+ Newspaper – Part 2
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LAUREN BLISS the Cinematic Body in View of the Antipodes: Philip Brophy’S Body Melt As the Bad Copy
Lauren Bliss, The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy LAUREN BLISS The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy ABSTRACT Through a wide ranging study of Philip Brophy's academic and critical writings on horror cinema, this essay considers how Brophy's theory of the spectator's body is figured in his only horror feature Body Melt (1993). Body Melt is noteworthy insofar as it poorly copies a number of infamous sequences from classical horror films of the 1970s and 1980s, a form of figuration that this essay will theorise as distinctly Antipodean. Body Melt will be related as an antagonistic 'turning inside out' of the subjectivity of the horror movie spectator, which will be read in the light of both the usurped subject of semiotic film theory, and the political aesthetics of Australian exploitation cinema. Philip Brophy’s Body Melt, made in 1993, is a distinctly antipodean film: it not only copies scenes from classic horror movies such as The Hills Have Eyes (1977), Alien (1979), The Thing (1982) and Scanners (1981), it also copies the scenes badly. Such copying plays on and illuminates the ‘rules’ of horror as the toying with and preying upon the spectator’s expectation of fear. Brophy’s own theory of horror, written across a series of essays in academic and critical contexts between the 1980s and the 1990s, considers the peculiarity of the spectator’s body in the wake of the horror film. It relates that the seemingly autonomic or involuntary response of fear or suspense that horror movies induce in a viewer is troubled by the fact that both film and viewer knowingly intend this response to occur from the very beginning. -
Making It up As We Went
Making it up as we went MERRYN GATES he staircase to the Seaview Ballroom was an event in itself. TWide, grand and in disrepair it formed the perfect backdrop for the arrival of audiences to the thriving scene of Melbourne’s little bands in the early 1980s. Art and fashion students from every campus – Prahran, Preston, RMIT, VCA and Melbourne State College – joined with the film kids from Swinburne and the music boffins from Latrobe for the scene stealing gigs of The Birthday Party, or the more esoteric Essendon Airport or Laughing Hands. It was a time of do-it-yourself couture. Op Shops were commercial airplay. These bands might get their first gig at a RRR scoured for treasures, and worn in combinations that would make concert (I recall one in the car park behind Lygon Street shops in their original owners gasp in horror. The punk ethos of shock and Carlton: they started small) and then they might cut a 7-inch with confrontation was still paramount, tempered with a more Missing Link. 3RRR gave them a Melbourne-wide audience. And theatrical taste for costume. Each week would see a new subtle to further the dialogue, independent (there’s another term) variation of last week’s finery. There was a kind of street dialogue magazines started to appear for the emerging cultural theorists to going on, with people riffing off what others in their tribe were cut their teeth on: Virgin Press (1981, ed., Ashley Crawford), New doing, as much as responding to the inevitable international Music (1980, ed., Phillip Brophy), Art & Text (1981, ed., Paul trends. -
LAUREN BLISS the Cinematic Body in View of the Antipodes: Philip Brophy’S Body Melt As the Bad Copy
Lauren Bliss, The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy LAUREN BLISS The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy ABSTRACT Through a wide ranging study of Philip Brophy's academic and critical writings on horror cinema, this essay considers how Brophy's theory of the spectator's body is figured in his only horror feature Body Melt (1993). Body Melt is noteworthy insofar as it poorly copies a number of infamous sequences from classical horror films of the 1970s and 1980s, a form of figuration that this essay will theorise as distinctly Antipodean. Body Melt will be related as an antagonistic 'turning inside out' of the subjectivity of the horror movie spectator, which will be read in the light of both the usurped subject of semiotic film theory, and the political aesthetics of Australian exploitation cinema. Philip Brophy’s Body Melt, made in 1993, is a distinctly antipodean film: it not only copies scenes from classic horror movies such as The Hills Have Eyes (1977), Alien (1979), The Thing (1982) and Scanners (1981), it also copies the scenes badly. Such copying plays on and illuminates the ‘rules’ of horror as the toying with and preying upon the spectator’s expectation of fear. Brophy’s own theory of horror, written across a series of essays in academic and critical contexts between the 1980s and the 1990s, considers the peculiarity of the spectator’s body in the wake of the horror film. It relates that the seemingly autonomic or involuntary response of fear or suspense that horror movies induce in a viewer is troubled by the fact that both film and viewer knowingly intend this response to occur from the very beginning. -
HEATHER BARKER and CHARLES GREEN No More Provincialism: Art & Text
Heather Barker and Charles Green, No More Provincialism: Art & Text HEATHER BARKER AND CHARLES GREEN No More Provincialism: Art & Text ABSTRACT This essay discusses the writing and personalities surrounding the 1981 establishment of the Australian art magazine, Art & Text, and traces its progression under Paul Taylor’s editorship up to his relocation to New York. During this period, Art & Text published Taylor’s own essays and, more importantly, those of other writers and artists — Meaghan Morris, Paul Foss, Philip Brophy, Imants Tillers, Rex Butler, Edward Colless — all articulating a consistent and complex postmodern position. The magazine sought the niche and status of an antipodean October. The essay argues that the magazine’s founder and editor, Paul Taylor, personified the shattering impact of postmodernism upon the Australian art world as well as postmodernism’s limitations. Taylor facilitated a new theoretical framework for the discussion of Australian art, one that continues to dominate the internationalist aspirations of Australian art writers. He produced temporarily convincing solutions to problems that earlier critics had wrestled with unsuccessfully, in particular the twin problems of provincialism, and the relationship of Australian to international art. Introduction Australian art writers and critics of the early 1980s used a methodology and a vocabulary that were new for writing on Australian art. Like good avant-gardists, they said that they were freeing themselves from traditional assumptions, relationships and strictures, questioning and deconstructing the unchanging truths to which their antecedents putatively subscribed. Instead of beginning with revelatory foundational models such as Marxism, young postmodern theorists in Melbourne and Sydney eclectically combined ideas from the new, still fluid canon of French post-structuralist philosophy.