Australian Film Theory and Criticism, Vol. 3: Documents

Copyright © 2018. Intellect Books. All rights reserved. Edited by Constantine Verevis and Deane Williams Australian Vol 3 Film Documents Theory & Criticism Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:16. Australian Film Theory and Criticism Volume 3 Documents Copyright © 2018. Intellect Books. All rights reserved. Edited by Constantine Verevis and Deane Williams intellect Bristol, UK / Chicago, USA Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:32. First published in the UK in 2018 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK First published in the USA in 2018 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA Copyright © 2018 Intellect Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission. Copyright © 2018. Intellect Books. All rights reserved. A catalogue record for this book is available from the British Library. Copy-editor: MPS Technologies Cover designer: Aleksandra Szumlas Cover images: Zentropa interior. Photo Sophie Bech; Paradox interior. Photo Eva Bakøy; Aardman exterior. Photo Simon Dowling; JVtv exterior. Photo Roel Puijk. Production manager: Matthew Floyd Typesetting: Contentra Technologies Print ISBN: 978-1-78320-837-1 ePDF ISBN: 978-1-78320-838-8 ePUB ISBN: 978-1-78320-839-5 Printed and bound by TJ International Ltd This is a peer-reviewed publication. Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:46. Contents Acknowledgements Copyright © 2018. Intellect Books. All rights reserved. Introduction: ‘Notes for a History of Contexts’ Constantine Verevis and Deane Williams ix 1 1972 Experimentalists 1 Sylvia Lawson 11 13 1974 Francis Birtles: Cyclist, Explorer, Kodaker Ina Bertrand 17 19 1975 Feminist Critique Meaghan Morris 29 31 1976 Corsetway to Heaven: Looking Back at Picnic at Hanging Rock Ian Hunter 41 43 Editorial Article John Tulloch 45 1978 Gilda: Images of Women – Notes for Discussion Lesley Stern 49 51 1979 Fetishism in Film ‘Theory’ and ‘Practice’ Ian Hunter 55 57 Towards Decolonization: Some Problems and Issues for Film History in Australia Sylvia Lawson 69 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:57. Copyright © 2018. Intellect Books. All rights reserved. Australian Film Theory and Criticism 3 The Australian Journal of Screen Theory Adrian Martin 78 Independent Feminist Filmmaking in Australia Lesley Stern 83 Oedipal Opera: The Restless Years Lesley Stern 95 1980 Editorial Robert Rothols [as R.R.] 113 115 1981 Stock Shock and Schlock Stuart Cunningham 117 119 Film and History: Canberra Conference Anna Grieve 125 Recent ‘Political’ Documentary: Notes on Union Maids and Harlan County USA Noel King 127 The Second Australian Film Conference: Theory Weary Adrian Martin 138 The Second Australian Film Conference, or A Long Way from Lana Turner Brian McFarlane 141 Editorial John Nicoll 144 On Screen Tom O’Regan 146 1982 Feminist Film Theory: Reading the Text Barbara Creed 167 169 ‘The Public Wants Features!’: The (Creative?) Underdevelopment of Australian Independent Film Since the 1960s Helen Grace 190 1983 Super 8: The Phenomenon Turned Eventful Ted Colless 203 205 Independent Feminist Filmmaking and the Black Hole Felicity Collins 210 vi Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:57. Copyright © 2018. Intellect Books. All rights reserved. Contents Pornography and Pleasure: The Female Spectator Barbara Creed 217 The Australian Film Industry and the Holy Roman Empire Susan Dermody and Elizabeth Jacka 240 Camera Natura: Landscape in Australian Feature Films Ross Gibson 253 Changing the Curriculum: The Place of Film in a Department of English Noel King 262 Australian Documentary Cinema Albert Moran 271 The Practice of Reviewing Meaghan Morris 285 Australian Filmmaking: Its Public Circulation Tom O’Regan 299 A National Cinema: The Role of the State Sam Rohdie 310 ‘Murder, Murder, Dangerous Crime’ Bill Routt [as Bill Gent] 318 Remarks on Screen: Introductory Notes for a History of Contexts Paul Willemen 320 1984 ‘National Identity’ / ‘National History’ / ‘National Film’: The Australian Experience Ina Bertrand 341 343 The Australian Journal of Screen Theory Felicity Collins 352 After Futur◊Fall Ross Gibson 359 Second History and Film Conference Report Sally Stockbridge 369 1985 Glimpses of the Present Philip Brophy 373 375 Don Ranvaud: Of Framework and Festivals Rolando Caputo 381 vii Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:57. Australian Film Theory and Criticism 3 387 1987 Charles Chauvel: The Last Decade Stuart Cunningham 397 399 About the Editors 419 Copyright © 2018. Intellect Books. All rights reserved. Yondering: A Reading of Mad Max Beyond Thunderdome Ross Gibson viii Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:19:57. Introduction ‘Notes for a History of Contexts’ Copyright © 2018. Intellect Books. All rights reserved. Constantine Verevis and Deane Williams Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. I n ‘Remarks on Screen’, his snapshot of the cultures of the British film journal (republished in this volume), Paul Willemen writes: Copyright © 2018. Intellect Books. All rights reserved. As institution, Screen is a space holding contradictions, promoting some discourses, excluding others, closing off potential areas of productivity, and opening up others. The criteria for (and the determinations on) that dynamic of discourses in movement are many and complex and cannot simply be ‘read’ on the pages of the journal, nor can they be reconstructed by means of an immanent reading of the Screen text. The account of the magazine presented in this paper offers reference-points for a possible way of understanding the magazine’s trajectory in relation to the various forces that determine the conjuncture within which it is caught, and which impress themselves on the way internal contradictions evolve. (Willemen 307) Without diminishing the import of what follows, borrowing Willemen’s subtitle for our own, and as has been the focus of the previous two volumes – Critical Positions and Interviews – of this Australian Film Theory and Criticism (AFTC) project, we have taken some direction from the kind of approach proposed by Willemen. As we (King, Verevis and Williams) suggested in the Introduction to volume 1, this project of tracing the academicization of film studies in Australia in the period 1975−85 cannot be read simply from the surface of the text – the collected ‘Documents’ of this third volume – but is dealt with, in our formation, as an unwieldy intersection of institutions, personnel and critical positions. For us, the particularity of film studies in the academy can only be understood in relation to the innumerable ‘discourses in movement’ during this period. Following Willemen, we have proposed across these three volumes that Australian Film Theory and Criticism, in this period (and we would also point to the impact of preceding years and the resonances of those that follow), cannot be contained in three volumes. As we (King and Williams) suggested in the Introduction to volume 2, we look forward to responses to this project, to people addressing its shortcomings and lacunae and following up on its suggestions (10), but would also emphasize that these volumes do go some way towards mapping out a series of networks around which Australian film theory and criticism circulated. While we have republished Willemen’s ‘Remarks on Screen’ here, some further accounting for these networks was initiated by Willemen in his editing (and ‘Presentation’) of a special Australian Film Culture dossier in Framework issues 22/23 (1983) and 24 (1984), where Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Australian Film Theory and Criticism 3 he collected articles (in issue 22/23) by Sam Rohdie, Tom O’Regan, Noel King and Tim Rowse, Albert Moran, Ross Gibson and Meaghan Morris and (in issue 24) Jan McSweeney, Felicity Collins, Sylvia Lawson, and Helen Grace and Erika Addis. Many of these authors are represented in this volume, as are five of the key articles from Willemen’s dossier (some in versions that predate those published in Framework): Collins, ‘The Australian Journal of Screen Theory’, Gibson, ‘Camera Natura: Landscape in Australian Feature Films’ (from On the Beach), Rohdie, ‘The Australian State: A National Cinema’ (from Arena), O’Regan, ‘Australian Film Making: Its Public Circulation’ and Morris, ‘The Practice of Film Reviewing’. Preceding Willemen’s garnering of Australian articles for Framework was Noel King’s ‘Recent “Political” Documentary: Notes on Union Maids and Harlan County USA’, which, we think, is the first article by an Australian academic to be published in Screen. Originally presented at the Second Australian Film Conference in Perth (1980), its publication was facilitated by international guest, Manuel Alvarado. At the time, King’s piece was not so much a controversial critique of canonical feminist film works – Jim Klein, Julia Reichert and Miles Mogulescu’s Union Maids (1976) and Barbara Kopple’s Harlan County USA (1976) – as it was an examination of the discourses of film criticism in relation to political documentary. Following on the heels of E. Ann Kaplan’s chapter, ‘The Realist Debate in the Feminist Film: A Historical Overview of Theories and Strategies in Realism and the Avant-Garde Theory Film (1971−81)’ from her Women and Film: Both Sides of the Camera (1983) and prefigured by Julia Lesage’s ‘The Political Aesthetics of the Feminist Documentary Film’ (from Quarterly Review of Film Studies, 1978), King’s (white Australian male) intervention attends more to the two films’ reception – in Cineaste (Linda Gordon) and Jump Cut (Ruth McCormick) – and follows the work of Roland Barthes, Christian Metz and Paul Willemen to ‘attempt to read these documentaries against the grain, to refuse the reading it is the work of their textual systems to secure. In seeking to refuse these films in their current form a step is taken towards thinking what might be put in their place’ (9). Screen was, of course, among the highest profile international film journals, but in his AFTC volume 2 interview, Dana Polan talks about his encounter with Australian film (and other) publications during a visit to the 1985 Screen Studies of Australia conference in Sydney. Polan mentions Continuum, The Australian Journal of Screen Theory and Art & Text as some of the local publications he already knew about, and of going to Glebe Books in Sydney to buy all these small press little editions of things that you couldn’t find elsewhere […] and that was the one thing that really impressed me, the amount of publishing that was going on by little presses, by presses that were doing […] that might do one volume and then cease publication, something else would pop up, so there was a kind of frenetic but very localised sporadic activity. (332) 4 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Introduction We can only imagine which other titles Polan packed into his suitcase to take back to the United States: copies perhaps of Filmnews, Filmviews, Tension, On the Beach, Cantrills Filmnotes, Express, Australian Journal of Cultural Studies, LIP, The Virgin Press, Intervention, Arena, Cinema Papers. While not all strictly film journals, publications such as Tension, The Virgin Press and Express, brought together a unique mix of fashion, art, music, film, video, television and politics. One of the least known of these magazines was Stuff edited by Philip Brophy and we include from it Bill Routt’s (signed as Bill Gent) ‘“Murder, Murder, Dangerous Crime”’ from 10 August 1983. Routt cites Brophy, as well as Adrian Martin, as part of one of the twin poles that he could identify with upon his arrival at La Trobe University’s Media Centre (Melbourne) in the 1970s (the other being early Australian cinema as a research field which had rarely been tilled). Routt is perhaps best known for his work on The Story of the Kelly Gang (1902) and the films of Charles Chauvel while his most challenging, lively and eccentric work – such as ‘“Murder, Murder, Dangerous Crime”’ – is on trashy popular culture stemming from his unique embrace of philosophy, aesthetics and mass entertainment. Brophy’s own ‘Glimpses of the Present’ (reprinted here from Tension, 1985) is another article that comes from this admixture of music, film, fashion, art and is perhaps closer to Routt’s work than anything else included in this volume. Having said that, one might include Ted Colless’ ‘Super 8: The Phenomenon Turns Eventful’, an essay that attends to the Super 8 format’s place in contemporary culture, and is reprinted (in this volume) from the first issue of On the Beach, an ephemeral journal that included writing on a variety of audio-visual formats as well as on art theory, poetry, graphic design and music. Edited by a collective that included Ross Gibson, Lindy Lee, Sam Mele, Mark Thirkell and Mark Titmarsh, On the Beach was a short-lived, but yet signal publication from postmodern Sydney of the early 1980s. Another was Lockjaw, a product of the Zerox Dreamflesh collective that worked in Sydney’s underground in the same period (it was recently republished by Telephone Publishing, with an afterword by Gibson, 2016). Another two essays by Gibson – ‘After Futur◊Fall’ and ‘Yondering’ – republished here from Art & Text (1984 and 1985, respectively) are important articles that follow his landmark ‘Camera Natura’ and extend the sensibility of the ‘small journals’ network to a publication that became one of the longest running and most important sources of art and film criticism in Australia (see in particular issue 34 [1989] that included essays by Polan, Colless and Routt, and also Jodi Brooks, Tom Gunning, Annette Michelson and D. N. Rodowick). As we wrote in the Introduction to AFTC volume 1, much of the fervour and, in some cases, the funding available through various government agencies for publishing ventures was a mirror to the similar enthusiasm for the films of the Australian Film Revival of the 1970 and 1980s. Sylvia Lawson’s singular contribution to Australian film culture coincided with the early agitation for an Australian government-initiated film industry. Lawson’s ‘Towards Decolonization: Some Problems and Issues for Film History in Australia’ (from 1979’s Film Reader 4: Point of View: Metahistory of Film edited by Blaine Allen) was a reassessment of the renaissance in Australian feature filmmaking from a historical perspective. Lawson’s 5 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Australian Film Theory and Criticism 3 ‘Experimentalists 1’ (1972), reprinted here from an early journal, Lumiere, and other pieces – such as her review of film critic John Hinde’s book Other People’s Pictures (1981) – represent her early advocacy for Australian film culture. Within a film historical category Ina Bertrand’s ‘Francis Birtles: Cyclist, Explorer, Kodaker’ from the initial (1974) issue of the reformatted Cinema Papers is the earliest example of this kind of writing from our period of investigation, and a fine example of how Bertrand’s original, empirical research broke ground for film history in this country. Her ‘“National Identity”/“National History”/“National Film”: the Australian Experience’ – from the Historical Journal of Film, Radio and Television (1984), the official journal of the International Association for Media and History (IAMHIST) – is (like King’s ‘Recent Political Documentary’) an instance of early participation in international debates: in Bertrand’s case, investigating the role of national cinema and television in the fashioning of audiences. Stuart Cunningham’s ‘Charles Chauvel: The Last Decade’, from the first issue of Continuum (1987) (the journal borne of the demise of the Australian Journal of Screen Theory, 1976–85) forms part of this film history category yet is also, as per the case of Cunningham’s later Featuring Australia: The Cinema of Charles Chauvel (1991), one of the few auteurist accounts of an Australian film director. The attention paid to national cinema by Bertrand and Cunningham is also evident in the work of Sam Rohdie, then a recent émigré from the United Kingdom and United States who contributed ‘A National Cinema’ to Arena (1983). Susan Dermody and Elizabeth Jacka’s attention to Australian national cinema as an industry, a category overshadowed by much of the textual work undertaken in this period, is represented here in their paper, ‘The Australian Film Industry and the Holy Roman Empire’ (reprinted from Filmviews, 1983), which led to their important two-volume, The Screening of Australia (1987, 1988) and its (unofficial) third instalment, The Imaginary Industry (1988). Also addressing the notion of national cinema, this time from without, Tom O’Regan’s (aforementioned) ‘Australian Film Making: Its Public Circulation’ anticipates his Australian National Cinema book (1996) and Albert Moran’s ‘Australian Documentary Cinema’ (from Arena, 1983) was an article that divined the institutional basis for this type of filmmaking and led into his book, Projecting Australia: Government film Since 1945 (1991). Similarly, Helen Grace’s ‘“The Public Wants Features!”: The (Creative?) Underdevelopment of Australian Independent Film Since the 1960s’ (from Filmnews, 1982) considers the state of independent filmmaking in relation to the model of the feature film during the revival. Any accounting of Australian film culture during this period, as Lesley Stern tells us in her interview in AFTC volume 2, should include the feminist presses and networks, and the influence of second wave feminism, internationally. Stern’s essay, and also those included here by Barbara Creed – ‘Feminist Film Theory: Reading the Text’ (LIP, 1982/3) and ‘Pornography and Pleasure: The Female Spectator’ (Australian Journal of Screen Theory, 1983) – are important contributions (the latter prefiguring Creed’s essays in key international journals such as Screen and Camera Obscura). Stern’s earlier ‘Independent Feminist Filmmaking in Australia’ (also from The Australian Journal of Screen Theory, 1979) anticipates Creed’s work while her ‘Gilda: Images of Women, Notes for Discussion’, written in the mid6 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Introduction 1970s and passed around as mimeographed notes, had enormous influence and is published here for the first time. Stern’s ‘Oedipal Opera: The Restless Years’ (Australian Journal of Screen Theory, 1979), about the Australian teen soap opera, is our only piece of television criticism and, as Charlotte Brunsdon tells us in Screen Tastes: Soap Opera to Satellite Dish (1997), is one of the earliest examples of feminist television criticism anywhere in the world (39). As suggested in AFTC volumes 1 and 2, an important contribution to the burgeoning networks within and beyond Australia, was made by the journal editorials and conference reviews that figured prominently in the period 1975−85. John Tulloch’s editorial for the founding volume of Australian Journal of Screen Theory (1976) sets out the theoretical positions for the journal as it commenced, while R.R.’s (Robert Rothols’) editorial for Filmnews similarly gives some indication of the times. Others pieces – including editorials and interviews, and film, journal and conference reviews by Rolando Caputo, Anna Grieve, Ian Hunter, Brian McFarlane, Adrian Martin, John Nicoll and Sally Stockbridge – provide a broad sense of some of the debates and contexts of the period. There is more here – King’s ‘Changing the Curriculum’ (from Australian Journal of Cultural Studies), Hunter’s ‘Fetishism in Film “Theory” and “Practice”’ (Australian Journal of Screen Theory), Cunningham’s ‘Stock Shock and Schlock’ (Enclitic), and others – but much that is missing, too. This is in part because we have tried to avoid replicating works already reprinted, for instance in Moran and O’Regan’s key anthology, An Australian Film Reader (1985), but also because we have respected the wishes of our contributors, sometimes prioritizing one essay over another, or (at their request) omitting works that we thought essential to the period. It is worth pointing out that Adrian Martin, one of the more significant figures in Australian film studies in this period, is under-represented in part because he is in the process of digitizing all of his writings for a dedicated website and wanted to reserve his articles for this venture. To conclude – and as Tom O’Regan notes in his Screening the Past review of the first volume of Australian Film Theory and Criticism – this project takes its cue from some reflections on cultural mobility and exchange: ‘not the origin of ideas – here, there, coming in, going out’ but rather ‘the performance of the text on the spot, and how intellectuals work to define their “spot” in the world, and its relations to other “spots”’ (Meaghan Morris, quoted in AFTC 1, 21). In this third volume, the vehicles for this mobility and exchange are the small journal essays, the scholarly conferences, the specialist books and the journal circulation networks, but there is also the agility of people – the contributors represented herein – to which we give thanks for their contributions and inspiration. References Bertrand, Ina. ‘Francis Birtles – Cyclist, Explorer, Kodaker’. Cinema Papers, vol. 1, Jan. 1974, pp. 30–35. . ‘“National Identity”/“National History”/“National Film”: The Australian Experience’. Historical Journal of Film, Radio and Television, vol. 4, no. 2, 1984, pp. 179–86. 7 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Australian Film Theory and Criticism 3 Brophy, Philip. ‘Glimpses of the Present’. Tension, vol. 8, 1985, pp. 20–23. Brunsdon, Charlotte. Screen Tastes: Soap Opera to Satellite Dish. Routledge, 1997. Caputo, Rolando. ‘Don Ranvaud: Of Framework and Festivals’. Filmnews, vol. 15, no. 9, Dec. 1985, pp. 9–12. Colless, Ted. ‘Super 8: The Phenomenon Turned Eventful’. On The Beach, vol. 1, 1983, pp. 12–15. Collins, Felicity. ‘The Australian Journal of Screen Theory’. Framework, vol. 24, Spring 1984, pp. 114–21. . ‘Independent Feminist Filmmaking and the Black Hole’. Filmnews, Nov.–Dec. 1983, pp. 12–13. Creed, Barbara. ‘Feminist Film Theory: Reading the Text’. LIP: A Feminist Arts Journal, vol. 7, 1982–1983, pp. 16–27. . ‘Pornography and Pleasure: The Female Spectator’. Australian Journal of Screen Theory, vol. 15/16, 1983, pp. 67–88. Cunningham Stuart. ‘Charles Chauvel: The Last Decade’. Continuum, vol. 1. no. 1, 1987, pp. 26–46. . Featuring Australia: The Cinema of Charles Chauvel. Allen and Unwin, 1991. . ‘Stock Shock and Schlock’. Enclitic, vol./no. 5.2/6.1, Fall 1981/Spring 19, pp. 166–71. Dermody, Susan, and Elizabeth Jacka. ‘The Australian Film Industry and the Holy Roman Empire’. Filmnews, vol. 13, no. 6, June 1983, pp. 10–13. . The Imaginary Industry: Australian Film in the Late ’80s. AFTRS, 1988. . The Screening of Australia, Volume 1: Anatomy of a Film Industry. Currency, 1987. . The Screening of Australia, Volume 2: Anatomy of a National Cinema. Currency, 1988. Gibson, Ross. ‘After Futur◊Fall’. Art & Text, vol. 16, 1984, pp. 82–92. . ‘Camera Natura: Landscape in Australian Feature Films’. On the Beach, vol. 1, 1983, pp. 5–10. . ‘Landscape in Australian Feature Films’. Framework, vol. 22/23, Autumn 1983, pp. 47–51. . ‘The Place and Time of Zerox Dreamflesh’. Lockjaw (Reissue). Surpllus and Telephone, 2016, pp. x–xi. . ‘Yondering: A Reading of Mad Max Beyond Thunderdome’. Art & Text, vol. 19, Oct.–Dec. 1985, pp. 25–33. Gordon, Linda. ‘Union Maids: Working Class Heroines’. Jump Cut, vol. 14, 1977, pp. 34–35. Grace, Helen. ‘“The Public Wants Features!” – The (Creative?) Underdevelopment of Australian Independent Film Since the 1960s’. Filmnews, Nov.–Dec. 1982, pp. 6–8. Grace, Helen, and Erika Addis. ‘Serious Undertakings: Release Script’. Framework, vol. 24, Spring 1984, pp. 128–41. Grieve, Anna. ‘Film and History: Canberra Conference’. Filmviews, Dec. 1981, pp. 14–15. Hinde, John. Other People’s Pictures. Australian Broadcasting Commission, 1981. Hunter, Ian. ‘Corsetway to Heaven’. Cinema Papers, vol. 8, Mar.−Apr. 1976, p. 371. . ‘Fetishism in Film “Theory” and “Practice”’. Australian Journal of Screen Theory, vol. 5/6, 1979, pp. 48–66. Kaplan, E. Ann. ‘The Realist Debate in the Feminist Film: An Historical Overview of the Theories of and Strategies in Realism and the Avant-Grade Theory Film (1971−81)’. Women and Film: Both Sides of the Camera. Methuen, 1983, pp. 25–141. 8 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Copyright © 2018. Intellect Books. All rights reserved. Introduction King, Noel. ‘Changing the Curriculum: The Place of Film in a Department of English’. Australian Journal of Cultural Studies, vol. 1, no. 1, 1983, pp. 47–55. . ‘Recent “Political” Documentary: Notes on Union Maids and Harlan County USA’. Screen, vol. 22, no. 2, 1981, pp. 7–18. King, Noel, and Tim Rowse, ‘“Typical Aussies”: Television and Popularism in Australia’. Framework, vol. 22/23, Autumn 1983, pp. 37–42. King, Noel, and Williams, Deane, editors. Australian Film Theory and Criticism, Volume 2: Interviews. Intellect, 2014. King, Noel, et al. Australian Film Theory and Criticism, Volume 1: Critical Positions. Intellect, 2013. Lawson, Sylvia. ‘Experimentalists 1’. Lumiere, Nov. 1972, p. 18. . ‘Serious Undertakings: Deconstructions, Demolitions’. Framework, vol. 24, Spring 1984, pp. 122–27. . ‘Towards Decolonization: Some Problems and Issues for Film History in Australia.’ Film Reader, vol. 4, 1979, 63–71. Lesage, Julia. ‘The Political Aesthetics of the Feminist Documentary Film’. Quarterly Review of Film Studies, vol. 3, no. 4, 1978, pp. 507–23. McCormick, Ruth. ‘Union Maids’. Cineaste, vol. 8, no. 1, Summer 1977. McFarlane, Brian. ‘The Second Australian Film Conference, or A long way from Lana Turner’. Cinema Papers, vol. 31, Mar.−Apr. 1981, pp. 40–41. McSweeney, Jan. ‘Filmnews’. Framework, vol. 24, Spring 1984, pp. 95–113. Martin, Adrian. ‘The Australian Journal of Screen Theory’. Cinema Papers, vol. 23, Sept.–Oct. 1979, pp. 573–575. . ‘The Second Australian Film Conference: Theory Weary’. Cinema Papers, 31, Mar.–Apr. 1981, pp. 41–101. Moran, Albert. ‘Australian Documentary Cinema’. Arena, vol. 62, 1983, pp. 83–89. . Projecting Australia: Government Film Since 1945. Currency, 1991. . ‘A State Capitalist Venture: The Southern Australian Film Corporation’. Framework, vol. 22/23, Autumn 1983, pp. 43–46. Moran, Albert and Tom O’Regan, eds. An Australian Film Reader. Currency, 1985. Morris, Meaghan. ‘Feminist Critique’. Cinema Papers, vol. 7, Nov.–Dec. 1975, pp. 207–09, 286. . ‘The Practice of Reviewing’. Framework, vol. 22/23, Autumn 1983, pp. 52–58. Nicoll, John. ‘Editorial’. Filmviews, Dec. 1981, p. 3. O’Regan, Tom. ‘Australian Film Making: Its Public Circulation’. Framework, vol. 22/23, Autumn 1983, pp. 31–36. . Australian National Cinema. Routledge, 1996. . ‘On Screen’. Intervention, vol. 15, 1981, pp. 44–62. . Review of Australian Film Theory and Criticism, Volume 1: Critical Positions by Noel King, Constantine Verevis and Deane Williams, http://www.screeningthepast.com/2013/12/ australian-film-theory-and-criticism-volume-1-critical-positions/. Rohdie, Sam. ‘The Australian State: A National Cinema’. Framework, vol. 22/23, Autumn 1983, pp. 28–30. . ‘A National Cinema: The Role of the State’. Arena, vol. 62, 1983, pp. 78–87. Rothols, Robert [as R.R.]. ‘Editorial’. Filmviews, Mar. 1980, pp. 2–3. 9 Australian Film Theory and Criticism : Volume 3: Documents, edited by Deane Williams, and Constantine Verevis, Intellect Books, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/monash/detail.action?docID=5202654. Created from monash on 2023-12-06 23:20:13. Australian Film Theory and Criticism 3 Copyright © 2018. Intellect Books. All rights reserved. Routt, Bill [as Bill Gent]. ‘“Murder, Murder, Dangerous Crime”’. Stuff, vol. 10, August 1983, n.pag. Stern, Lesley. ‘Gilda: Images of Women, Notes for Discussion’. Unpublished [c. 1978]. . ‘Independent Feminist Film-making in Australia’. Australian Journal of Screen Theory, vol. 5/6, 1979, pp. 105–21. . ‘Oedipal Opera: The Restless Years’. 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