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Home , Ana Kokkinos, Bruce Beresford, Bryan Brown, Claudia Karvan, David Gulpilil, David Stratton

Stratton’s STORIES OF AUSTRALIAN CINEMA

© ATOM 2017 A STUDY GUIDE BY MICHELLE LIDDY

http://www.metromagazine.com.au © ATOM 2017

ISBN: 978-1-76061-073-9 http://theeducationshop.com.au 1 I I

“A nation found its identity through cinema and so did I; this is my journey through the movies that made our nation”.

Australian films matter because they tell ’s stories. © ATOM 2017

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In this three-part documentary series respected critic tells the story of Australian cinema, focusing on the films that capture the nation’s true nature with candour, emotion and humour.

While he adapted to a new country and turned his passion for cinema into a profession as a film festival director and film critic, a growing band of courageous Australians turned their enthusiasm for storytell- ing into an extraordinary body of work.

“When I started championing Australian cinema at the Film Festival I couldn’t have imagined the richness of movies that would follow,” says David. “These are the stories of the films that changed the way the world saw us and how we saw ourselves … a story of how the films and those who made them broke through the status quo.” © ATOM 2017

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DAVID & MARGERET

SYNOPSES - series overview

Some of Australia’s movie greats help tell this story, includ- • Episode two: Outsiders Australian cinema celebrates ing the actors , , Geoffrey the endurance of outsiders: whether the newcomers Rush, , , , Rachel in They’re a Weird Mob and Wake in Fright or locals Griffiths, and , and the directors out of step with the mainstream in Evil Angels, Muriel’s , George Miller, , Bruce Wedding and Priscilla. Beresford, David Michôd, and . • Episode three: Family All kinds of families are given a They tell of their intentions at the time they made the films voice: The Castle’s nuclear family; the family of faith in that are now part of Australia’s history and culture. They The Devil’s Playground; ’s neo-Nazis; also reflect on each other’s work and discuss how the the immigrants in Head On; and crime families like Ned national cinema slate is shaped by Australia and also plays Kelly’s and Animal Kingdom’s. a part in shaping Australia.

David has played a pivotal role nurturing filmmakers and helping them find audiences for their films locally and Running through the whole series is an acknowledgement internationally. was at his side for a that Australian cinema has made a priceless contribution lot of that time as his television co-host of 28 years, most to a greater understanding of the impact of white colo- recently on At The Movies on ABC TV. nization on Indigenous Australia – and just how wrong the actions of some governments have been. The films Each episode runs for about 59 minutes and is defined by document the ongoing challenges and frustrations of a theme that groups the films and filmmakers featured. Indigenous people but also celebrate their spirit, camara- derie and deadly sense of humour. Featured films include • Episode one: Game Changers Filmmakers gained con- Jedda and Walkabout, Rabbit Proof Fence and Bran Nue fidence with: the boldness of Picnic at Hanging Rock Dae. © ATOM 2017 and ; the global success of Crocodile Dundee and Shine; the flamboyance of ; the substance and style of Samson & Delilah. 4 I I

teachers will use the documentary series in part or full to CURRICULUM LINKS compliment a broader study of Australian films ‘as text’ or as exemplars of Australian cinema or as films that repre- David Stratton’s STORIES OF AUSTRALIAN CINEMA sent particular or periods in Australian film history, is relevant to the following curriculum: contribute to certain discourses or illustrate particular film-makers’ work. The study guide includes information • VCE Media, especially Units 1, 2 and 3 in and suggestions for a range of activities, discussions and further research into Australian cinema, industry profes- • Years 11 and 12 Media Arts and Film, Television and sionals and individual films. Teachers may select from the New Media in Queensland information, extension activities and reference material and modify activities to suit their curriculum context, syl- • Years 11 and 12 Media Production and Analysis in labus and students. Teachers may also determine in what Australia forms- spoken, written, multi-modal, individually or in small or class groups- responses are developed. • Media Arts in Curriculum- Years 9 and 10 Content Teachers are strongly advised to preview each episode of the series and to select sections to suit group • English-Year 10 Language and Literacy and context of their students. Some sections, especially the one about the ‘’ films of the in epi- • History- Year 10, specifically in the content- ‘The sode 1 and 2 contain images of extreme violence and full modern world and Australia- Popular culture (1945 frontal nudity. Instances of swearing occurs throughout the – present)’ series as do depictions of war including the final execution scene from Breaker Morant. • International Baccalaureate Diploma Program- Film- Textual Analysis, Film Theory and History PRE-VIEWING ACTIVITIES

‘Australian films matter because they tell Australia’s LEARNING OUTCOMES stories.’

Based on David Stratton’s STORIES OF AUSTRALIAN • List the Australian stories you know because of an CINEMA the study guide content is intended to support Australian film. Identify the film titles by name. students’ and teachers’ viewing and understanding of the vast array of material covered in the series. Specifically, • Identify 1 or 2 Australian films you’ve seen recently. this guide is written to develop in students knowledge and skills to: • Identify 1 or 2 Australian films from your childhood. Have you seen Babe, , Red Dog? 1. Develop an appreciation of Australian stories told by Australian films; • With a partner make a list of as many Australian films as you can. Highlight those you’ve seen. 2. Develop an awareness of key Australian feature films and filmmakers that have had a significant impact on • In the past year approximately how many Australian Australian audiences and culture; verses American films have you seen? Give reasons for the difference. 3. Demonstrate an understanding of the historical develop- ment of the film industry in Australia; • Develop a class ‘master list’ of Australian films seen as each student shares their list. 4. Read films as historic and cultural documents; • “There was something of me on that screen and that’s 5. Think critically about the construction of national myths, what I was connecting to.” Russell Crowe says this stereotypes and icons; and about watching Australian films as he was growing up in the 1970s and 1980s. Have you ever felt like “there 6. Demonstrate insight into the place of film in Australian was something of me on that screen”; when, and in culture. response to what film?

• Identify places that you haven’t been to but you feel TEACHER ADVICE you know because of films, television shows or adver- tisements you’ve seen. © ATOM 2017 David Stratton’s STORIES OF AUSTRALIAN CINEMA is pitched at a mature audience and is best suited to senior How many of these are Australian? List those places secondary students form years 10-12. It is anticipated that and share with the class. 5 I I

Stories of Australian Cinema- The films in the series

• Circle those you a) have heard of and b) have seen.

Featured Films:

EPISODE ONE EPISODE TWO EPISODE THREE n Strictly Ballroom, 1992 n Muriel’s Wedding, 1994 n The Castle, 1997 n Picnic at Hanging Rock, 1975 n They’re A Weird Mob, 1966 n Rabbit Proof Fence, 2002 n Breaker Morant, 1980 n The Overlanders, 1946 n The Devil’s Playground, 1976 n Crocodile Dundee, 1986 n Wake In Fright, 1971 n Romper Stomper, 1992 n Jedda, 1955 n Evil Angels, 1988 n Head On, 1998 n Samson & Delilah, 2009 n Walkabout, 1971 n Force of Destiny, 2015/Innocence, n Turkey Shoot, 1982 n Bran Nue Dae, 2009 2000 – films n Mad Max, 1979 n The Adventures of Priscilla, n Lantana, 2001 n My Brilliant Career, 1979 n Queen of the Desert, 1994 n Animal Kingdom, 2010 n Shine, 1996 n The Story of The Kelly Gang, 1906 n , 1978

Stories of Australian Cinema- The peoples in the series

INTERVIEWEES

Sam Neill, Actor , Writer Judy Davis, Actor Sue Maslin, Producer Nicole Kidman, Actor Gillian Armstrong, Director P.J. Hogan, Director , Director , Actor Warwick Thornton, Director Hugo Weaving, Actor Margaret Fink, Producer , Actor David Elfick, Producer Jeanie Drynan, Actor David Michôd, Director , Director , Geoffrey Wright, Director , Director , Actor Director Russell Crowe, Actor , Actor Eric Bana, Actor David Michôd, Director , Actor Tony Buckley, Editor Mandy Walker, Leah Purcell, Actor/Writer Paul Cox, Director , Cinematographer , Director Rachel Perkins, Director Cinematographer , Actor Fred Schepisi, Director , Actor George Miller, Director Jacki Weaver, Actor , Actor , Producer Stephan Elliott, Director , Editor Louis Nowra, Writer Bryan Brown, Actor

• Create a table with film production jobs as headings • Complete further research on another of those listed, and list all names of the interviewees in the correct perhaps a director, actor or producer who has achieved columns according to the film production job each is international acclaim. Research their career with known for. particular focus on how they have contributed to “tell- ing Australian stories” and the success or Australian • Circle those you a) have heard of and b) whose work cinema. you have seen.

Using either the or other databases, iden- © ATOM 2017 tify at least 3 films that have been made by 4 of the people listed, ideally those whose work you have not seen nor heard of. https://www.screenaustralia.gov.au/ 6 I I

VIEWING ACTIVITIES

Episode 1: Game Changers - the films and people who revolutionised an industry

• According to David Stratton, Russell Crowe, George Miller and Rachel Perkins, “Telling stories about ourselves mat- ters.” Why do stories about Australians matter?

• Film has the power to change lives. List the 10 films identified as “game-changers’ in a table and summarise the rea- sons they and their makers are seen as ground-breaking.

Film Year Director Plot Summary Importance © ATOM 2017

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Strictly Ballroom, 1992

• Name the 3 films of Baz Luhrman’s and Catherine Martin’s ‘’.

• What is meant by ‘the Australian battler’s dream’? Why was Strictly Ballroom so different to other films that represented the ‘Aussie battler’?

• What was so “audacious” about the film-making?

• Identify the film-making elements ‘production design’ includes.

• A ‘cartoonish’ style is noted as a way of describing Baz Luhrman’s cinematography. Make notes on the STRICTLY BALLROOM way the Strictly Ballroom segments screened appear ‘cartoonish’. • Why is the film considered to be such an important The film debuted to an overwhelming reception at one? Canne in 1992. Use the Screen Australia website and download https://www.screenaustralia.gov.au/ • The attention to detail in the production design, espe- getmedia/15548d10-7636-43c0-bc18-8cd0b- cially costume design is noted. Explain the effect of the d940aa4/Cannes-Guide.pdf?ext=.pdf white costumes of the girls.

What is ‘Canne’? Explain the importance of the success • Several interviewees say they were influenced by the there for both the film and the film-makers. film. Identify those Stratton says became pivotal in the industry after they saw Picnic at Hanging Rock. • Name Baz Luhrman’s and Catherine Martin’s produc- tion and the films they have made since • Jacki Weaver and John Jarrett acted as secondary 1992. Which ones are Australian? What do you think characters in the film. They have become internation- determines whether a film is Australian or not? ally famous for their roles as villains in more recent Australian films. Name each of those films. • “ reinvented the musical” with Moulin Rouge in 2001. Just viewing these segments and • Based on the segments screened, what production listening to Nicole Kidman, what seemed to make it an elements created the ‘mysterious atmosphere’ that “incredible piece of work”? Stratton says helped imbed the film into the nation’s consciousness.

• Director, ’s career “took off” after the release Picnic at Hanging Rock, 1975 of the film. Find out what films he has made since then. Which ones were made in ? Which ones • What distinguished Picnic at Hanging Rock from the were made in Australia? other films of the 1970s? Use the National Film and Sound Archive online exhi- • The film was considered to be Australia’s first real bition to discover more about the making of the film. ‘art-house’ film. Explain what is meant by the term Listen to those involved and find 5 facts about the mak- ‘art-house’. ing of the filmhttps://www.nfsa.gov.au/collection/ online-exhibition/picnic-at-hanging-rock

• Use the following link to summarise the contribution of Peter Weir to cinema.

http://sensesofcinema.com/2005/great-directors/ weir/

• He became a key part of what was known as the “new © ATOM 2017 wave” of Australian cinema in the 1970s and 1980s. List those represented in this section of episode 1 as PICNIC AT HANGING ROCK ‘new wave’ films. Identify 1 you plan to watch. 8 I I

BREAKER MORANT

Breaker Morant, 1980 JEDDA

• Breaker Morant is another film from the ‘new wave’ period. Explain why this “creative explosion in film- making” was important for the industry and Australian audiences.

• Explain an instance of ‘resourcefulness’ in the making of Breaker Morant.

• Director, Bruce Beresford, researched the film in Britain. Explain the way he included material found in his research into the film and how it creates a powerful SAMSON & DELILAH final message to Australian audiences.

• Do you support Beresford’s strong refusal to have Breaker Morant “dubbed” or “re-voiced” with American Jedda, 1955 accents for its release in the ? Give rea- sons why. • There are several reasons why David Stratton de- scribes the Charles Chauvel film Jedda as a landmark, controversial and remarkable film. Explain his reasons: Crocodile Dundee, 1986 Landmark- • What did Crocodile Dundee “prove”? Controversial- • Russell Crowe uses the term “cultural cringe”. What does that mean in terms of how some Australians Remarkable- regard Australian films?

• Crocodile Dundee featured beautiful Australian land- Samson & Delilah, 2009 scapes. Explain the impact of the success and popu- larity of the film in the USA and identify the film’s great- • David Stratton thought Samson and Delilah was a very est achievement in the context of world cinema. confronting film. Why did director and writer Warwick Thornton write such an “incredibly dark film”?

• The images largely tell the sad love story of the pro- tagonists. Identify the disturbing things depicted in the screened sequences that “white” audiences in particu- lar may find “confronting”. Why might these be consid- ered confronting?

• Explain the importance of Samson and Delilah as a “game-changer”.

• Leah Purcell says, “Warwick Thornton’s Samson and Delilah was a catalyst for indigenous filmmaking and © ATOM 2017 absolutely opened the flood gates for people to go “wow look at this, another way of storytelling”. Name CROCODILE DUNDEE as many Indigenous Australian filmmakers as you can. 9 I I

MAD MAX TURKEY SHOOT

Turkey Shoot, 1982 • List the films made by women directors since My Brilliant Career as represented by the extracts • Explain David Stratton’s objections to Turkey Shoot, screened. Which ones have you seen? despite his campaign against censorship in the . • “She wants to be an independent woman and choose • Turkey Shoot is considered an ‘Ozploitation’ film. her own career, just like the film’s producer, Margaret Identify others. Fink.”

• What does the term ‘Ozploitation’ mean? The film was a “game-changer” for the story it represented both on screen and “behind” the scenes. Explain why the • Explain why these films were important for the industry film was important, especially for so many women. at the time.

• Explore more ‘Ozploitation’ films in Mark Hartley’s documentary Not Quite Hollywood. Shine, 1996

• Producer Margaret Fink and writer/director, Scott Hicks have persistence in . Explain. Mad Max, 1979 • “Sometimes success against the odds is life changing. • Why is the film the first Mad Max film famous? Shine… is one of those movies.” Stratton’s statement applies to both the international and Australian success • Stratton appreciated the ‘implied’ rather than explicit of the film as well as the true story it tells about pianist, violence of films like Turkey Shoot. In the sequences . shown, what techniques did George Miller use to imply rather than obviously depict violence. Summarise the story of the first-time director Scott Hick’s experience of making Shine in the form of a • Identify the various reasons Mad Max is considered an promotional blurb for a film of that story. important film. • Scott Hicks says that Geoffrey Rush’s Academy Award • The fourth instalment in the series, Fury Road, is a re- for acting “represented everything about the struggle to markable Australian film for at least 2 reasons. Explain. make the film”, Explain what he means by that.

My Brilliant Career, 1979

• Explain why My Brilliant Career is considered a “game-changer”.

• On the surface they are very different films, so explain what Fury Road and My Brilliant Career have in com- mon and why both are important.

• Judy Davis and Sam Neill would become an interna- tional screen stars. How many films have each made since? Name those you have seen. © ATOM 2017

• Explain the social change that was happening in Australia in the ‘70’s that the film reflected. SHINE 10 I I

Episode 2: Outsiders - the outsider filmmakers and their protagonists, at odds with the landscape and society

• According to David Stratton, “The stories of outsiders is an enduring theme of Australian cinema.” Identify some reasons for being considered an ‘outsider’?

• “These stories are more than stories. They do give us insight into ourselves, into our relationships.” List the 8 films about ‘outsiders’ in a table and summarise the reasons they and their makers represent “perspectives of so many outsiders in Australian cinema, both real and imagined”.

Film Year Director Film-maker as outsider Protagonist as outsider © ATOM 2017

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MURIEL’S WEDDING,

THE OVERLANDERS

• When the film was made in 1966, why were co-pro- ductions necessary? What had happened to the once burgeoning Australian film industry and why had it happened? THEY’RE A WEIRD MOB

• Why was They’re A Weird Mob considered to be “ahead of its time”? Give 2 reasons.

Muriel’s Wedding, 1994 • Consider the scene shown and Russell Crowe’s com- ments. Explain the social criticism of the film. Despite • Identify 3 reasons that mark Muriel’s Wedding as an the film’s age, how is its message still relevant? What important film. can audiences learn from it today?

• Identify 2 specific ways it engaged Australian • When it opened in December 1966, They’re A Weird audiences. Mob “broke cinema attendance records for 14 weeks”. Explain this success. • Explain the overall success of the film. • List other Australian films that tell stories of the migrant • Stratton says “that fine line between parody and de- experience in our nation. spair is a hallmark of ”.

Define ‘parody’ and ‘satire’. What other films, televi- The Overlanders, 1946 sion, web series or Youtube series do you know that reveal that distinctive form of Australian comedy? • List the other Australian films referenced here that “tell stories of white outsiders conquering the land”.

They’re A Weird Mob, 1966 • Based on the 2 images edited together from films The Overlanders and Australia, sketch or describe the • Hugo Weaving says that the film is a wonderful docu- “mythic” image of the Australian stockman. ment of a particular time. What can contemporary audiences learn from old films such as They’re A Weird • How was The Overlanders instrumental in Stratton’s Mob? own life?

• The film was a British-Australia co-production. What is • Who made the film and how famous was Chips © ATOM 2017 a ‘co-production’? Rafferty?

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EVIL ANGELS

WAKE IN FRIGHT Evil Angels, 1988

• What is the film about?

Wake in Fright, 1971 • Explain what prompted director Fred Schepisi to make the film? • “It took an outsider to show Australians some ugly home truths.” Explain why it took a -Australian • Watch carefully the excerpts shown; explain how director to show the “menacing” side of Australian he exposed “the bigotry and intolerance of many culture. Australians” through his use of production techniques.

• Identify the ‘ugly home truths’ that are depicted in the • Stratton thinks Evil Angels “was absolutely crucial in sequences from the film. changing attitudes” in Australia. What evidence does he give to support his view given the lack of box-office • Jack Thompson says the film “brought a reality to the success the film received? screen that was crucial for all Australians and all would- be filmmakers in this country, to meet themselves for • Sam Neill played in the film; he the first time.” Explain why the reviews of the film were knew he was doing a film that wouldn’t be popular with negative. a lot of Australians. So why did he do it? Explain this serious side to being an actor in a film about a true • Why is this controversial film seen as so important, story. especially given its television re-make? • Watch other films that depict a failure of justice in • Identify the film-making techniques (such as editing Australia. Some titles include (2002) and camerawork) seen in the screened sequence that and Balibo (2009). make the last 10 minutes of the film disturbing for some. • They may not be “happy” stories but why is it impor- tant that these films are made?

Walkabout, 1971

• It took another foreign director to depict the Australian landscape as beautiful and mystical. What technical equipment allowed him to capture the landscape in new ways?

• Importantly, Walkabout launched ’s acting career. List the films featured here that he’s acted in.

• Explain the impact Walkabout and Gulpilil had on a young Warwick Thornton.

• There are several reasons that make the film an impor- tant one. What are some of these? © ATOM 2017 • Despite its international critical acclaim, why wasn’t the film popular in Australia? WALKABOUT 13 I I

THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT

Bran Nue Dae, 2009

• Director, Rachel Perkins says, “The thing about Bran Nue Dae is that on the surface it is this sort of absurd comedy road movie but there are many layers to read into the film” Based on the sequences shown, what features can you see that you think made it a success with audiences?

• What does it reflect about culture and current so- cial attitudes towards race relations, and specifically Reconciliation in Australia?

• “The vitality and pride that runs through Bran Nue Dae, also runs through other indigenous-made films, BRAN NUE DAE appearing in the twenty-first century. It’s been called the new Black Wave of filmmaking.” How is the film a product of its time? • Given the time when the ‘Grim Reaper’ AIDS adver- tisements were everywhere, explain why the film was The Adventures of Priscilla, Queen of the needed in Australia in the 1990s. Desert, 1994 • Films like ‘Priscilla’ turn ‘preconceptions into real peo- • “The same levellers of humour and music were the ple’. Explain how. core of one of the most powerful Australian films about outsiders”. The Adventures of Priscilla, Queen of the • Name any other film you’ve seen recently that has Desert was both a “feel good movie” and a “phobia changed a perception or belief you have. What smasher”. Explain what is meant by this description. changed? And why?

• The screenplay was inspired by a threatening experi- • “The incongruity of drag queens in the desert showed © ATOM 2017 ence of the writer/director Stephan Elliot. So what us that identity is endless”. How can this statement be does the making of the film mean for both him and applied to this ‘’. Explain the power of audiences? the final image shown here from the film. 14 I I

Episode 3: Family- the onscreen tribes who collectively reflect who we are

• According to David Stratton, “The idea of what makes a family is a rich theme in Australian cinema. But families don’t just share blood, families are also tribes united by faith, culture and even darker motives.” Identify some ‘tribes’ you are familiar with.

• “In Australian films the stories of families reflect our values and our vastly different communities. These stories are more than stories. They do give us insight into ourselves, into our relationships.” List the 10 films about ‘families’ in a table and summarise the values each group reflects.

Film Year Director Diverse family type Values of the group © ATOM 2017

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THE CASTLE THE DEVIL’S PLAYGROUND

The Castle, 1997 The Devil’s Playground, 1976

• Working Dog Productions made the film. Who makes • Explain director Fred Schepisi’s personal reasons for up that production company? What other films has making this film? the team made? In what other forms do they produce Australian stories? • Identify his 2 other Australian films made about families under pressure. • Explain why the film is loved by many Australians? • What else has Schepisi made? • Stratton initially thought it was film “of caricature. It was a caricature I was uncomfortable with”. What do you think he meant and what does he think of the film now? Romper Stomper, 1992

• Explain Stratton’s concerns about the film when it was Rabbit Proof Fence, 2002 released in 1992.

• Explain why the film’s “tough subject was a difficult • What sense of responsibility did Stratton feel about his sell”. role as a reviewer? Consider Tony Ayres’ recollections about the release of Romper Stomper. • Why is Evelyn’s role as Molly seen as a “milestone in Indigenous representation” (as Gulpilil’s was in 1971)? • What did Stratton’s refusal to “star” the film inadvert- ently do for it? Explain how. • Explain why it is so important that this story is told as a .

• In terms of its cultural and political significance, what impact did it have on Australian society?

• The film’s poignant scene of family reconciliation that makes director David Michod “cry every time” is shown. Identify the technical elements that are seen and heard that create the power to move audiences to tears.

• What else has director Philip Noyce made? © ATOM 2017

RABBIT PROOF FENCE ROMPER STOMPER 16 I I

HEAD ON LANTANA

Head On, 1998 Lantana, 2001

• ”The struggle of the new arrival to fit in makes for • Lantana was directed by Ray Lawrence who, unlike Paul potent stories about our changing national identity.” Cox, made only 3 feature films in 3 years. Name the other 2. List the films represented here that tell stories of the migrant experience in Australia. • Explain the success Lantana achieved with both critics and audiences. • Whose stories do they tell? • Based on the extracts shown from the film what do • Explain the importance for ALL Australians of “seeing you think might have appealed to audiences about the yourself on screen” (Tony Ayres). content and style of the film?

• What was considered ‘brave and confronting about Ana Kokkinos’ Head On? Animal Kingdom, 2010

• Stratton claims that Australian films that belong to Force of Destiny, 2015/Innocence, 2000 the crime are distinctive because “in our films lawbreakers are seen as part of the family unit.” Identify • Paul Cox is introduced as “arguably Australia’s most the films here that fit this category. uncompromising director” and an . What is an ‘auteur’? • Animal Kingdom achieved much international attention. Research to discover why. • A prolific film maker, how many films did he make? Use a database like IMDB or Wikipedia to count them and • “Another feature of Australian crime is that the films list 5 of them by title. are often based on real events or characters.” Name as many as you can, including those represented here. • What subject material did most of his films deal with?

• The documentary series is dedicated to Paul Cox who The Story of the Kelly Gang, 1906 died in 2014. Why do you think the makers of this series dedicated it to his memory? Explain his contri- • The National Film and Sound Archive have film of The bution to Australian film culture. Why was he unique? Story of The Kelly Gang. Explain the enormous signifi- cance of this film and the reasons the reel is so precious.

• How many remakes did the film inspire? Name and date them.

Newsfront, 1978

• What is Newsfront about?

• Made by young director Philip Noyce, explain why the film is Stratton’s favourite.

• Explain the film’s powerful message about the Australian film industry. © ATOM 2017 • List the most recently released films featured in the final segment of this episode. Which have you seen? FORCE OF DESTINY, 2015/INNOCENCE Which ones would you like to see? 17 I I

DAVID STRATTON AS FILM LOVER AND CRITIC

David as film lover

“A nation found its identity through cinema and so did I; this is my journey through the movies that made our na- tion,” he says.

• As you watch the series note evidence of David’s love of film.

• In the scene of him in his study, what objects reveal his love of cinema?

• How has David Stratton been officially recognized for his contributions to Australian cinema? What did he receive on 2015? THE MOVIE SHOW

David as a film critic/reviewer walk out. But I think having those public screenings opened doors for young filmmakers.” • Identify qualities and skills you think are important for a film critic to have? • Why are film festivals important? • What is the role of a film critic or film reviewer? • Who are they important for? • David Stratton wrote for VARIETY magazine as film critic for 21 years after he left the , • Name 5 film festivals that you could experience either then reviewed films with Margaret Pomeranz on THE online or by visiting in your region, suburb or capitol MOVIE SHOW and AT THE MOVIES. Find out more city. about these 2 television shows, when they were broad- cast and where. Why were these shows so important • How many of these specifically promote Australian film and why are they remembered so fondly? and how do they do that?

• Watch some footage of Margaret and David discussing • Can you name Australia’s most prestigious films. competition and the largest short film festival in the world that began in a Sydney café? The pair were so different and often disagreed. What’s healthy about argument?

• Identify other successful media partnerships where one David on recent Australian films compliments the other. “There was a time in the ’70s in the wake of Picnic at Hanging Rock and My Brilliant Career and others when David as a film festival director Australian films were really embraced by Australians. People would look forward to the next one coming out and David has played a pivotal role nurturing filmmakers and there was a real feeling of pride and affection for the most- helping them find audiences for their films locally and inter- ly wonderful films made then. That bubble burst with (tax nationally. “When I started championing Australian cinema incentive) 10BA. Vast numbers of mediocre films came out, at the Sydney Film Festival I couldn’t have imagined the dramatically changing the proportion of good films to dis- richness of movies that would follow,” says David. “At the appointing films. That did a lot of damage to the trust and Sydney Film Festival we created short film competitions… interest audiences had. Now local audiences take films on The entries came from directors who would become some a one-by-one basis. They will go and see Lion, which has of Australia’s most influential filmmakers.” had good reviews and is well marketed but they won’t go and see Down Under.” Down Under is a set © ATOM 2017 Gillian Armstrong said of Stratton, “When I did my first in the aftermath of the Cronulla riots in Sydney’s south. short films when he was running the Sydney Film Festival The sort of audience who might enjoy it also doesn’t go to people would boo and hiss at the films and get up and the cinema, he adds. 18 I I

Strictly Ballroom and Lantana among the Australian films that straddle popularity and excellence but there are many others.

• Identify other Australian films that are both popular and excellent.

• Set up a class debate; choose one of the topics:

‘It is important for Australians to see Australian films.’

‘The Australian government should offer financial incentives for the production of Australian films.’ DS, GEORGE MILLER, GOSIA DOBROWOLSKA

• What was both good and bad about 10BA? David on making the documentary

• A film that has good reviews and is well- marketed at- “The biggest challenge (of making the series) was whittling tracts audiences. Explain how. the list of films I wanted to feature down. Most are in but some didn’t make it or are seen very fleetingly but that’s • Recall an instance when good reviews or market- inevitable. You can’t cover everything.” ing prompted you to see a feature film at a cinema. Was it Australian? Apart from Lion, what was the last • Several films that were not or barely referenced were Australian film that you know was well-advertised? films that fit into the “Coming of age” genre such as , Moving Out, Looking For “The regular loyal audience that will go out and see Alibrandi, September, Is This The Real World and Australian films tends to be an older audience and Dance Academy. These films depict teenagers at differ- probably an educated audience but they won’t neces- ent times and places in Australia. Watch 2 or 3 of these sarily go and see a sci-fi film such as Predestination films and compare the representation of teenagers and or a such as and that’s a their relationships with others, family and place. shame. They’re superb films both of them.”

• Where is a ‘young audience’ likely to watch feature fil Is This the Real World (2016) is an independently funded ms? film that had a very limited release. Watch it and see if you agree with either David Stratton’s review as published in • Do you know anyone who has seen The Babadook or The Australian http://www.theaustralian.com.au/arts/ Predestination? review/is-this-the-real-world-starring-susie-porter- sean-keenan-and-360/news-story/e2e39451907d- Read https://theconversation.com/the-horror-at- 9a7805512bbc18e1a7e4 or Sarah Watson’s from the-heart-of-australian-cinema-19812. Why does the Filmink author, Lauren Carroll Harris write that ‘we need a new distribution model for the digital age.’? What does she https://filmink.com.au/reviews/ mean by ‘Australian audiences don’t really get to choose review-is-this-the-real-world/ what’s available to watch on Australian screens; Hollywood distributors do.’?

Read http://www.smh.com.au/entertainment/mov- ies/australian-film-has-had-its-biggest-year-at-the- box-office-ever-why-20151204-glfut3.html. Identify the reasons for the box-office success of Australian films in 2015 as explained by Karl Quinn.

David on Australian films generally © ATOM 2017 “There are more Australian films that are of high quality that didn’t find a large audience than disappointing films that did,” says David. He puts Breaker Morant, Gallipoli, DS & PETER WEIR AND GRAHAM SHIRLEY 19 I I

for money for an Australian film industry in the late 1960s and early 1970s. He wrote, “We hold these truths to be self-evident, it is time to see our own landscapes, hear our own voices, and dream our own dreams.”

Use the Screen Australia website or Engage’s Nelson Media textbook or Chapter 7.12 in the EBook- VCE Media: New Ways and Meanings Units1&2 for the following:

• Create a timeline of key events in Australian cinema history.

• Identify state and federal government film funding organisations.

• What was 10BA and what was its impact? EXTENSION ACTIVITIES • Explain the difference between a production and a dis- tribution company and give 3 examples of each. What Representations in films films has each produced or distributed?

“These are the stories of the films that changed the way • What does Classification Australia do? Use its website the world saw us and how we saw ourselves … a story of to check the rating given to 3 Australian films you know how the films and those who made them broke through the of. status quo.” David Stratton. • David Stratton remembers visiting cinemas with his “It’s important we tell our own stories and make our own grandmother. In the 1980s home video then, later in films, otherwise you’re a voiceless nation.” Sam Neill the 1990’s DVDs and in the 2000s online streaming signaled the demise of cinemas. Some did close but in “Film projectors project so much more than stories. They recent times many have been restored and new ones beam our identity and values…” David Stratton opened.

• Watch a selection of 3 films featured in the series and Use an “old fashioned” hard-copy newspaper guide linked, for example, by genre, a period in time, a set- to identify as many cinemas as you can in your locale. ting, type of protagonists, director or style. Note those ‘local’ ones, then those in your region, then closest capitol city. Use one of the quotes above as a focus to analyse and compare the representations and values depicted in Make a list as a class, then in pairs, find out as much the 3 films. as you can about one of the cinemas listed. Include the type of films it screens, the amount of screens it has and who owns it (is it ‘independent’ or part of a small or larger ‘chain’). Australian cinema Using the IP Awareness-Making Movies resource that can Local films had thrived during the silent era but the be downloaded from http://www.nothingbeatsthere- Australian film industry had declined due to economic althing.info/, briefly describe what happens in each of the depression, war and a deluge of Hollywood movies. 5 stages of film production: development, pre-production, production, post-production, distribution and exhibition. • Extracts from 3 early silent films are shown in the series. Research this period of Australian cinema and Again, using the IP Awareness-Making Movies resource, identify 3 films, their makers and the stories they told textbook extracts and the film-making roles glossary on and entertained audiences with before the invention of Brett Lamb’s website, http://lessonbucket.com/vce- , war, then Hollywood. media/unit-2/media-industry/film-production-roles/ identify and define 5 roles that you were not familiar with Editor, Tony Buckley said, “We didn’t have a film industry (eg. runner, grip, foley artist). at all. Yes we had newsreels, television had started but we © ATOM 2017 weren’t financed to make feature films.” Using a careers and tertiary courses guide, find 5 tertiary film courses or film schools where people can study and was one of many lobbying the government train to work in the film industry. 20 I I Australian history through feature films

Running through the whole series is an acknowledgement that Australian cinema has made a priceless contribution to a greater understanding of the impact of white colonization on Indigenous Australia – and just how wrong the actions of some governments have been.

National cinema is shaped by Australia and also plays a part in shaping Australia.

• The National Museum holds a collection of material including Azaria Chamberlain’s baby clothes. Explain the importance of these archival collections for a nation’s historians and “storytellers”.

• Lindy and Michael Chamberlain served as consultants to DS & JACKI WEAVER the film, Evil Angels. Lindy’s home videos from the film- ing are screened in episode 2. What can Australians and historians learn from ‘behind-the-scenes’ home video footage such as this? in film

Does your family have home video footage? If so, have The films document the ongoing challenges and frustra- you seen it? Why is it important? Who is it important to? tions of Indigenous people but also celebrate their spirit, camaraderie and deadly sense of humour. Featured films • Evil Angels, Rabbit Proof Fence, Balibo are some include Jedda and Walkabout, Rabbit Proof Fence and films that contributed to political or social change in Bran Nue Dae. Australia. What changes did each of these impact? • Others are referenced in the episode 2 section on Download the free resource on Rabbit Proof Fence from Walkabout and Bran Nue Dae. List these films about to explore the impact the film had on discourse sur- Indigenous Australians in the twenty-first century. rounding the Stolen Generation in Australia in the early 2000s. http://www.nothingbeatstherealthing.info/ • The new ‘Black Wave’ genre of filmmaking is important all-resources for all Australians. Explain why.

• Identify indigenous Australians who have made signifi- cant contributions to Australian cinema. Women filmmakers In 2015 the International Film Festival • As well as having a female producers, the promi- screened a program of films featuring David Gulpilil. nence of strong female characters in the films Picnic Listen to the 2015 ABC interview with him and sum- at Hanging Rock and My Brilliant Career film reflected marise his relationship with cinema. Follow the link an important social movement that began in the late and download the podcast http://www.abc.net. 60s and developed in the 1970s. Explain the way the au/radionational/programs/drawingroom/ 2 films reflected the social changes affecting gender david-gulpilil-and-rolf-de-heer/7028918 roles in Australian society at the time. Download the free resource on Rabbit Proof Fence to find • “In the 1920s, sisters, Paulette, Isobel and Phyllis out more about Doris Pilkington’s story. http://www.noth- McDonagh were business partners in the first all-fe- ingbeatstherealthing.info/all-resources male film company in Australia. If not, the world….Their first movie, Those Who Love, made more money than Chaplin’s film, The Gold Rush in Australia that year. And, they were among the earliest Australian filmmak- Literary adaptations ers to experiment with sound. The tragedy today is that none of their films survive, intact.” David Stratton. • Picnic at Hanging Rock, My Brilliant Career, Rabbit Proof Fence, The Devil’s Playground, The Chant of Find out more about the McDonagh sisters and other Jimmie Blacksmith, They’re A Weird Mob, Wake In pioneering women filmmakers such as , Fright, Evil Angels and Walkabout are all film adapta- Lottie Lyell and Louise Lovely. tions of novels. © ATOM 2017

• What is the Screen Australia’s Gender Matters program Compare the film version of one of the films with the and why was it established? novel upon which it was based. 21 I I

PRESENTER BIOGRAPHY

David has also worked as a film critic for The Australian David Stratton from 1988 until the present and for a range of other titles. Since 1983 he has reviewed films for the US-based trade David Stratton was born in the UK in 1939 and educated in newspaper Variety. He resigned in 2003. Britain. He migrated to Australia in 1963 and was appoint- ed director of the Sydney Film Festival in 1966. He stayed A second book, The Avocado Plantation, about Australian on for 18 years, resigning in 1983. cinema in the 1980s, was published in 1990 and David’s autobiography, I Peed on Fellini, in 2008. He has been During this period he was involved in the 1970s renais- working on a book about the Australian films made since sance of Australian cinema. The festival screened the 1990. A publisher is not yet signed. world premieres of the first short and feature work of several key directors including Peter Weir, , During his career David has: attended many international Fred Schepisi, Gillian Armstrong, Paul Cox, George Miller film festivals; served as a member of the international jury and others. His first book, The Last New Wave, about new in Berlin (1982), Montreal (1982) and Venice (1994); chaired Australian cinema, was published in 1980. FIPRESCI (International Federation of Film Critics) juries in Cannes and Venice; and served on juries in , Also in 1980, David became feature film consultant to Hawaii, Karlovy Vary and . Australia’s SBS, the then newly-established multi-cultural television network. There he selected and introduced on- David has lectured on film history as part of the Continuing air contemporary international feature films and cinema Education program at the since 1990. classics programs. David is a recipient of the Award for In 1986 he and Margaret Pomeranz started reviewing each services to Australian cinema, awarded by the Australian week’s new movies – mainstream and arthouse – on a new Film Institute, and the Charles Chauvel Award from the television program, The Movie Show. It also included in- International Film Festival. In the 2015 Australia terviews with filmmakers and actors. An instant success, it Day Honours he was presented the award of Member was broadcast in prime time. In 2004, the pair were invited (AM) in the General Division of the Order of Australia. He © ATOM 2017 to move from SBS to ABC TV. The Movie Show and At the is an Honorary Doctor of Letters (University of Sydney and Movies together had a record 28-year run, with the final ) and a Commander of the Order of broadcast in December 2014. Arts and Letters (). 22 I I

Useful links for reference and further research – http://www.australia.gov.au/about-australia/ australian-story/film-in-australia http://www.aacta.org/ https://www.screenaustralia.gov.au/fact-finders/ cinema/industry-trends http://www.creativecontentaustralia.org.au/ http://www.nothingbeatstherealthing.info/ education-resources/making-movies https://www.creativespirits.info/resources/ DS & GEOFFREY RUSH movies/#axzz4f3M8lB1Y for timeline, titles and info on films featuring Indigenous Australians http://www.afca.org.au/ http://theeducationshop.com.au/ screen-education-back-issues/ https://2015.acmi.net.au/collections-research/ http://theeducationshop.com.au/metro-back-issues/ http://if.com.au/ http://theeducationshop.com.au/metro-articles/ https://cinemaaustralia.com.au/ http://programsandcourses.anu.edu.au/course/ http://www.screenhub.com.au/ FILM2066 https://www.nfsa.gov.au/ http://www.aftrs.edu.au/ http://www.filmblerg.com/category/ http://www.swinburne.edu.au/study/find-a-course/ australian-cinema/ film-television/ http://www.urbancinefile.com.au/ https://coursesearch.unimelb.edu.au/ undergrad/1787-bachelor-of-fine-arts http://www.rrr.org.au/program/film-buff-s-forecast/ https://coursesearch.unimelb.edu.au/ https://filmink.com.au/ majors/51-film-and-television http://2017.hraff.org.au/ https://coursesearch.unimelb.edu.au/ majors/145-animation https://miff.com.au/ https://bond.edu.au/program/ http://www.tropfest.org.au/ bachelor-film-and-television https://www.stkildafilmfestival.com.au/ http://www.australianshortfilms.com/study-film-in- australia.html http://www.sff.org.au/ https://www.qut.edu.au/study/study-areas/ http://www.safilm.com.au/ study-film-and-tv https://www.film.vic.gov.au/ https://itunes.apple.com/au/movie/ is-this-the-real-world/id1132761368 http://www.screen.nsw.gov.au/ http://www.isthistherealworldfilm.com/ © ATOM 2017 http://screenwest.wa.gov.au/ https://filmink.com.au/reviews/ http://www.metromagazine.com.au/index.html review-is-this-the-real-world/ 23 I I

Documentary Films

Not Quite Hollywood: The Wild, Untold Story of Ozploitation (2008) Mark Hartley. 103 mins MA Dist: Madman

Into the Shadows (2009) Andrew Scarano, Phil Hignett. 90 mins M Dist: Ronin Films (and ATOM Study Guide- Victoria Giummarra)

Between a Frock and a Hard Place (2015) Paul Clarke 58 mins Dist: ABC TV Narrated by , this is the story behind one of the world’s most loved films, The Adventures of Priscilla, Queen of the Desert.

Don’t Call Me Girlie (1985) Stewart Young, Andree Wright 69 mins G Dist: Ronin Films

ATOM Study Guides, Metro and Screen Education https://www.theguardian.com/film/2014/oct/26/ ATOM Study Guides exist for many of the films featured in australian-film-australian-audiences the documentary. Many articles about individual Australian films, genres and representations have been published in https://aso.gov.au/titles/collections/ Metro and Screen Education. The more recent editions can horror-in-australian-cinema/ be found via the ATOM website and Education shop. Back copies may be ordered. https://wwwmcc.murdoch.edu.au/ReadingRoom/ film/1980s.html Books http://www.abc.net.au/news/2015-08-01/australian- Ebook- VCE Media: New Ways and Meanings Units1&2 film-industry-celebrates-best-year-in-two- Colin Stewart and Adam Kowaltzke Jacaranda Wiley decades/6660270 (Chapter 7.12) https://dailyreview.com.au/australian-cinema-is- Nelson Media: VCE Units 1-4- Jo Flack Engage still-big-its-the-audience-that-got-small/11426/

Articles http://theconversation.com/ australian-cinema-for-australia-day-71884 http://www.smh.com.au/entertainment/movies/film- festival-strikes-right-balance-20170425-gvrsok.html https://2015.acmi.net.au/acmi-channel/2016/ five-unmissable-ozploitation-horror-films/ https://theconversation.com/ the-horror-at-the-heart-of-australian-cinema-19812 https://2015.acmi.net.au/acmi-channel/2009/ film-essay-oz-noir/ http://www.smh.com.au/entertainment/movies/ australian-film-has-had-its-biggest-year-at-the-box- http://www.spookmagazine.com/ office-ever-why-20151204-glfut3.html australian-cinema-its-not-as-bad-as-you-think/ http://www.smh.com.au/entertainment/movies/ http://www.theaustralian.com.au/arts/film/for-films- screen-australia-creates-3-million-express-lane-for- sake-festival-takes-on-dude-club/news-story/64fb7 women-in-film-and-tv-20160712-gq3tqp.html 2181c8c9d706c60f4a175b33635 https://theconversation.com/how-mad-max-wrote- Prescott, Nick 2005. “All we see and all we seem...” - the-script-for-the-action-blockbuster-40627 Australian Cinema and National Landscape ‘Understanding Cultural Landscapes Symposium’, 11-15 July. Flinders https://www.pedestrian.tv/news/arts-and-culture/ University. [abstract]. http://dspace.flinders.edu.au/ © ATOM 2017 is-there-any-hope-for-the-australian-film- xmlui/bitstream/handle/2328/1565/N_Prescott.pdf;j industry/851976ab-8e3e-4a85-bd2c-d4da098dc963. sessionid=929B93D07C345F33DDDE4F2508A671B htm D?sequence=1 24 I I

A FILM QUIZ Based On Information In The Documentary

Q1: What was the first [A follow up clue? He shot Q6: Which film launched Australian film to be to fame after playing a not just ’s invited to the Cannes pianist.] career but also Rachel film festival? Griffith’s? A: Geoffrey Rush for his [A follow up clue? Charles role in Shine. A: Muriel’s Wedding Chauvel directed it in 1955.] Q4: Name the actor. In Q7: What was the his first film role his first film to star David A: Jedda. on-screen father-in-law Gulpilil? had several greyhounds Q9: What was the first and lived alongside A: Walkabout feature film made in the a major metropolitan world? airport. [More info: Englishman Nicholas Roeg made the [A follow up clue? Think A: Eric Bana film in 1971.] bushrangers.]

Q5: What was the Q8: Which film did A: The Story of the Kelly name of director Fred David Stratton – contro- Gang. Schepisi’s first film? versially – decide not to give a score to? Q10: Which film by [A follow up clue? It drew Warwick Thornton won on Schepisi’s own life as [A follow up clue? It fea- the Caméra d’Or at the a teenager in a Catholic tured a group of neo-Nazis ? Q2: What is the name of seminary] lead by Russell Crowe] the most recent addi- A: Samson & Delilah. tion to the most suc- A: The Devil’s Playground. A: Romper Stomper. cessful returnable film brand to emerge from Australia.

A: Mad Max: Fury Road.

[More info: There’s been four films since the first, released in cinemas in 1979.]

Q3: Who was the first © ATOM 2017 living Australian to win an Academy Award? For what film? 25 This study guide was produced by ATOM. (© ATOM 2017) ISBN: 978-1-76061-073-9 [email protected] To download other study guides, plus thousands of articles on Film as Text, Screen Literacy, Multiliteracy and Media Studies, visit . Join ATOM’s email broadcast list for invitations to free screenings, conferences, seminars, etc. © ATOM 2017 Sign up now at . 26