{"product_id":"australian-film-theory-and-criticism-volume-3-documents-9781783208371","title":"Australian Film Theory and Criticism: Volume 3:","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThe third part of a three-volume work devoted to mapping the transnational history of Australian film studies, \u003cem\u003eVolume 3: Documents \u003c\/em\u003econcludes the project by gathering together the documents that were produced during the rise of film studies in Australian academia from 1975–85. Through these sources we see the development of the particularities of Australian film theory and criticism, its relationship to its international counterparts and the establishment of key positions and the directions in which they develop. Editors Deane Williams and Constantine Verevis here collect key articles, including the works of Paul Willemen, Sam Rohdie, Ross Gibson and Meaghan Morris, among many others, in order to conclude this pioneering historiographic account of Australian film studies.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eAcknowledgements\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eIntroduction: ‘Notes for a History of Contexts’\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eConstantine Verevis and Deane Williams\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1972\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eExperimentalists 1\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eSylvia Lawson\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1974\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFrancis Birtles: Cyclist, Explorer, Kodaker\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eIna Bertrand\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1975\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFeminist Critique\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eMeaghan Morris\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1976\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eCorsetway to Heaven: Looking Back at Picnic at Hanging Rock\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eIan Hunter\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eEditorial Article\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eJohn Tulloch\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1978\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eGilda: Images of Women – Notes for Discussion\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eLesley Stern\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1979\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFetishism in Film ‘Theory’ and ‘Practice’\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eIan Hunter\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eTowards Decolonization: Some Problems and Issues for Film History in Australia\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eSylvia Lawson\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eThe Australian Journal of Screen Theory\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eAdrian Martin\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eIndependent Feminist Filmmaking in Australia\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eLesley Stern\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eOedipal Opera: The Restless Years\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eLesley Stern\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1980\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eEditorial\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eRobert Rothols [as R.R.]\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1981\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eStock Shock and Schlock\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eStuart Cunningham\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFilm and History: Canberra Conference\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eAnna Grieve\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eRecent ‘Political’ Documentary: Notes on Union Maids and Harlan County USA\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eNoel King\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eThe Second Australian Film Conference: Theory Weary\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eAdrian Martin\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eThe Second Australian Film Conference, or A Long Way from Lana Turner\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eBrian McFarlane\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eEditorial\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eJohn Nicoll\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eOn Screen\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eTom O’Regan\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1982\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFeminist Film Theory: Reading the Text\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eBarbara Creed\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e‘The Public Wants Features!’: The (Creative?) Underdevelopment of Australian Independent Film Since the 1960s\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eHelen Grace\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1983\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eSuper 8: The Phenomenon Turned Eventful\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eTed Colless\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eIndependent Feminist Filmmaking and the Black Hole\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eFelicity Collins\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePornography and Pleasure: The Female Spectator\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eBarbara Creed\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eThe Australian Film Industry and the Holy Roman Empire\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eSusan Dermody and Elizabeth Jacka\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eCamera Natura: Landscape in Australian Feature Films\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eRoss Gibson\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChanging the Curriculum: The Place of Film in a Department of English\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eNoel King\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAustralian Documentary Cinema\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eAlbert Moran\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eThe Practice of Reviewing\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eMeaghan Morris\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAustralian Filmmaking: Its Public Circulation\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eTom O’Regan\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eA National Cinema: The Role of the State\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eSam Rohdie\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e‘Murder, Murder, Dangerous Crime’\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eBill Routt [as Bill Gent]\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eRemarks on Screen: Introductory Notes for a History of Contexts\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003ePaul Willemen\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1984\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e‘National Identity’ \/ ‘National History’ \/ ‘National Film’: The Australian Experience\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eIna Bertrand\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eThe Australian Journal of Screen Theory\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eFelicity Collins\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAfter Futur◊Fall \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eRoss Gibson\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eSecond History and Film Conference Report\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eSally Stockbridge\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1985\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eGlimpses of the Present\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003ePhilip Brophy\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eDon Ranvaud: Of Framework and Festivals\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eRolando Caputo\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eYondering: A Reading of Mad Max Beyond Thunderdome\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eRoss Gibson\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e1987\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eCharles Chauvel: The Last Decade\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eStuart Cunningham\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAbout the Editors\u003c\/strong\u003e\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default Title","offer_id":51042267988311,"sku":"9781783208371","price":69.26,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781783208371.jpg?v=1750953701","url":"https:\/\/bookcurl.com\/products\/australian-film-theory-and-criticism-volume-3-documents-9781783208371","provider":"Book Curl","version":"1.0","type":"link"}