By Ben Goldsmith, Geoff Lealand, Mark David Ryan
This addition to Intellect's listing of worldwide Cinema sequence turns the highlight on Australia and New Zealand and provides an in-depth and intriguing examine the cinema produced in those nations because the flip of the 20th century. even though the 2 countries proportion massive cultural and financial connections, their movie industries stay distinctive, marked by means of variations of scale, point of presidency involvement and investment, and kin with different international locations and nationwide cinemas. via essays approximately favourite genres and subject matters, profiles of administrators, and finished stories of vital titles, this basic consultant explores the variety and specialty of flicks from Australia and New Zealand from Whale Rider to The Piano to Wolf Creek.
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Extra info for Directory of World Cinema: Australia and New Zealand
As in The Last Wave or Picnic at Hanging Rock, Weir creates an anxious atmosphere. The plot recalls one of the films by Weir’s favorite director, Stanley Kubrick. As in The Shining, we cannot be sure if characters face a real danger or whether their suspicions and fear are, rather, the result of paranoia. Jill is an exception in the gallery of male ‘Weir’s heroes’, although, as always in a case of a woman in Weir’s movies, an erotic tension is linked to her. In Picnic at Hanging Rock it was nature that symbolized this erotic freedom.
Adrian Danks Directors 31 Directory of World Cinema They’re a Weird Mob Country of Origin: Australia Prod Co: Williamson-Powell International Films Producer: Michael Powell Director: Michael Powell Screenwriter: Richard Imrie [Emeric Pressburger], from the novel by Nino Culotta (John O’Grady) Cinematographer: Arthur Grant Editor: G. Turney-Smith Art Director: Dennis Gentle Music: Lawrence Leonard Duration: 112 minutes Genre: Comedy Cast: Walter Chiari Clare Dunne Chips Rafferty Ed Devereaux Alida Chelli Slim de Grey John Meillon Charles Little Year: 1966 32 Australia & New Zealand Synopsis An Italian sports journalist Nino Culotta is summoned to Australia to work on an Italian-language magazine called La Seconda Madre.
This brings him close to Stanley Kubrick, whom Weir calls 36 Australia & New Zealand Directory of World Cinema his master; it was after watching Dr. Strangelove that the Australian decided to become a film-maker. The story is always in the centre of ‘Weir’s playground’, and the director himself used to say ‘I think of myself as a storyteller’ (McGilligan 1986: 24). In fact, it is the spectator who decides whether it is a matter of classical genre story or the intriguing reflections of auteur art narration.