By Catherine Simpson, Renata Murawska, Anthony Lambert
This quantity is the 1st to concentration completely on diasporic filmmaking and the wealthy cultural range inside Australian cinema, and it includes formerly unpublished articles via a few of the most well known specialists on Australian cinema on the planet. members to Diasporas of Australian Cinema talk about a number of modern and old filmmaking, encompassing documentaries, positive aspects and brief movies. a few key function movies are mentioned together with 40 Thousand Horsemen, Silver urban, Wog Boy, Head On, Russian Doll, eastern tale, and fortunate Miles. Opening with a complete bankruptcy that introduces the organizing proposal of this quantity, diasporic hybridity, the essays pass directly to discover migration, Asian-Australian subjectivity, cross-cultural romance, Islamic-Australian identification and “wogsploitation” comedy. an invaluable reference resource for students of movie, migration, cultural, and Australian stories, Diasporas of Australian Cinema additionally incorporates a accomplished filmography directory Australian gains, documentaries and shorts with major diasporic content material.
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Additional resources for Diasporas of Australian Cinema
Sample text
Emanating predominantly from the disciplines of social work, social planning, public health and criminology, the problem ethnic gambler is constructed as a migrant from Chinese, Vietnamese and Arabic backgrounds whose propensity to gamble is a consequence of the immigrant experiences of readjustment, unemployment, under-employment and low self-esteem (Driscoll 1996; Brown et al. 1998; Hallebone 1999; Marshall and Baker 2001). Some studies even take a culturalist perspective to associate immigrant gambling with homeland traditions such as superstition, spirituality and luck (Yamine and Thomas 2000; Nattaporn, Jackson and Thomas 2004).
Do they inherit the legacy of dispossession and the same conquistadorial perspective on land(scape) to which Ross Gibson (1993) has alluded? The fact that these characters react in the same way that countless non-Indigenous Australians have before indicates the prevailing dominance of this perspective. The director reinforces this: ‘It’s the story of Burke and Wills updated to reflect immigration patterns of recent years. ’ (McFarlane 2007: 26) At the same time, the presence of a key Indigenous characters points to further cultural and critical possibilities, as Stephen Muecke (1997) indicates in No Road, that come from seeing and understanding the country/land differently, particularly in relationship to Aboriginal sovereignty over the land, meaning that non-Indigenous people (and some Indigenous people, if this film is anything to go by) might have to ‘leave the bitumen, to leave the roads and finally to get lost and maybe to find a way again’ (Muecke 1997: 133) Conclusion It is precisely our encounters at the border – where self and other, the local and the global, Asian and Western meet – that make us realize how riven with potential miscommunication and intercultural conflict these encounters can be (Ang 2003: 149).
However, unlike the films examined by Hamid Naficy and Laura Marks, which for the most part are located within the rubric of experimental and artisanal mode of fiction film-making, Smaill points out that these local films adhere to the established conventions and codes of the TV documentary. Hamid Naficy’s and Laura Marks’ theories of ‘accented cinema’ and ‘intercultural cinema’ respectively complement one another by broadly arguing that diasporic film-makers conform to/seek out a particular set of formal and stylistic tendencies that enable them to be spoken about together (such as their artisanal and experimental production mode, their emphasis on journeying, their multilinguality, their haptic visuality and their use of ‘accented’ speech tinkering at the borders | 33 and epistolatory).