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This volume is the first to focus exclusively on diasporic filmmaking and the rich cultural diversity within Australian cinema, and it contains previously unpublished articles by some of the foremost experts on Australian cinema in the world. Contributors to Diasporas of Australian Cinema discuss a variety of contemporary and historical filmmaking, encompassing documentaries, features and short films. A number of key feature films are discussed including Forty Thousand Horsemen, Silver City, Wog Boy, Head On, Russian Doll, Japanese Story, and Lucky Miles. Opening with a comprehensive chapter that introduces the organizing concept of this volume, diasporic hybridity, the essays go on to explore migration, Asian-Australian subjectivity, cross-cultural romance, Islamic-Australian identity and “wogsploitation” comedy. A useful reference source for scholars of film, migration, cultural, and Australian studies, Diasporas of Australian Cinema also features a comprehensive filmography listing Australian features, documentaries and shorts with significant diasporic content.

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Publié par	Intellect Books
Date de parution	14 mai 2014
Nombre de lectures	0
EAN13	9781841503363
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Diasporas of Australian Cinema
Dedication
This book is dedicated to those we have lost:
Christine Elizabeth Jones (1954-2008) Bernadette Anne Carstein (1954-2007)
And those we have gained:
Appolonia Gigi Bernard (27 March 2008)
Diasporas of Australian Cinema
Edited by Catherine Simpson, Renata Murawska and Anthony Lambert
First published in the UK in 2009 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2009 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2009 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.
A catalogue record for this book is available from the British Library.
Cover designer: Holly Rose Copy-editor: Sue Jarvis Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-197-0 EISBN 978-1-84150-336-3
Printed and bound by Gutenberg Press, Malta.
C ONTENTS
Acknowledgements
Preface: Diasporas of Australian Cinema - A Provocation
Toby Miller
Part One: Theories
Chapter 1 Introduction: Rethinking Diasporas - Australian Cinema, History and Society
Catherine Simpson, Renata Murawska and Anthony Lambert
Chapter 2 Tinkering at the Borders: Lucky Miles and the Diasporic (no) Road Movie
Catherine Simpson
Chapter 3 Ethics and Risk in Asian-Australian Cinema: The Last Chip
Audrey Yue
Chapter 4 I m Falling in Your Love : Cross-cultural Romance and the Refugee Film
Sonia Magdelena Tasc n
Chapter 5 White Aborigines: Women, Space, Mimicry and Mobility
Anthony Lambert
Part Two: Representations
Chapter 6 Wogboy Comedies and the Australian National Type
Felicity Collins
Chapter 7 Excess in Oz: The Crazy Russian and the Quiet Australian
Greg Dolgopolov
Chapter 8 Anzac s Others : Cruel Huns and Noble Turks
Antje Gnida and Catherine Simpson
Chapter 9 Now You Blokes Own the Place : Representations of Japanese Culture in Recent Australian Cinema
Rebecca Coyle
Chapter 10 Other Shorelines, or the Greek-Australian Cinema
John Conomos
Part Three: Film-Makers
Chapter 11 A European Heart : Exile, Isolation and Interiority in the Life and Films of Paul Cox
Marek Haltof
Chapter 12 Sophia Turkiewicz: Australianizing Poles, or Bloody Nuts and Balts in Silver City (1984)
Renata Murawska
Chapter 13 Lebanese Muslims Speak Back: Two Films by Tom Zubrycki
Susie Khamis
Chapter 14 Sejong Park s Birthday Boy and Korean-Australian Encounters
Ben Goldsmith and Brian Yecies
Diasporic Filmography
Garry Gillard and Anthony Lambert
References
Notes on Contributors
Index
A CKNOWLEDGEMENTS
This book has been an incredibly enjoyable collaborative and scholarly journey. To our contributors listed in the index, thank you for the privilege of working with your amazing ideas, and for your patience. Our gratitude goes to a number of institutions and individuals without whose support this book would not have been possible. Institutionally we would like to acknowledge Macquarie University s Divisional Research Fund, especially Anne Cranny-Francis, Peter Doyle and the Departments of Media and Critical and Cultural Studies. In addition, we would like to thank Simon Drake at the National Film and Sound Archive (Sydney and Canberra) and the Menzies Centre for Australian Studies, King s College London. There are also a number of people whose generosity with additional reviewing of papers extended beyond the call of duty and they include Ina Bertrand, Felicity Collins, Maree Delofski, Grisha Dolgopolov, Susie Khamis, Leonard Janiszewski and Effy Alexakis. We are indebted to all the film-makers and artists whose work is mentioned in the following pages; in particular, for their generous donation of materials and time, we would like to thank Gosia Dobrowolska, Sophia Turkiewicz, Tom Zubrycki, John Weiley, Michael Bourchier and Blink films. Our gratitude goes to Intellect for their professionalism, to the anonymous reviewers of this book and in particular to the very efficient Melanie Harrison. Also to Toby Miller, thanks for your provocation . Finally, Catherine and Renata s sincere thanks to Anthony Lambert, who came on board just as the chapters were rolling in. Without his rigorous editing, inspiration and dedication to deadlines, we would probably still be working on this book!
We would all like to pay special tribute to long-suffering family and friends. In particular, Anthony would like to acknowledge his partner Matthew, parents Les and Brigid, sister Pauline, brother Daniel and their families, as well as the children and grandchildren of his late sister Bernadette Carstein, who passed away as this book was coming together. Renata would like to acknowledge the support from Jasiu and Mum Basia. Catherine is eternally grateful to her partner Bruce, to Mona and to daughters Ayesha and Rahni.
P REFACE: D IASPORAS OF A USTRALIAN C INEMA - A P ROVOCATION
Toby Miller
Diasporic hybridity, the organizing concept of this exciting volume, is at once a tribute to the tenacity and pugnacity of diasporic groups to sustain cultural formations, and a recognition of the inevitability of messy, abject, mixed cultural forms. In this preface, I would like to consider population issues theoretically and numerically, ending with some ideas for textual analysis. It is some time since I have been an informed student of Australian cinema, but what follows has enriched my memory, updated my present knowledge and stimulated me to consider the theoretical and political issues that animate this bold and innovative book. We inhabit a worldwide crisis of belonging, a population crisis of who, what, when and where. More and more people feel as though they do not belong; more and more people are applying to belong; and more and more people are not counted as belonging. Australian multiculturalism, the concept that underpins and is questioned by this book, was an attempt to deal with the beginnings of this crisis to ensure two things: labour peace, against the risk of restive unions, and racial peace, against the intolerance of European-descended white people. The screen texts spawned by the cultural side to this policy have been manifold and manifest, often critical of the idea of multiculturalism as well as its programmatic implementation.
So where did this global crisis come from? It began in the 1960s and has continued since, because of:
changes in the global division of labour, as manufacturing left the First World and subsistence agriculture was eroded in the Third;
demographic growth, through unprecedented public-health initiatives;
increases in numbers of refugees, following numerous conflicts amongst satellite states of the United States and the former Soviet Union;
transformations of these struggles into intra-and trans-national violence, after half of the imperial couplet unravelled;
the associated decline of state socialism and triumph of finance capital;
vastly augmented trafficking in human beings;
the elevation of consumption as a site of social action and public policy;
renegotiation of the 1940s-70s compact across the West between capital, labour, and government, reversing that period s redistribution of wealth downwards;
deregulation of key sectors of the economy; and
the development of civil-rights and social-movement discourses and institutions, extending cultural difference from tolerating the aberrant to querying the normal and commodifying the result.
The dilemmas that derive from these changes underpin political theorist John Gray s (2003) critique of the West s ruling myth that modernity is a single condition, everywhere the same and always benign , a veritable embrace of Enlightenment values. Modernity is just as much to do with global financial deregulation, organized crime, and religious violence as democracy, uplift, and opportunity; just as much to do with neoliberalism, religion and authoritarianism as freedom, science and justice (2003: 1-2, 46). The essays in this book illustrate how the struggle for the redefinition and redeployment of these ideas, ideals and realities plays out on screen in a white-settler colony under erasure through difference.
Australia is typical rather than aberrant in having to deal with these questions. Of the approximately 200 sovereign states in the world, over 160 are culturally heterogeneous, and they comprise 5000 ethnic groups. Between 10 and 20 per cent of the world s population currently belong to a racial/linguistic minority in their country of residence. Nine hundred million people affiliate with groups that suffer systematic discrimination. Perhaps three-quarters of the world system sees politically active minorities, and there are more than 200 movements for self-determination in nearly 100 states (Miller 2007). Even Australia s mythic site of origin and contemporary dominant fraction, the Northern Hemisphere s British-Irish archipelago , once famed as the veritable forge of the nation state, a template of modernity , has been subdivided by cultural difference as a consequence of both peaceful and violent action and a revisionist historiography that asks us to note its emergence from the millennial migration of Celts from the steppes; Roman colonization; invading Angles, Saxons, Jutes, Frisians and Normans; attacking Scandinavians; trading Indians, Chinese, Irish, Lombards and Hansa; and refugee Europeans and Africans (Nairn 2003: 8).
There are now five key zones of world immigration - North America, Europe, the Western Pacific, the Southern Cone, and the Persian Gulf - and five key categories: international refugees, internally displaced people, voluntary migrants, the enslaved and the smuggled. The number of refugees and asylum-seekers at the beginning of the twenty-first century was