DOCSLIB.ORG

Craig William Proudley Exegesis (PDF 985Kb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Craig William Proudley Exegesis (PDF 985Kb) The Way of the Warrior Realising the Mythic Warrior-hero in the Action genre and in Australian Cinema By Craig Proudley (Bachelor of Screen Production, Griffith University) A feature film screenplay and exegesis submitted for the requirements for the award, Master of Fine Arts (Research) Principal Supervisor: Dr Sean Maher Faculty of Creative Industries Queensland University of Technology 2018 1 Keywords Screenwriting theory, feature film, character, warrior, genre, archetype, myth, structure, plot 2 Abstract This project utilises Creative Practice as research. It explores warrior-hero archetypes in the Action genre; creates and includes these archetypes in the original Australian screenplay Behold a Pale Horse; and discusses their influence on the screenplay’s development. Together, this creative project and accompanying exegesis seek to interrogate some of the inherent codes, tropes, and conventions associated with the Action genre. Moreover, the exegesis seeks to develop and deliberate on character archetypes derived from myth. It also explores their deep association with concepts and archetypical features within the Western genre—the origin of the Action genre. By using Creative Practice as research, the work consists of a detailed analysis of successful Australian films that have featured attributes of the warrior-hero. This practice-led examination is conceptually critiqued against the work of story theorists such as mythologist Joseph Campbell and screenwriting analyst John Truby. These critiques are used to highlight the nuances of the warrior-hero, their relationship to Campbell’s Hero’s Journey model, and the necessary components of this archetype’s deployment in a screenplay within the Action genre. Tested against the generic origins of the Western genre, and using the Australian Bush Myth as a cultural fabric, this analysis and critique is then deployed in the development of the Creative Practice. Through the paradigm of Australian national cinema, the exegesis examines the Action genre in Australia, alongside previous representations of the warrior-hero in key Hollywood examples. Warrior-hero archetypes explored include the Traveling Angel-hero, the Rogue-hero and the Doomed Warrior-hero, alongside a discussion on their cultural relevance to Australian genre cinema. Therefore, the exegesis also seeks to question the dominant national cinema paradigms through which genre are predominantly judged. These investigations are particularly relevant, since Behold a Pale Horse and its warrior-hero protagonist (simply known as Rider) draw upon a suite of codes, tropes, and conventions that are commonly used in a form of film often considered absent of cultural relevance. Finally, this project illuminates how choices are made in the process of writing the screenplay, and where theoretical discussion can drive the development of Creative Practice. 3 Summary of exegesis This exegesis reviews and critiques Warrior-hero archetypes and proposes a screenplay model that synthesises the Warrior-hero archetype within the tropes, codes, and conventions of the Action genre. The conceptual model that results is then applied in the context of Australian feature film screenwriting. Screenplay synopsis Behold a Pale Horse is a post-apocalyptic action movie about Rider, a “seed carrier” who saves a mother, baby, and its dying father from the toxic atomic winds. He does this by taking them to one of the only surviving outposts, a saloon filled with the scum and villainy of the few survivors left in Australia. When Rider finds his fellow missing seed carriers imprisoned or dead in the vast cave system underneath the saloon, he decides to take back the seeds. However, when he discovers that the bar itself is the seed vault he has spent years looking for, and that the baby (the first child born in over 20 years) will be used as ritual sacrifice by the evil matriarch, The Husband, Rider now must defeat her, the Warrior Women, and an array of transient mercenaries by saving the seeds and the child before an even greater evil arrives. 4 Table of Contents Keywords ................................................................................................................................................. 2 Abstract .................................................................................................................................................... 3 Summary of Exegesis/Screenplay Synopsis ............................................................................................. 4 Table of Contents ..................................................................................................................................... 5 Statement of Original Authorship ............................................................................................................ 8 Acknowledgements .................................................................................................................................. 9 Glossary of Terms .................................................................................................................................. 10 Exegesis .................................................................................................................................................. 12 INTRODUCTION .................................................................................................................................. 12 1. LITERATURE REVIEW ................................................................................................................... 20 1.1 Australian national cinema .......................................................................................................... 20 1.2 Narrative representations of masculine heroes ............................................................................ 22 1.3 Inward-facing sensitbilities .......................................................................................................... 27 1.4 The monomyth as a path to outward-facing sensibilities ............................................................. 30 1.5 Discovery of the Warrior-hero archetype .................................................................................... 32 1.6 Cinema rentals for warrior-heroes ............................................................................................... 34 2. METHODOLOGY ............................................................................................................................. 36 2.1 Defining 'genre' ............................................................................................................................ 36 2.2 Action genre ................................................................................................................................ 37 5 2.3 Generic transformation of the Western genre ............................................................................. 42 2.4 Warrior-heroes in the Action genre ............................................................................................. 44 3. WARRIOR-HERO CRITIQUE ..................................................................................................... 48 3.1 Warrior-hero archetypes .............................................................................................................. 49 3.1.1 The Travelling Angel-hero ................................................................................................. 50 3.1.2 The Rogue-hero .................................................................................................................. 51 3.1.3 The Doomed warrior-hero ................................................................................................. 53 3.1.4 The Holy Fool-hero ............................................................................................................ 54 3.1.5 The Female Action-hero ..................................................................................................... 56 3.2 Overview of Australian mythic exemplars .................................................................................. 57 3.2.1 Mad Max Franchise ........................................................................................................... 58 3.2.2 Crocodile Dundee .............................................................................................................. 61 3.2.3 The Man from Snow River .................................................................................................. 63 4. CRITIQUE OF ARCHETYPES ................................................................................................... 66 4.1 Critque of Warrior-hero archetype: The Travelling Angel-hero .................................................. 66 4.2 The mythic dimension via theme ................................................................................................. 75 4.3 Critque of Travelling Angel-hero exemplar: Die Hard ............................................................... 77 5. CREATIVE PRACTICE .................................................................................................................... 80 5.1 Central dramatic question ............................................................................................................ 80 5.2 The logline ................................................................................................................................... 81 5.3 Warrior-hero archetypes applied ................................................................................................
Load more

Recommended publications
  • Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
    KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B.
    [Show full text]
  • The Rhetorical Significance of Gojira
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph.
    [Show full text]
  • Spectre, Connoting a Denied That This Was a Reference to the Earlier Films
    Key Terms and Consider INTERTEXTUALITY Consider NARRATIVE conventions The white tuxedo intertextually references earlier Bond Behind Bond, image of a man wearing a skeleton mask and films (previous Bonds, including Roger Moore, have worn bone design on his jacket. Skeleton has connotations of Central image, protag- the white tuxedo, however this poster specifically refer- death and danger and the mask is covering up someone’s onist, hero, villain, title, ences Sean Connery in Goldfinger), providing a sense of identity, someone who wishes to remain hidden, someone star appeal, credit block, familiarity, nostalgia and pleasure to fans who recognise lurking in the shadows. It is quite easy to guess that this char- frame, enigma codes, the link. acter would be Propp’s villain and his mask that is reminis- signify, Long shot, facial Bond films have often deliberately referenced earlier films cent of such holidays as Halloween or Day of the Dead means expression, body lan- in the franchise, for example the ‘Bond girl’ emerging he is Bond’s antagonist and no doubt wants to kill him. This guage, colour, enigma from the sea (Ursula Andress in Dr No and Halle Berry in acts as an enigma code for theaudience as we want to find codes. Die Another Day). Daniel Craig also emerged from the sea out who this character is and why he wants Bond. The skele- in Casino Royale, his first outing as Bond, however it was ton also references the title of the film, Spectre, connoting a denied that this was a reference to the earlier films. ghostly, haunting presence from Bond’s past.
    [Show full text]
  • Unbelievable Bodies: Audience Readings of Action Heroines As a Post-Feminist Visual Metaphor
    Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Ralina Joseph, Chair LeiLani Nishime Program Authorized to Offer Degree: Communication ©Copyright 2013 Jennifer McClearen Running head: AUDIENCE READINGS OF ACTION HEROINES University of Washington Abstract Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen Chair of Supervisory Committee: Associate Professor Ralina Joseph Department of Communication In this paper, I employ a feminist approach to audience research and examine the individual interviews of 11 undergraduate women who regularly watch and enjoy action heroine films. Participants in the study articulate action heroines as visual metaphors for career and academic success and take pleasure in seeing women succeed against adversity. However, they are reluctant to believe that the female bodies onscreen are physically capable of the action they perform when compared with male counterparts—a belief based on post-feminist assumptions of the limits of female physical abilities and the persistent representations of thin action heroines in film. I argue that post-feminist ideology encourages women to imagine action heroines as successful in intellectual arenas; yet, the ideology simultaneously disciplines action heroine bodies to render them unbelievable as physically powerful women.
    [Show full text]
  • 'The Whole Burden of Civilisation Has Fallen Upon Us'
    ‘The Whole Burden of Civilisation Has Fallen upon Us’. The Representation of Gender in Zombie Films, 1968-2013 Leon van Amsterdam Student number: s1141627 Leiden University MA History: Cities, Migration and Global Interdependence Thesis supervisor: Marion Pluskota 2 Contents Chapter 1: Introduction .............................................................................................................. 4 Theory ................................................................................................................................. 6 Literature Review ............................................................................................................... 9 Material ............................................................................................................................ 13 Method ............................................................................................................................. 15 Chapter 2: A history of the zombie and its cultural significance ............................................. 18 Race and gender representations in early zombie films .................................................. 18 The sci-fi zombie and Romero’s ghoulish zombie ............................................................ 22 The loss and return of social anxiety in the zombie genre .............................................. 26 Chapter 3: (Post)feminism in American politics and films ....................................................... 30 Protofeminism .................................................................................................................
    [Show full text]
  • Artist Catalogue
    NOBODY, NOWHERE THE LAST MAN (1805) THE END OF THE WORLD (1916) END OF THE WORLD (1931) DELUGE (1933) THINGS TO COME (1936) PEACE ON EARTH (1939) FIVE (1951) WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) ROBOT MONSTER (1953) DAY THE WORLD ENDED (1955) KISS ME DEADLY (1955) FORBIDDEN PLANET (1956) INVASION OF THE BODY SNATCHERS (1956) WORLD WITHOUT END (1956) THE LOST MISSILE (1958) ON THE BEACH (1959) THE WORLD, THE FLESH AND THE DEVIL (1959) THE GIANT BEHEMOTH (1959) THE TIME MACHINE (1960) BEYOND THE TIME BAR- RIER (1960) LAST WOMAN ON EARTH (1960) BATTLE OF THE WORLDS (1961) THE LAST WAR (1961) THE DAY THE EARTH CAUGHT FIRE (1961) THE DAY OF THE TRIFFIDS (1962) LA JETÉE (1962) PAN- IC IN YEAR ZERO! (1962) THE CREATION OF THE HUMANOIDS (1962) THIS IS NOT A TEST (1962) LA JETÉE (1963) FAIL-SAFE (1964) WHAT IS LIFE? THE TIME TRAVELERS (1964) THE LAST MAN ON EARTH (1964) DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) THE DAY THE EARTH CAUGHT FIRE (1964) CRACK IN THE WORLD (1965) DALEKS – INVASION EARTH: 2150 A.D. (1966) THE WAR GAME (1965) IN THE YEAR 2889 (1967) LATE AUGUST AT THE HOTEL OZONE (1967) NIGHT OF THE LIVING DEAD (1968) PLANET OF THE APES (1968) THE BED-SITTING ROOM (1969) THE SEED OF MAN (1969) COLOSSUS: THE FORBIN PROJECT (1970) BE- NEATH THE PLANET OF THE APES (1970) NO BLADE OF GRASS (1970) GAS-S-S-S (1970) THE ANDROM- EDA STRAIN (1971) THE OMEGA MAN (1971) GLEN AND RANDA (1971) ESCAPE FROM THE PLANET OF THE APES (1971) SILENT RUNNING (1972) DO WE HAVE FREE WILL? BEWARE! THE BLOB (1972)
    [Show full text]
  • CURRICULUM VITAE Production Designer Art Director
    CURRICULUM VITAE Tony Cronin 34 Sixth Avenue ST PETERS, SA 5069 PH 08-83621832 Mobile- +61 438 668 371 Email [email protected] Production Designer YR PRODUCTIONS PRODUCER CREDIT TYPE 2008 Coffin Rock David Lightfoot Production Designer Feature 2008 McLeod’s Daughters Karl Zecki Production Designer TV Drama 2007 McLeod’s Daughters Karl Zecki Production Designer TV Drama 2006 McLeod’s Daughters Karl Zecki Production Designer TV Drama 2005 McLeod’s Daughters Susan Bower Production Designer TV Drama 2004 McLeod’s Daughters Susan Bower Production Designer TV Drama 2003 McLeod’s Daughter s Susan Bower Production Designer TV Drama 2002 McLeod’s Daughters Posie Graeme-Evans Production Designer TV Drama 2001 McLeod’s Daughters Posie Graeme –Evans Production Designer TV Drama 2000 Shot of Love Mark Patterson Production Designer Feature 2000 Moloch David Rowe Production Designer Tele Movie 2000 Nijinsky Paul Cox Production Designer Feature 1999 Innocence Paul Cox/Mark Patterson Production Designer Feature Art Director 1999 Selkie Jane Ballantyne Art Director Feature 1998 Sample People Bartley Smith Art Director Feature 1995 Shine Scott Hicks Art Director Feature 1990 The Last Crop Billy McKinnon Art Director Feature 1 Art Director CTV 2009 Spirit Films Bank SA Art Director CTV 2009 Spirit Films Coopers Art Director CTV 2009 Soma Films Road Transport Art Director CTV 2009 The Guild Mitsubishi (Love that car) Art Director CTV 2009 8 Commercial Telfast Hayfest Art Director CTV 2009 Spirit Films Bank SA Art Director CTV 2009 Mason Films David Jones
    [Show full text]
  • Newsletter 15/07 DIGITAL EDITION Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen.
    [Show full text]
  • Performances Rehearsals Plot the Director
    PERFORMANCES December 11 – 13, 2019 at the Regina Performing Arts Centre (RPAC) at 1077 Angus. REHEARSALS Rehearsals will be up to 3 times a week at RPAC. PLOT New York City policeman John McClane heads to California to visit his estranged wife Holly and their children on Christmas Eve. He joins Holly at her office holiday party but the festivities are soon interrupted by a group of guerillas who take everyone in the building captive. Soon, John realizes that there's no one to save the hostages – but him. The plot of A Very Die Hard Christmas closely follows that of the movie Die Hard but with much more camp, silliness, and songs. It's an outrageous take on the most beloved Christmas movie OF ALL TIME! THE DIRECTOR Jennifer Lyn Squires has worked with many theatre groups in her 30 years as nearly every role from actor to usher. Her productions have won awards at Theatre Saskatchewan's competitive festivals. She was trained at the University of Regina and University of Saskatchewan. CHARACTERS Many characters are double cast, but we will consider breaking them up into smaller parts. Doubled parts are marked with an asterisk. ALL genders, races, sexualities, ages, backgrounds (etc.) will be considered for all parts John McClane – A gritty cop from NYC. Hates California. Hans Gruber – The vaguely European head of the bad guys Karl – A vaguely European bad guy Heinrich* – Karl's brother Theo – Hans' tech specialist Holly Gennero – John's estranged wife. Loves California. Narrator - Narrator The Fixer – Primarily a silent role, facilitates a lot of 'special' effects Sgt Al Powell – A moderately competent policeman Joseph Takagi* - CEO of Nakatomi, Holly's boss Harry Ellis* – A sleazy Nakatomi employee Additional roles (that are written as doubled) include: security guard, Agent Johnson, Agent Johnson, employees and more! AUDITION LOCATION & TIMES The Theatre Saskatchewan office is located at 1102 8th Avenue in Regina.
    [Show full text]
  • Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction
    [Show full text]
  • The Cinema of Giorgio Mangiamele
    WHO IS BEHIND THE CAMERA? The cinema of Giorgio Mangiamele Silvana Tuccio Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy August, 2009 School of Culture and Communication The University of Melbourne Who is behind the camera? Abstract The cinema of independent film director Giorgio Mangiamele has remained in the shadows of Australian film history since the 1960s when he produced a remarkable body of films, including the feature film Clay, which was invited to the Cannes Film Festival in 1965. This thesis explores the silence that surrounds Mangiamele’s films. His oeuvre is characterised by a specific poetic vision that worked to make tangible a social reality arising out of the impact with foreignness—a foreign society, a foreign country. This thesis analyses the concept of the foreigner as a dominant feature in the development of a cinematic language, and the extent to which the foreigner as outsider intersects with the cinematic process. Each of Giorgio Mangiamele’s films depicts a sharp and sensitive picture of the dislocated figure, the foreigner apprehending the oppressive and silencing forces that surround his being whilst dealing with a new environment; at the same time the urban landscape of inner suburban Melbourne and the natural Australian landscape are recreated in the films. As well as the international recognition given to Clay, Mangiamele’s short films The Spag and Ninety-Nine Percent won Australian Film Institute awards. Giorgio Mangiamele’s films are particularly noted for their style. This thesis explores the cinematic aesthetic, visual style and language of the films.
    [Show full text]
  • History Sydney Film Festival
    HISTORY OF THE SYDNEY FILM FESTIVAL 1954 - 1983 PAULINE WEBBER MASTER of ARTS FACULTY OF HUMANITIES AND SOCIAL SCIENCES 2005 For John and David ACKNOWLEDGEMENTS I would like to thank David Donaldson, Valwyn Wishart, John Baxter, Dorothy Shoemark, Tony Buckley, David Stratton and many others involved in the SFF during its formative years who gave generously of their time and knowledge during the preparation of this thesis. I am especially grateful to Trish McPherson, who entrusted me with the SFF memorabilia of her late husband, Ian McPherson. Thanks also to my supervisor, Professor Elizabeth Jacka, for her enthusiasm and support, and to Associate Professor Paul Ashton and Raya Massie who undertook to read the final draft and who offered invaluable advice. TABLE OF CONTENTS Table of Abbreviations i Sydney Film Festival: A Chronology 1954-1983 ii Abstract vi Introduction 1 An International Context; A Local Context Chapter One Art Form of a Generation: The Early Years 1954-1961 18 Reinventing Australia: 1946-1954; Connections and Divisions; Olinda 1952; From Concept to Reality; The First Festival; The Festival Takes Shape; Is it Here? Does it Look like Arriving?; Here to Stay; From Crisis to Cohesion Chapter Two Expansion and Consolidation: 1962-1975 57 Coming of Age; The Times They Are A-Changin’: 1962-1967; The Proliferation of Unacceptable Thoughts; Communal Rapture: The Start of the Stratton Era; The Anxious Years: 1968-1972; Throwing Down the Gauntlet; Going Global; The Festival at the Top of its Form; The Best and the Most Interesting; A Rising Clamour to be Seen and Heard Chapter Three Beguiling Times: The SFF and Australian Cinema 121 The Old and the New; The Film Buffs, the Festival People, the Trendies, the Underground; The Short Film Awards; A Thrilling New Wave: The Film Revival and After Chapter Four Change and New Directions: 1976-1983 149 A Lean Operation; Some of the People, Some of the Time; Backing Winners; Old Problems, New pressures; A Sort of Terrible Regression; The Last of the Stratton Years; 1983; 1984: Brave New World.
    [Show full text]