing Queen” and “Take a Chance on Me.” Isn’t that simply adorable? Sadly, when McCain expressed interest in using an ABBA tune for his campaign, the price was too high. Too high? How can I trust a presidential candidate who does not see the value in throwing down the dough for usage of a quality 70s pop hit? I can’t.
McCain may not stand for gay rights, but I guess it’s hard to stand for anything when you’re wearin’ white leather platform boots.
All right, enough.

Muriel's Wedding: As Good as an ABBA Song?

2008-11-04T12:54:00.000-08:00

Thursday Night and the Lights were Loooow
We screened Muriel’s Wedding, sooo…

I was thinking: to what extent can music be utilized in a film? Does it hurt or help? And, if it helps, does that indicate weakness in the writing, acting, or direction?
A lot of people either love ABBA, or cannot stand the sound of it. I’m curious if this effects whether people would critique Muriel’s Wedding.
For example, say you hate Coldplay…
Would you be willing to watch a movie that used all their songs? Even if the characters and storyline were interesting, would you be less engages because of the soundtrack?
ABBA music is one of the things that really drew me to Muriel’s Wedding. The music for this film, as you may have noticed, does not stay in the background. It seemed to be a driving force of the story. You even might say ABBA music is a major character for the impact it has on Muriel’s life.

“Since I met you…my life is as good as an ABBA song. It’s as good as Dancing Queen.”

Honestly, I think the storyline is very strong, but I wonder if it would still have that sparkle without ABBA playing along.
Was it a mistake on P.J Hogan’s part to depend so heavily on the music? Muriel’s Wedding was a compelling story, well written and acted—but it does use the music quite a bit. The ABBA songs create mood, deliver certain messages, and just add that pizazz. Without it, there wouldn’t be the great karaoke scene with Muriel and Rhonda singing “Waterloo.”
Some might say music becomes a crutch for a film if it aids the telling of the story. What should draw us to Muriel’s Wedding: the plot and dialogue, or for catchy ABBA hits?
It’s not completely a random choice of music. ABBA became very popular in Australia, breeding “ABBAholics” like our friend Muriel.

Here's some background: ABBA is an acronym for the 4 members’s names: Agnetha, Bjorn, Benny, and Anni-Frid (who goes by Frida).

The band was Swedish, but toured quite a bit through Australia, particularly Sydney and Melbourne. When “I do I do I do” and “Mamma Mia” aired on national TV in 1975, their success skyrocketed. So, even though Muriel’s Wedding was set in the 90s, it would make sense that she knows and likes this music.
Also, the signature trademarks of ABBA go along with the movie’s themes:

1) Female Mateship: Agnetha and Frida singing close together in harmony on stage.

2) Marriage and the unhappy heterosexual dynamic: Benny and Frida were married, as were Agnetha and Bjorn. The marriages broke up at the height of their success.

3) Fashion as a way to stand out: ABBA was known for their colorful, oft sparkling stage costumes.

Should the writing and direction have taken care of establishing those themes? Or is it okay for music to help out?
Think of Garden State, Hustle and Flow, or any other movie (that isn’t a musical) you bought the soundtrack to. Did you buy the film as well? Could the film stand without it?
In my opinion, P.J Hogan didn’t depend to much on ABBA. He just found a really creative use of their songs to tell a story.

Here is a clip of how the song "Waterloo" was used for the ending credits of Mamma Mia.

http://www.youtube.com/watch?v=K46H0ixqbYk

Mamma Mia has the same great song, great costumes, and a lot of great times--but more like a music video than anything. The "Waterloo" in Muriel's Wedding was more enjoyable for me because of the circumstances of the story it is set in. But that's just my take!

Thanks for an interesting Aussie film, Hogan.
And ABBA? “Thank you for the music”!

Peaceful Land

2008-11-02T07:51:00.000-08:00

Just something short here.

For most of my life I saw Ausitralia, New Zealand and basically most of the Southern Hemisphere as a remarkably peaceful place having no wars of their own and little participation in them. Gallipoli the firrst thing to make me think otherwise. Additionally if any of you have been on wikipedia today you may have also seen the article of the day which shocked me by informing me that Sydney and Newcastle were both bombed by the Japanese in World War II. I never knew that Australia suffered more domestic damage from the war than the United States - seeing as Hawaii was not yet a state at the time of Pearl Harbour.

Kath & Kim

2008-11-01T17:06:00.000-07:00

Although I do not own a television, I was very excited a couple months ago about the Australian television import Kath & Kim. The previews of the Australian hit show remake were quite hilarious. I thought, "Molly Shannon is funny. This show will definitely make me chuckle." However, after watching the pilot on Hulu, I went in search of the original. Perhaps the storylines are better with an Australian accent.

Kath & Kim revolves around a mother and daughter team of fashionable and independent ladies. Except...they aren't these things at all. Selma Blair's character, Kim, is a lazy self-proclaimed trophy wife. Ha! Kath Day, played by Molly Shannon, is a hairdresser who does not have a clue. Although the show will probably be cancelled in the next month or so, the relationship between these two women relates to the Australian idea of mateship. No matter how dumb Kim may act or how horrible Kath’s hairstyles are, these two ladies stick together through thick and thin and make a mess along the way. The US version's website includes a wardrobe game where you can dress up Kath and Kim. They sure enough require a makeover. Interesting fact: Selma Blair, the actress portraying Kim, is only eight years younger than Molly Shannon.

Tim Tam-errific

2008-10-31T13:49:00.000-07:00

After watching Muriel’s Wedding, I was very excited that I’d finally get a chance to waste a few minutes of everybody’s life on this blog, gabbing about something pretty much non-film related. Thanks to Muriel Heslops’s diet, however, I feel a bit freer to rant…

Two years ago, my older sister went to Australia to study abroad. When she came home, she naturally brought many gifts and relics from the Land Down Under with her. Amongst the stash were some really neat items like didgeridoos, boomerangs, and other such Aboriginal wares. However, the most magical treasure she bestowed upon friends and family was that of the Tim Tam. Now, you may mutter, "What is this ‘Tim Tam’ you speak of?" and consequently conclude that it must be some indigenous artifact. Well, dear reader, you are poorly mistaken. The Tim Tam is far greater than anything like that…

The Tim Tam is a biscuit! (Or cookie, if you want to be less exciting and more American.)

In Muriel's Wedding, when Muriel brings her hot date (Brice) home, she offers him tea and Tim Tams, a very popular snacking combo in Australia (as I will later explain). The Tim Tam, named after a Kentucky Derby winner of the 50s, is made by the famous biscuit company, Arnott’s. To describe this illustrious treat to you, I will let Wikipedia sing you its song:

“A Tim Tam is composed of two layers of chocolate malted biscuit, separated by a light chocolate cream filling, and coated in a thin layer of textured chocolate.”

Mm, sheer poetry! Although this describes the Original (milk chocolate), within the line are various flavors: classic dark, raspberry, caramel, vanilla, even Tim Tam Balls! And there may be more… Alas, I have only ever had the Originals, but I could bet that they are probably the best of the lot.

Click here to visit Arnott's website! (And, no, I do not secretly work for Arnott’s.)

In fact, and quite sadly, I must admit that you really can’t get Tim Tams in the United States. Although a few stores or chains in a few countries (reportedly) sell Tim Tams, you really cannot find them outside of Australia, New Zealand, or New Caledonia (Seriously? If New Caledonians can have them, why can’t the big, bad United States? We could at least invade and steal some!). C'est la vie. I guess there is always mail order...

You may be asking yourself by now why I am writing all of this, so I will explain: To eat a Tim Tam is to connect to the average Australian, the way we must connect with these films! Okay, maybe I’m stretching this here, but if you ever get the chance, treat yourself to an Arnott’s Tim Tam, PLEASE. They are utterly delectable treats and we quickly and devastatingly ran out of the packages my sister returned with those two years ago, though I can still taste the lingering sweetness of a Tim Tam to this day.

In all seriousness, it really is a true Australian experience to eat a Tim Tam. If you do not believe me, watch this video explaining the Tim Tam Slam! Let native Australian Natalie Imbruglia teach you, along with Graham Norton, all about a practice so popular that it has its own Wikipedia page! That must say something about how much Australia enjoys a good Tim Tam.

After all, Muriel Heslop seems to.

Romper Stomper Stumped?

2008-10-24T17:05:00.000-07:00

Hey, I don’t know if I am alone in how I feel, but…

The ending of Romper Stomper did not sit well with me. Maybe I misunderstood the characters from the film, or maybe I did not connect with certain characters as I was supposed to (as it pertains to the intentions of Geoffrey Wright), or maybe my experience of the film was affected by watching Proof immediately beforehand. I had a feeling that Russell Crowe’s character would die before the end of the film, and throughout the film I definitely read Hando as a tragic hero of sorts. While I understood that Hando must be punished for his flaws, I nevertheless found that I was rooting for him to murder Gabe in the closing moments of Romper Stomper.

Maybe I misunderstood her character, but I could not connect with Gabe. Considering how her relationship with Martin is portrayed, I assumed that Gabe suffered from bad parenting and endured sexual abuse. Nevertheless, I could never sympathize with her character. Toward the end of the film, I thought that Gabe was especially painted as a character who had earned her death. I was praying that Hando would throw Gabe into the burning car or, at the very least, drown her in the ocean. I think that I might have been okay with Davey murdering Hando had Hando at least murdered Gabe first… but this is just a guess at best because I also had difficulty sympathizing with Davey.

I could not understand Davey’s attraction to Gabe, and everything that Hando had to say pertaining to Gabe (being an unnecessary burden) made sense. Given the disposition of his character, I figured that Davey would be the only one of the three remaining at the end of the film to survive… but Gabe’s survival does not sit well with me. I had more invested in the mateship between Davey and Hando than I had invested in the confusing relationship between Davey and Gabe, so maybe that’s why I was left with a sour taste in my mouth when the confusing relationship prevailed at the cost of the mateship that I was favoring. I don’t know…

I don’t know how I would’ve re-written the ending of Romper Stomper. I am okay with an emotionally-jarring conclusion, and I’m okay with killing main characters. Maybe I would’ve had Hando killed by the “gooks” that he tormented throughout the majority of the film, and maybe I would’ve had Gabe commit suicide (as she did seem to be her own worst enemy). Considering Gabe’s noted history of drug abuse, it would not have been fitting for her death to be the result of an overdose. Gabe’s mental and emotional status by the end of the film certainly had me convinced that her suicide was imminent. Gabe could have potentially (and realistically) overdosed on the medicine that was supposed to prevent her seizures to add a bit of poetic irony to her death.

I don’t know how I would’ve re-written the ending, but I can guarantee that it would not sit well with me unless it involved Gabe’s death. I’m sorry if this post didn’t offer much intellectual insight as it pertains to Romper Stomper, but we didn’t have time to discuss the film in class, and I needed to get this off of my chest. This is the first film that we have screened that I have had such a strong negative reaction to in terms of its conclusion. So, I guess I will ask: Am I alone in disliking the ending of Romper Stomper (and/or at least Gabe surviving)?

Here are some links I found while searching the Internet to see if I'm alone in disliking Romper Stomper's ending:

http://www.hdfest.com/rosie/romperstomper_rosie.html

I couldn't figure out how to embed this link, but it's a link to a review of Romper Stomper. At the end of the review, the reviewer confirms my suspicion that the homage that Peg mentioned in class was indeed paid to Stanley Kubrick's A Clockwork Orange.

http://www.metrolyrics.com/the-night-that-davey-hit-the-train-lyrics-russell-crowe-30-odd-foot-of-grunts.html

This link, which I couldn't embed either, is a link to the lyrics of a song about the suicide of Daniel Pollock (who plays "Davey"). It is written by Russell Crowe, and performed by his band (30 Odd Foot of Grunts). Apparently, Davey was dating Gabe in real life as Pollock was dating Jacqueline McKenzie. If I ever find the song itself, I'll upload it so that we can all listen to it.

Summer Heights High and Chris Lilley

2008-10-24T08:51:00.000-07:00

I am sure some of you have noticed a poster up in New York Pizza for a show coming to HBO called Summer Heights High coming November 9. What you may not realize is that this show is Australian, and in my own opinion the greatest TV show ever made.

It aired in Australia just last fall and made quite a massive impact there. What I find most impressive about it is how controversial a lot of its subject matter is - to a degree completely unimaginable in any American mainstream media. Likewise it is one of the most realistic portrayals of high school I have ever see, even in the United States.

The show is a mocumentary created by comedic actor Chris Lilley who had previously been on the Australian sketch show Big Bite (here is a clip of him as his original character The Extreme Darren in a bit I know we all could relate to) before creating his own show called We Can Be Heroes which has been renamed The Nominees for the international market. In that show he played five characters all competing for the (real) Australian of the Year award:
Ricky Wong a Chinese physics student and aspiring actor from Melbourbe who is trying to get his all-Chinese production of his original music about the aborigines "Indigeridoo" made.
Daniel Sims a teenager from Dunt (the only fictional town) in South Australia who is donating an ear drum to his twin brother who lost his hearing in a childish accident.
Ja'mie (strange name, I know, but you'll get used to it!) King a spoiled private school girl from Syndey's North Shore who has been sponsering countless African children.
Pat Mullins a housewife from Perth with one leg one much shorter than the other whose ambition is to roll on her side (her unique, finely-tuned skill) from Perth to Uluru (Ayer's Rock).
Phil Olivetti a self-obsessed policeman from Brisbane who became a motivational speaker after rising to local fame after saving 9 children from a wild jumping castle about to hit power lines.

In Summer Heights High, Lilley reprises his roll of Ja'mie King by placing her in a swap program that places her in the titular public school in the outer suburbs for one term. Her plot focuses on her adjustment into the general public and a deeper exposure of her manipulative and superfial ways. Lilley also reprises the character of Gregg "Mr. G" Greggson, which he had first created for Big Bite. Mr. G is a flamboyant, self-obsessed drama teacher, and a failed stage actor in denial. Every other year he has had the opportunity to produce an original show which have included Downloadin', You Can't Skate, Mate!, and Tsunamarama about the 2004-2005 Tsunami set the to music of Bananarama. His plot focuses on his obsession with his theatre work and its importance over anything else going on at the school. An all-new character, Jonah Takalua makes his debut in the show as well. Jonah is a troubled 13 year old Tongan boy who dreams of becoming a breakdancer with the help pof the shcool's only all-Polynesian crew "Polyforce." He is constantly getting in trouble for writing graffiti, being a smartass, constantly swearing, and bullying other kids - especially redheads. Despite this, he becomes by far the most sympathetic character.

Lilley plays all three characters with startling perfection, so much so that it is easy at time to forget the disturbing reality of the production, especially when Ja'mie gets a younger boyfriend. Because of the show's unique splicing of formats I could describe it as something of a cross between BBC's The Office, Freaks and Geeks, and Da Ali G Show. Either way, it is not to be missed, that would be a Bummer Heights High. For more information on its US debut you can head to HBO.com

It is quite rare for Chris Lilley to not be in character, but when that happens he looks like this:

Keep those blog posts coming!

2008-10-23T14:28:00.001-07:00

Good work on these posts everyone. Please try to embed your html links if possible. Here is the code:

< a href = " URL address " > title/text of link < / a > but without spaces.

For example, http://www.sensesofcinema.com becomes Senses of Cinema, an online film journal.

Mateship: A Foreign Phrase, Not a Foreign Concept

2008-10-22T13:48:00.000-07:00

Through films like Mad Max, Gallipoli, and The Devil's Playground,

we have seen the concept of mateship played out and demonstrated. The male protagonists engage in strong friendships with other male characters, friendships so deep that they are given their own term: mateships. To American audiences, i.e. our class, the idea of mateship seemed so foreign and new that it was difficult to comprehend. While perhaps the closest thing to mateship in the American films of late is the friendship of Seth and Evan in Superbad, mateship has been represented in American television for years, perhaps overlooked, but often just with a different name: guy-love or man-love.

Take Scrubs for instance. The relationship between JD and Turk goes well beyond the realm of what is seen as a common friendship and moves into the world of mateship. They just say it's guy-love or, rather, they sing that it's guy love.
The "My Musical" episode from the sixth season of Scrubs gives JD and Turk the perfect opportunity to describe their love for one another. They explain through song, "There's nothing gay about it in our eyes. You ask me 'bout this thing we share and he tenderly replies. It's guy love, between two guys" (http://www.1songlyrics.com/s/scrubs/guy-love.html). Throughout the course of the show, JD and Turk are shown to be in heterosexual relationships. Turk's wedding even has an episode devoted to it. Yet, their friendship is still as present as ever. Proving that while "mateship" may not be an American concept, "guy-love" is indeed.

Let's not forget other shows that have featured particularly strong male

-male friendships. Friends featured the tight bond between Chandler and Joey. The Odd Couple showed the friendship between Felix and Oscar (http://www.tv.com/odd-couple/show/104/summary.html). And my personal favorite, the friendship between Cory Matthews and Shawn Hunter spans through seven seasons of Boy Meets World, as well as the later developed friendship of Eric and Jack. Still, even more shows display the friendships between male friends as explored in a USA Today article discussing friendships on Boston Legal, House, and Nip/Tuck.
While extremely close friendships between men may still be lacking in American cinema, they have been present in American television for years and still continue to be a common theme. Call it whatever you'd like--mateship, guy-love, man-love, bromance--but at the heart of it all, the concept is still the same: two guys, one unbreakable friendship.
(images thanks to: timeinc and photobucket.

The Map "I Mean Crap" Reader

2008-10-21T19:10:00.000-07:00

This past weekend I traveled Texas for the Austin Film Festival and Screenwriters’ Conference. As a student in Australian Cinema and a fan of films from New Zealand, I went to the screening of Map Reader and was extremely disappointed. The Map Reader was the worst film at the Austin Film Fest. It was overrun with nothingness and lacked the portrayal of New Zealand I have loved in other films. The only mildly interesting character was an attractive 20-year-old blind woman, played by Bonnie Soper, who laughs incessantly whenever on screen. Michael, the protagonist of the film and the map reader referred to in the title, is a self-proclaimed nerd in love with the school-wide slut, Mary.
I could not wait to leave the theatre and move on to my next film viewing. Like Michael, I had no change of expression during the entire film. I did not care about him as a character and he never developed as a person. The Map Reader was advertised as a coming-of-age story but Michael matures little and simply runs away from his life. At the end of the film, the audience is left hanging. We never learn where he has gone off to and the film finishes with a pointless scene where the young Michael flies a kite. I could have spent those last few moments of the film exiting the theatre. Overall the water and fries I ate at the Alamo Ritz was more interesting and satisfying than this piece of crap film.

Fisher's Ghost

2008-10-21T18:27:00.000-07:00

Because Halloween is fast approaching, I felt it would be appropriate to explore one of Australia's most popular ghost stories: the tale of Fisher's Ghost, which coincidentally enough, was the subject of one of Australia's first horror films in 1924.

The story of Fisher's Ghost begins with the mysterious disappearance of a somewhat wealthy land owner named Frederick Fisher. His friend and neighbor, one Mr. Worrell, said that Fisher had told him he was moving to England and later claimed he had no intentions of returning. According to Worrell, Fisher had left all his land and possessions in Worrell's care. Nobody seemed to think this was suspicious...at first.

One day, an innocent young fellow called Farley happened to stroll past a creek (pictured above) where he saw the ghost of Frederick Fisher sitting eerily on the fence. The ghost did not speak to him, it only pointed somberly in the direction of a paddock some distance away. When Farley informed the police, they did not investigate immediately but eventually decided it wouldn't hurt to take a look. Under the paddock, they discovered the dead and rotting corpse of Frederick Fisher.

Worrell was arrested on suspicion, and eventually confessed to the murder. He was hanged at a later date, and Fisher's body was brought to a proper burial ground.

Since then, Fisher's Ghost has become the stuff of legend in Australia, turning into a popular tale of folklore. There is even a "Fisher's Ghost Festival" in Campbelltown, Australia where the whole incident is said to have taken place. For real, they're crazy about this stuff. Check out the official website here..

And here's a site with all kinds of info Fisher's Ghost.

Now you might be wondering what any of this has to do with cinema - let me explain. Australia was never really known for it's horror films, although they did produce a handful of them in the first few decades of the 1900's (including Fisher's Ghost). But it was not until the 1970's when Peter Weir arrived on the scene that Australian films really started to creep (pun intended) up to the edges of the horror genre. The Cars That Ate Paris could probably be considered one of the first widely acclaimed horror films to come out of Australia (depending on how loose your definition of horror is), and even Picnic At Hanging Rock has a distinctly sinister vibe to it. This website has a very detailed history of horror films in Australia, and it goes almost up to the present if you want to check it out.

And here's the Fisher's Ghost IMDb page for good measure.

So there you have it. Happy Halloween! (almost)

-Megan R.

Surprise! Mel Gibson is Australian… Only he’s not.

2008-10-20T22:03:00.000-07:00

*photo courtesy of Flixtster*

Because of all the Mel Gibson-ery that we have been taking part in, it has recently become clear to me that there are many people who are unaware of Gibson’s Australian roots (yeah, so I have conversations about Mel Gibson and how hairy he is, so what?). Thinking I would lay the matter to rest once and for all, I decided to write about this very Australian fact… Only to learn that Gibson is actually American (with an Irish dual citizenship).

Now, I don’t know if this is just me, but I was under the distinct impression that he was Australian, whereas many people I know thought he was simply American. Turns out, he was born and raised in America until he was twelve, when his father moved the family to Australia (Gibson’s paternal grandmother was an Australian opera singer). He was trained as an actor in Australia and did, indeed, start out as a theater and film actor in Australian productions, but has since worked in Hollywood. So, turns out that Gibson is actually just a chameleon. That must say something for his acting abilities, although he hasn’t acted in awhile until recently.

Speaking of which... Did you guys know Gibson was filming a movie (the first starring role he’s had since 2002) in Boston at the end of the summer? I found out after the fact, but I’m not so in the loop, I guess. These days, he apparently prefers producing and directing and all that jazz... He had this little thing called, “The Passion of the Christ” a few years back, don’t know if any of you heard of it… To me, though, Mel Gibson will always be my first coherent understanding of who he was as an actor: John Smith in Disney’s Pocahontas... Now there's a true not-American American.

Nicole Kidman: From Jane Campion to National Champion

2008-10-20T11:38:00.000-07:00

When I googled "Nicole Kidman significance" most of the immediate results were in regards to the meaning of her new daughter's name. So, as you can see, Nicole Kidman's star has certainly risen since her days on set for Jane Campion's "The Portrait of a Lady." Personally, I've always admired Kidman's acting abilities, though lately some her role choices have left something to be desired. She's seemed to reach the Mel Gibson equivalent of beginning as a young actress in some of the most important Australian films, only to see her fame explode only a few years later leading to Hollywood super-success and a marriage to a certain ubiquitous star. In fact, much like Gibson, her career has declined in such a manner that in 2007 she was reported, alongside Russell Crowe (a kiwi), as "Box Office Poison," meaning that she was the most overpaid actress in Hollywood because her films tended to not gross a profit.

http://www.imdb.com/news/ni0070618/

Kidman is looking to return to her roots, in more ways than one, with her new film "Australia" (aptly titled), which co-stars Hugh Jackman and is directed by Baz Luhrmann (both Aussies). The film is a sort of Down Under "Gone With the Wind" and touts itself as an epic. However, the really interesting aspect of this whole thing is the intense marketing campaign by 20th Century Fox aimed at the Australian markets. It's been reported that the company is spending upwards of $20 million alone to promote the film in Australia, and in the article linked below one source says it could surpass "Titanic"'s marketing budget of $57.6 million (an equally important American film, no doubt). The company is banking on Kidman's appeal to a native audience and expect big returns in Australia that will fan out to the rest of the world (interesting because the movie was produced by Hollywood). The article quotes one rep as saying, "if it works internationally, it will be the first big cross-over Australian hit for a long time," reflecting the state of Australian Cinema as a business. It remains to be seen whether Kidman can bring Australia back onto the cinema stage in a big way as she helped to do 12 years ago alongside Jane Campion.

Article

Australia - Opens 11/26/08 in the U.S. & Australia

- Matt Holden

next response paper

2008-10-15T17:34:00.001-07:00

There has been a bit of confusion about the response paper due tomorrow. The assignment is: 500-800 word response to Mad Max and/or Gallipoli and issues raised in Macfarlane's article "Mates and Others in a Wide Brown Land" as they relate to either or both of these films.

Because of the exam and the potential confusion the deadline is extended through Saturday morning; if you do not hand this in tomorrow, email it to me by then, enclosing the text in the email as usual.

The Story of the Kelly Gang

2008-10-14T20:57:00.001-07:00

Ever heard of the 2003 Australian film "Ned Kelly" starring Heath Ledger and Orlando Bloom? If you have, I'm honestly not that surprised. What would impress me however, was if you knew that back in 1906 (even before Birth of a Nation) another film was made in Australia about the same subject: The Story of the Kelly Gang.

Running about 70 minutes in length, this film in widely accepted as the world's first ever full-length feature film, and it came straight from down under. Isn't that crazy? Only 17 minutes of Charles Tait's fortune-making picture have survived the test of time, and are now in possession of the National Film & Sound Archive. You can read all about their long and arduous search for these precious 17 minutes, as well as purchase the film for a mere $39.94 here.

I find it funny that they've included "special features" on the DVD. I mean, they obviously weren't thinking about special features in 1906. It cracks me up.

If you don't know anything about the Kelly Gang or their story, I'll give you a brief synopsis. It's actually pretty interesting stuff: Ned Kelly was a notorious Australian outlaw (or bushranger as they like to call it in the outback) who pillaged and plundered throughout Australia, yet somehow retained a good reputation with the locals. Much to the dismay of the police force however, he and his gang (his brother Dan Kelly, Steve Hart, and Joseph Byrne) were responsible for numerous robberies and killings. I won't tell you how it ends in case you want to check out the movie for yourself, but for those of you who are curious, here's a more thorough synopsis for you.

Anyway, since this movie was released in Melbourne in December 1906, many other films have been made about Ned Kelly and his cohorts (including but not limited to the 2003 blockbuster), so don't worry, you can definitely still see the entire story unfold if you want to. 17 minutes of clumsily restored footage is not your only option.

-Posted by Megan R.-

First Essay Deadline

2008-10-12T09:25:00.001-07:00

Noon Today!

Which means if your paper has not yet arrived via email or handed in in person, it will now be marked late. So get those papers in!

Gallipo-What?

2008-10-09T19:50:00.000-07:00

movie poster-muchos gracias google.com

This movie poster says it all: “From a place you never heard of…a story you’ll never forget.” Before viewing Peter Weir’s 1981 film, I had never heard of Gallipoli, nor would I have thought that it was a Turkish peninsula. The Battle at Gallipoli began in 1915 but the film makes use of music from later time periods as an attempt to strengthen its narrative.

Jean Michel Jarre, a well-known French electronic musician, created the uncomfortable electronic music utilized during moments of high tension within the film. His website is here.

Although Jarre’s music was placed during plot points that needed the aid of a strong musical touch, I found the electronic music to have a negative impact on the narrative. Electronic music is quite enjoyable and the music of Jean Michel Jarre is unique and revolutionary. Yet, its placement in the film adds an avoidable humor.

There seems to be two soundtracks to the film: (1) the electronic stylings of Jean Michel Jarre and (2) Remo Giazotto’s Adagio in G Minor. As a complete piece of art, I found that these two genres clash with one another. The film has so much going on within the narrative, such as the ideas of mateship and the relationship between Australians and the British, that the added element of electronic music was needless.

All the talk about Adagio in G Minor during our discussion after the film made me curious about the Adagio’s history. Composed in 1958 by Remo Giazotto, there is a rumor that the Adagio was found in the ruins of a library during World War II. The use of the Adagio in Gallipoli makes sense even though it was written years after the Battle took place because it is historically connected to war.

Maybe the film should have utilized a piece actually written during the time of the Battle such as this.

-Ashley Whiting

Study guide for midterm

2008-10-09T14:57:00.001-07:00

You’ll be asked to write two short essays that should take about twenty minutes each, in addition to answering some short-form identification questions. You can prepare for this exam by timing yourself by writing out answers to any of the questions below. Exam questions will be similar to those listed below.

You should be familiar with every film we have viewed in class so far, including:
Walkabout
Picnic at Hanging Rock
The Devil’s Playground
Mad Max
Gallipoli

1. Discuss how the landscape portrayed in Walkabout exemplifies the clash between urban and rural culture.
2. Discuss the visual symbols that are related to sexuality in either Picnic at Hanging Rock or The Devil’s Playground.
3. Discuss the portrayal of mateship in Picnic at Hanging Rock, Mad Max, or The Devil’s Playground.
4. Discuss the clash of Aborginal and white culture in Walkabout.
5. Discuss the use of sound or music to elicit emotion or create resonance in Walkabout, Picnic at Hanging Rock, or Gallipoli.

Creative Project assignment

2008-10-09T14:35:00.000-07:00

Your Creative Project is worth 15% of your final grade.

You have a choice of what kind of format you wish to use. You'll be graded on Originality, Content and Execution. You may address topics that are historical, cultural, artistic, technical or design-oriented.

Possible formats:

Visual project (video, slide show, computer generated, art)

Audio project (sound, music, other recording or live performance)

Performance (original piece, script based on Australian cinema)

Presentation (lecture or directed discussion)

Journal (critical or artistic analysis/exploration of topic related to Australian Cinema)

Production Materials (such as director's notebook, storyboard, or other production designs based on interpretation of Australian history, narrative or existing films)

Other ideas are welcome but be sure to clear tyhem with me first.

It is *highly recommended* that you submit a brief (one page) proposal of your project beforehand to make sure it will follow the parameters of the assignment.

Deadline: Creative projects may be turned in anytime, but all of them are due no later than November 20. In-class presentations or performances must be scheduled by November 13th (but may be presented after that date).

First Essay Guidelines

2008-10-02T15:41:00.001-07:00

Due: Thursday October 9 (in class) or via email by Thurs. Oct. 12
Length/word count: 4-5 pages, 1200-1500 words

Topic guideline:
You may write about any show/film or subject we have viewed/discussed in class so far, including:
Walkabout, Picnic at Hanging Rock, The Devil’s Playground, Mad Max or Gallipoli

Your primary topic area should be landscape. You may choose any topic you wish or choose from the ones suggested below. Your paper needs a descriptive title.
You must utilize and cite at least three different research sources; at least one of them must be from the articles by Gibson or Macfarlane that were handed out in class. There are a number of good sources also listed on the blog, and our library has some excellent resources on Australian Cinema.

You must include a standard bibliography page, AND either 1) an endnotes pages, or 2)cite your quotations/ideas not your own within the paper with authors and page numbers. Endnotes may also include additional notes to explain your topic, not just citations of source material.

Your essay should also refer often to your chosen film text and give examples from it along with analysis of it. There is no need to provide plot synopses or production information unless it is relevant to your argument.
Essays must be typed and carefully proofread for errors.

Topic suggestions:
1. How landscape establishes mood or tone in Walkabout or Picnic at Hanging Rock.
2. The clash of urban and rural culture, or nature and civilization, in Walkabout or Picnic at Hanging Rock.
3. The symbolic portrayal of sexual repression or sexual awakening in Picnic at Hanging Rock or The Devil’s Playground.
4. The portrayal of mateship in Picnic, Mad Max, The Devil’s Playground or Gallipoli.
5. The use of music to manipulate emotion and/or create emotional resonance in any one of the films.
6. The clash of British and Australian/Aboriginal, or white and black, cultures in Picnic, Walkabout or Gallipoli.
7. The portrayal of homoeroticism, whether actual or symbolic, in any one film.

Blog Naming Contest

2008-10-02T13:24:00.000-07:00

The contenders as of today:

Do the Walkabout
Everybody Do the Walkabout
Lost in the Outback
Crikey! It's Aussie Cinema.
Aussie Aussie Aussie, Oy! Oy! Oy!
Outback Film House
Picnic at Hanging Blog
Down with Down Under

Textbooks, blog, etc.

2008-10-01T08:50:00.000-07:00

The textbooks have arrived at the Emerson bookstore. Please make sure you get one by mid-month at the latest.

I should be able to finally get around to responding to your many emails today and tomorrow. Sorry if you've been waiting or feeling in limbo. My home internet access has been acting up and it's been spotty at best for the last week, but the new router seems to have fixed the problem. If anyone has any urgent questions let me know.

This week we will be viewing Mad Max. Please review the reading "Mates and Others in a Wide Brown Land" for tomorrow.

There are still only 14 students registered on this blog--despite there being 25 students in the class. I assume everyone has received their invites, since I have had no recent emails stating otherwise. If you have not received an invite at your emerson.edu email address, let me know as soon as possible. Otherwise I expect to see the remaining students registered by tomorrow.

The Devil's Playground

2008-09-30T13:16:00.000-07:00

Fred Schepisi

While I stumbled in trying to explain my sensibility a class ago, here’s the thing: I’m an auteurist. I tend to think the artistic influence of direction is pervasive enough to affect anything in a film I might find potentially rewarding. Rather than dwell on Picnic at Hanging Rock, I’ll do an auteurist rundown of last week’s film, Fred Schepisi’s The Devil’s Playground.

On the basis of this movie, Schepisi doesn’t strike me as totally adverse to subtlety: there’s some low-key stuff here, performance-wise. And yet it fails to coalesce into anything satisfying for me. While quiet, the film is in its own way simple, direct, and not especially wise about the way people actually behave. The love interest subplot, for example, seems more about evoking pleasant emotions than observing characters. In theory, I liked that the protagonist Tom’s rather public bedwetting problem and social acceptance coexist, complicating the stigma of the former, but again I found Schepisi’s direction of social ridicule not especially graceful or convincing.

The implied homoeroticism in the film embodies Schepisi’s assets and faults as a director. In an early scene, an official of the school scrutinizes a nude boy in a locker room, all the while admonishing the boys for taking a glance or two. The actor shoots for the tone any idiot could extract from the speech: rigid, strict, serious. On the one hand, the delivery allows for some openness to interpretation: the official’s convictions could be genuine, and he could be masking some personal demons by projecting them on students. And yet the flatness of the actor’s delivery seems to make this mystery unearned, not fully developed. A later scene featuring a priest who seems a mite too curious about Tom’s sexuality sticks to a similarly repetitive pattern of performance: Tom obviously displays a mixture of discomfort and derision, and the priest doesn’t sway from forced gentleness. Surely teachers run the gamut from stern to sentimental, and at least Schepisi recognizes this, but he doesn’t seem interested in the variety of behavior a single man might exhibit, or in his ability to make his inclinations mysterious.

An obvious literary analogue to this film is James Joyce’s A Portrait of the Artist as a Young Man, much of which takes place at a Catholic school for boys, and tracks its protagonist’s burgeoning sexuality, attempts to socially integrate, and private anguish. The gestalt of Joyce’s novel, it seems to me, is that Stephen Dedalus never quite experiences youth in the manner he's instructed to, and learns a lot from that slight dissonance from the rest of the world; distance lends perspective. In contrast, Tom seems perfectly fulfilled at his heights. He’s living a dream, a life too drenched in sentiment to offer truth.

- Sky Hirschkron

The End Is the Beginning Is the End

2008-09-28T15:24:00.001-07:00

Or something like that.

The conclusion of Picnic at Hanging Rock confused many of us and left a number of people wanting more (some bitterly so). I had the unique perspective of knowing just how little concrete resolution there was to the film before having seen it the first time, so my disappointment took on the form of intrigue. We talked about multiple viewings of a film and there are few films that call for that more than Picnic. Watching it a second time allows you to experience it without the prejudices of a first time viewing (expecting an "ending"), and the focus can shift from story to themes. I've seen it multiple times and have watched it for plot, theme and most recently through the lens of the opening line: "What we see and what we seem are but a dream, a dream within a dream" (Weir's addition, taken from a Poe poem, not from the novel).

For those of you still lusting for some sort of closure, I've included a source that outlines the supposed deleted chapter from the novel by Joan Lindsay (this chapter was released after her death...). http://www.mck.com.au/users/brett/index.html?content=picnic.htm

There's a hint about this ending having some validity, as you'll note in the movie one of the school maids says, "There's no corset. Miss Irma's corset, it's missing!" This comes seemingly out of context without the above information, essentially a red herring in the film (the quote comes at 9:12 into the video). http://www.youtube.com/watch?v=HnrWBMYWl2s

Also, I've included a link to a compilation of the scenes that were removed from the Director's Cut of the film, one of them towards the end acting as a nice example of the "mateship" idea that we began talking about last class. http://www.youtube.com/watch?v=JHX4B_mxlB0

Lastly, just for fun, I suggest everyone check out a novel called Kafka on the Shore by Haruki Murakami. It has some eerie similarities to the incidents in Picnic, and at one point he even mentions a story about an Australian boarding school for girls that went on a field trip and suffered a mass coma-like state from which everyone awoke without memory of how or what had happened and no ill effects. Amazon

- Matt Holden

Discussion

2008-09-28T14:33:00.000-07:00

Hello!

Apologies for posting this late; we had difficulties with our internet connection at home this week.

I wanted to post some thoughts and ideas for further discussion of The Devil's Playground. Feel free to choose any of these or suggest some of your own.

How does the film's "coming of age" theme compare to that of Picnic of Hanging Rock?
What makes this film "Australian"? What other settings could this story have taken place in?

What is the importance of homosexuality or homoeroticism to the narrative?

In what ways does landscape or nature contribute to the film's visual impact? Why is nature important to the story?

Discuss the ways in which water is a significant element in the mise-en-scene.

Bibliography

2008-09-25T13:59:00.000-07:00

Senses of Cinema is a good online source for articles, and I have included a few useful links, but don't neglect to explore print resources for research. Here is a partial list of sources you may find helpful for your written work for the course, or for general information. We have a fairly good selection of books in the library, which I will put on reserve for you next week. Some of the articles listed will be avilable through JSTOR or other online databases. If you need help locating additional articles or sources, the reference librarian should be able to help, or let me know if there is some specific information you need.

Ian Craven, ed., Australian Cinema in the 1990s (London: Frank Cass, 2001). (collected articles)
Scott Murray, ed; Australian Cinema (Sydney: Allen & Unwin, 1994). (collected articles)
Roslynn Hayne, Seeking the Centre: The Australian Desert in Literature, Art and Film; (Cambridge: Cambridge University Press, 1998).
Mark McAuliffe, Mad Max in Search of the Goddess: Australian Masculinity in Crisis (Melbourne: La Trobe University, 1995)
Brian MacFarlane and Geoff Mayer, New Australian Cinema: Sources and Parallels in American and British Films (Victoria: Cambridge University Press, 1992).
Chris Berry, "Not Necessarily the Sum of Us: Australian Not-So-Queer Cinema",Metro, No. 101
Harlan Kennedy, "New Wizards of Oz", Film Comment, Vol. 25, No. 5
Adrian Martin, "More than Muriel", Sight and Sound, Vol. 5, No. 6
Geraldine Bloustien, "Jane Campion: Memory, Motif and Music", internet magazine
David Kelly, "The Lady in the Frame: Two Portraits by Henry James and Jane Campion", internet magazine

Blog Naming Contest

2008-09-25T05:25:00.000-07:00

Today is the deadline for naming the blog and winning a prize! Email me your entries before 5 pm tonight.

Speaking of deadlines, I do not normally accept late papers. I expect assignments to be turned in by the date indicated, unless there is a very good excuse for its being late. An apology is not the same as an excuse. This class meets once a week so it is important for all work to be turned in on time. The workload so far has been extremely light and yet I have received a number of late responses, or in some cases none at all; I expect a higher standard of performance for a Topics course.

This week

2008-09-23T20:59:00.001-07:00

Please email me your responses to Picnic at Hanging Rock before class on Thursday, or you may print them out to bring to class and hand them in then. Same as last week: 500-800 words. You may use any of the suggested discussion points mentioned in the last blog post if you wish.

You will not be assigned written responses every week, but I expect them to be turned in on time when they are assigned.

Please be prepared to schedule your oral presentation this week, as I will be sending around a sign-up sheet. We'll begin with these next week. You may work with a partner if you wish. I'll prepare a handout with guidelines for Thursday.

This week's film will be The Devil's Playground.

This Week and Next

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Thanks to everyone who has already sent in their responses. Keep them coming! 500-800 words is not much space, so be clear and focused with your ideas. Responses need not include any cited reference works. Feel free to refer to the Gibson article, however, or other sources that seem relevant.

I still do not have my computer back up and running, so responding to email for the next couple of days will be sporadic. Your next response assignment will be for Picnic at Hanging Rock. This will be due before class next week. This film deals with issues of landscape and symbolism, class difference (gentry versus working class), mateship (which we'll discuss in class more fully soon), and gender an sexuality. For this portion of the course, you may want to focus on the depiction of landscape in the film, and its connection to sexual innocence and initiation. But there are many other lines of inquiry to focus on in your response.

I can post some more specific discussion points after everyone has seen the film.

Assignment: Walkabout questions

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Your first assignment for the course: a brief discussion/analysis of Walkabout. Below are several questions; please read and consider all of them as we will refer back to them when we discuss Walkabout's influence upon later examples of Australian Cinema.

Please write between 500-800 words on any ONE of the following questions. You may email this to me at amberapple _at_ gmail.com. This is due before class on Thursday, September 18th.

1. Explore some of the symbolic representations of the nature vs. culture dichotomy present in the film.

2. How does the sound design impact the film's narrative?

3. How do issues of sexuality function in the film? (You may choose to narrow this to one example)

4. In what ways does the film suggest a mystical connection humans and animals? How does it portray a mystical connection to the past and/or to the concept of time itself? How in other words, how does the film explore the concept of the "dreamtime" of Aboriginal mythology?

Contest: Name this Blog!

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Challenge: Come up with a more interesting title than "Australian Cinema" for this blog.

Deadline: Thursday, September 25th.

Eligibility: Students currently enrolled in VM 400C.

Submission of Entries: via email, to amberapple at gmail.com.

Prize: TBA

Welcome to Australian Cinema!

2008-09-11T20:54:00.001-07:00

This blog has been created for a class at Emerson College. But it is open to the public, and intended for anyone who enjoys Australian cinema.

Students: stay tuned for your invites, as well as Walkabout discussion questions, and further assignments and information for next week. Welcome to the class.