1,721,042 research outputs found
Settings, subjects and stories: Creating Australian cinema
No full textThe story of Australian cinema is often told as one of brave and often futile struggle by passionate and talented filmmakers to tell Australian stories against the backdrop of an industry dominated locally as well as globally by Hollywood and its agents. In theses narratives international interests are often cast as the villains in the valiant struggle for national filmic self-expression. But such a focus on the national aspects of Australian cinema elides the depth of the international aspect of Australian cinema. A legend has grown around the last decade of the nineteenth century as a time of intense artistic and political activity when a national sensibility welled in writing, poetry and painting. Film too played a part in creating and sharing a vision of a nation, but from the earliest days film also linked Australia to the world
Hinglish cinema: the confluence of East and West
No full textAbout September 1994, the character of Bollywood underwent a change with a deluge of movies such as Bomgay (1996), Bombay Boys (1998), Split Wide Open (1999), Everybody Says I Am Fine (2001), Leela (2002) and Hazaaron Khwaishein Aisi (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English and Hindi:Bhakti poets of Hindi celebrated and characterized such fusion as ‘sadhukari boli’ or ‘khichri boli’. The most recent addition to this long inventory of mixed systems is Hinglish, a blend of Hindi and English. (Bhatia, 2011, p. 37)
Unlike mainstream: Towards a definition of the Australian art film
No full textThe possibility of a genre that might be called the Australian Art Film is discussed, with reference to the Period Art Films of the 1970s: "Picnic at Hanging Rock" (Peter Weir 1975) and "My Brilliant Career" (Gillian Armstrong 1979); and a case study of the work of non-mainstream film-maker Rolf de Heer
"Looking in all the wrong places"; or, harlequin false testimony and the Bulletin magazine's mythical construction of national identity, theatrical enterprise and the social world of little Australia, circa 1880-1920
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Bollywood and its other(s): Towards new configurations
No full text© Vikrant Kishore, Amit Sarwal and Parichay Patra 2014. How do we define the globalized cinema and media cultures of Bollywood in an age when it has become part of the cultural diplomacy of an emerging superpower? Bollywood and Its Other(s) explores the aesthetic-philosophical questions of the other through, for example, discussions on Indian diaspora’s negotiations with national identity
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