CRIKEY!

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!

(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

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

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

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?

(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!

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!"

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

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

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!

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

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

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?

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

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

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

Second Essay

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

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

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!

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

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

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

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

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

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

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

     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

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?

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

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

     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

     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

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!!

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...

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?

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.