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When the Hollywood silent movie actress Claire Adams married Australian grazier Donald “Scobie” Mackinnon in 1937, the Australian press embraced the event as a glamorous love story.
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As digital technologies have enabled wider access to means of media production, community uses of digital media have proliferated. This article examines a recent community program that taught basic ideo-making skills to rural young people with mental illness. It aimed to assist the social integration of young people with mental illness and foster self-expression through video-making.
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Beneath their surface frivolity and boisterous humour, the films of Amy Heckerling use comedy to address themes such as gender difference, adolescent sexuality and parenthood. Although the association between female directors and genres such as teen film, comedy and romance has been seen to reinforce a gendered hierarchy, close analysis of Heckerling's work offers a more complex view of the relationship between women directors, teenage audiences and Hollywood entertainment. This article situates Heckerling's most well-known films, Fast Times at Ridgemont High (1982), Look Who's Talking (1989) and Clueless (1995), in the context of the significance of some female film directors in contemporary Hollywood. While her films exemplify Hollywood's tendency to absorb and de-politicise feminist values, Heckerling's career also reflects the role of contemporary female film directors in expanding teen film and low comedy beyond their traditional masculine preoccupations.
Description:
Beneath their surface frivolity and boisterous humour, the films of Amy Heckerling use comedy to address themes such as gender difference, adolescent sexuality and parenthood. Although the association between female directors and genres such as teen film, comedy and romance has been seen to reinforce a gendered hierarchy, close analysis of Heckerling's work offers a more complex view of the relationship between women directors, teenage audiences and Hollywood entertainment. This article situates Heckerling's most well-known films, Fast Times at Ridgemont High (1982), Look Who's Talking (1989) and Clueless (1995), in the context of the significance of some female film directors in contemporary Hollywood. While her films exemplify Hollywood's tendency to absorb and de-politicise feminist values, Heckerling's career also reflects the role of contemporary female film directors in expanding teen film and low comedy beyond their traditional masculine preoccupations.
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Comedy has been a perpetual part of Australian film, in which humour reflects Australia's adaptation in times of crisis, social change and technological advances. This was never more so than in the 1930s, when Australia produced more comedy feature films than in any other decade before 1970. These films of the 1930s embraced the new technology of sound, made local vaudeville performers into movie stars, offered escape from the Depression and revealed a diverse and international Australia. In these films, Australia moved further from Empire and the bush, forged the Digger legend, responded to cultural diversity and viewed itself as a modern, urban nation. Influenced by Hollywood, Australian comedies of the 1930s adapted international styles to local points of view. Based on research at the National Film and Sound Archive, Lesley Speed's book provides new insight into Australian comedy films of the 1930s and the extraordinary period of social change in which they were produced.
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At the box office and in television ratings, Australian comedy reached a high point with this film and the television series Pizza, which spawned the film Fat Pizza (Paul Fenech, 2003). These 'wogsploitation' films were created by Australians of non-English speaking backgrounds and eschew the sensitive and dramatic portrayals of ethnic minorities seen in earlier films. While The Wog Boy and Fat Pizza have been accused of a return to outdated ethnic stereotypes, these films differ from previous comic depictions of Australian ethnic minorities. Far from being positioned as victims, the protagonists of these films simultaneously assert their ethnic identities and reconfigure the Australian stereotype of the 'ocker'.
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Although infamous for its focus on adolescent sexual strivings, the vulgar teen comedy film has been the subject of little sustained analysis. Yet there are numerous reasons to examine more closely this teen subgenre, of which the most prominent examples are Porky's and American Pie. The vulgar teen films of the early 1980s and late 1990s exemplify contemporary Hollywood production strategies and reflect changes in youth's social and economic status. In particular, the pivotal early 1980s cycle reflects a crisis in young, middle-class men's presumed right to behave hedonistically on other people's territory. Such films as Porky's, Losin It and Spring Break revolve around characters whose belief in their hedonistic freedom is oblivious to the social implications of their actions. A waning male, middle-class privilege is evident in the failure of the male sexual quest in Porky's and prefigures the subsequent suburbanization of teenage sexuality in American Pie. Vulgar teen comedy films thus reflect the changing social status of male youth.
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Looking for Alibrandi (Australia, 2000) is significant not only because it is the financially most successful Australian teen film and winner of five AFI awards. This film has also played an important role in increasing the cinematic profile of Italo-Australians. It has attracted audiences that exceed the hitherto limited markets for most Italo-Australians films and expanded the source novel's predominantly teenage readership. Looking for Alibrandi can be linked to Italo-Australian cinema's shift away from social realism and towards market-driven entertainment. The film presents a utopian and revisionist view of Australian society, challenging monolithic characterisations of Australian society in terms of a patriarchal, Anglo-Celtic, middle-class mainstream. The dissolution of this monolithic mythology is implicit in Josie Alibrandi's dawning recognition that Australian society involves complex intersections of class, generation, gender, ethnicity and locality. The film thus alludes to a coming of age that is both social and subjective, encompassing the increased cinematic profile of Italo-Australians in general and Italo-Australian femininity in particular. Josie's social and subjective coming-of-age culminates in the question of reconciliation with Anglo-Australian masculinity.
Description:
Looking for Alibrandi (Australia, 2000) is significant not only because it is the financially most successful Australian teen film and winner of five AFI awards. This film has also played an important role in increasing the cinematic profile of Italo-Australians. It has attracted audiences that exceed the hitherto limited markets for most Italo-Australians films and expanded the source novel's predominantly teenage readership. Looking for Alibrandi can be linked to Italo-Australian cinema's shift away from social realism and towards market-driven entertainment. The film presents a utopian and revisionist view of Australian society, challenging monolithic characterisations of Australian society in terms of a patriarchal, Anglo-Celtic, middle-class mainstream. The dissolution of this monolithic mythology is implicit in Josie Alibrandi's dawning recognition that Australian society involves complex intersections of class, generation, gender, ethnicity and locality. The film thus alludes to a coming of age that is both social and subjective, encompassing the increased cinematic profile of Italo-Australians in general and Italo-Australian femininity in particular. Josie's social and subjective coming-of-age culminates in the question of reconciliation with Anglo-Australian masculinity.
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Australian exploitation films that were made since the 1960s have received considerable attention in Mark Hartley’s 2008 documentary, Not Quite Hollywood: The Wild, Untold Story of Ozploitation! However, Hartley’s film and much of the subsequent interest in Ozploitation overlooks the fact that exploitation films existed in Australia since at least the 1910s. In its most basic definition, an exploitation film centres on a topic that is forbidden, such as sex or vice, while purporting to educate the public about it. This article examines the significance of two early Australian sex hygiene films, Remorse, a Story of the Red Plague (John E. Mathews, 1917) [1] and Should a Doctor Tell? (P. J. Ramster, 1923). Although these films do not survive, the information available about them reveals affinities with contemporaneous American and British exploitation films. They also form a precedent for the role of exploitation in the revival of the Australian film industry in the early 1970s. Purporting to explore the issue of sexually-transmitted disease while appealing to audience prurience, early sex hygiene films courted controversy in a manner that prefigures The Naked Bunyip: A Survey of Sex in Australia (John B. Murray, 1970), a significant early film in the revival and one of a cycle of local sexploitation films. Early Australian sex hygiene films expand understanding of Ozploitation by providing a glimpse of the diversity of early Australian film-making and forming a precedent for the role of exploitation in the development of Australian film.
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This article examines how the St Trinian’s films (1954–1980) engage with shifts in the social organization of gender and class, while celebrating the defiance of social constraints on women. Focusing on the films’ depiction of unruly female behaviour, the article addresses the historical and social dimensions of the films in relation to carnival, adolescence and education. The films express public responses to the increasing public significance of female youth, and celebrate the predominantly female environment of the girls’ school.
Description:
This article examines how the St Trinian’s films (1954–1980) engage with shifts in the social organization of gender and class, while celebrating the defiance of social constraints on women. Focusing on the films’ depiction of unruly female behaviour, the article addresses the historical and social dimensions of the films in relation to carnival, adolescence and education. The films express public responses to the increasing public significance of female youth, and celebrate the predominantly female environment of the girls’ school.
Description:
Produced for SBS Television, Kelrick Martin's Prison Songs is unusual as a documentary in which the participants convey their stories through songs that were written for the film. Centring on inmates of Darwin Correctional Centre, known as Berrimah Prison, and described in its press kit as 'Australia's first ever documentary musical', Prison Songs involved a collaborative production process in which inmates contributed to writing the musical numbers. As a documusical, the film belongs to a documentary subgenre that originated in the United Kingdom and forms part of a wider landscape of convergence between non-fiction and fictional television. Prison Songs expands Australian documentary, contemporary Indigenous film-making and stories about incarceration. The film's presentation of participants' experiences through music, story, dance and humour can be situated within the performative documentary mode, in which orthodox screen discourses of sobriety are supplanted by poetic expression. Its use of songs and musical performance as partial alternatives to interviews and narration traverses boundaries between avant-garde and television forms, expression and information, and prison and the wider society.
Description:
Produced for SBS Television, Kelrick Martin's Prison Songs is unusual as a documentary in which the participants convey their stories through songs that were written for the film. Centring on inmates of Darwin Correctional Centre, known as Berrimah Prison, and described in its press kit as 'Australia's first ever documentary musical', Prison Songs involved a collaborative production process in which inmates contributed to writing the musical numbers. As a documusical, the film belongs to a documentary subgenre that originated in the United Kingdom and forms part of a wider landscape of convergence between non-fiction and fictional television. Prison Songs expands Australian documentary, contemporary Indigenous film-making and stories about incarceration. The film's presentation of participants' experiences through music, story, dance and humour can be situated within the performative documentary mode, in which orthodox screen discourses of sobriety are supplanted by poetic expression. Its use of songs and musical performance as partial alternatives to interviews and narration traverses boundaries between avant-garde and television forms, expression and information, and prison and the wider society.
Description:
Strike Me Lucky (Australia 1934) presents an imaginative view of Australian society and consumer culture in the 1930s. The only film starring vaudeville star Roy Rene, it has been largely dismissed because of its poor box office performance and perceived artistic failure. Yet Strike Me Lucky is significant for centring on a prominent Jewish Australian comedian and for being an early screen example of Australian ethnic humour. The film’s diverse view of Australian society undermines perceptions of the 1930s as culturally homogeneous and Anglocentric. Its depiction of a modern consumer culture reflects upon Australia’s relationship to Hollywood and modern capitalism.