Film distribution as policy: current standards and alternatives

Much recent scholarship has identified an urgent need to address distribution opportunities for Australian cinema in a digital age. In trying to understand why Australian film policy has been beleaguered by complacency for distribution, this paper looks abroad to see what precedents and attitudes exist in distribution-related cultural policy. Why hasn’t support for distribution and exhibition been the touchstone of cultural policy for national cinemas? Why has policy support for the production sector prevailed, when distribution is the film industry’s key zone for profit? This paper surveys international policy examples of what governments are doing beyond the production realm. It examines legal interventions into the distribution realm, including direct state measures such as subsidies, levies, quotas and import restrictions, indirect state aid, and cultural initiatives by film funding bodies that stimulate audience engagement in the distribution and exhibition sectors. The paper combines these primary sources of film policy information with film historians’ accounts to provide a comparative analysis of national film distribution policies. It then examines the politics underlying the various policy frameworks, before mapping out an alternative strategy for the future of policy in Australia that is equipped to deal with the huge changes in digitalisation.     

“Now let me share this with you”: Exploring Poetry as a Method for Postcolonial Geography Research

Abstract: In this article we attempt to “seize back the creative initiative” to uncover whether poetry might be a useful postcolonial research method. In exploring the possibilities and limitations of poetry as a means of re‐representing and interpreting data collected through in‐depth qualitative interviews, our conclusions are ambivalent: we are attracted to poetry but troubled by it too. For instance, poetry does hold promise through its ability to imaginatively project thoughts and ideas, opening up space so new perspectives can emerge. However, as academics we are always complicit in the knowledge creation process (albeit to varying degrees), and so the representative qualities of poetry are never unproblematic or straightforward. Thus although poetry does have potential as a method for postcolonial geography research, we are making a cautious and careful appeal for its use. We use the case of ecotourism research conducted in Boabeng‐Fiema Monkey Sanctuary in Ghana to explore these ideas.     

袁枚的“诗”“学”观

袁枚针对清诗目益学问化所露出的弊端,抗声提出诗主性灵,非关学问,于是有人误认为以袁枚为代表的“性灵”诗派轻学浅薄,游学无根。事实上袁枚很重视诗歌与学问的关系,他对“诗”与“学”的关系有三个基本主张：一是诗须有学,二是反对在诗中填书塞典,三是主张化学入诗。他的诗歌没有脱离清诗质厚重学的时代特征,不是清诗的变异,而恰好是这个茂盛园圃里敢于争春怒放的花朵。     

Shelley’s “Letter to Maria Gisborne” as Workshop Poetry

ABSTRACT

Shelley’s “Letter to Maria Gisborne” is a playful improvisational verse epistle, widely praised for its urbanity and its display of the poet’s invention. The verses turn on a catalogue of the collection of odd scientific and mechanical objects that Shelley found scattered around him in the place he composed the letter, the Livorno workshop of Gisborne’s son, a young engineer who was building a new-model steamboat at the time (with Shelley’s financial and intellectual backing). In the context of that space, the poem reads as a response to competing notions of invention. For Shelley, the engineer’s workshop is an attractive alternative to the poet’s tower—which was uncomfortably close to a Grub Street garret. Verbal and visual images of poets’ and scientists’ workshops, from Hogarth and Mary Robinson, to Joseph Wright of Derby and Frankenstein, illustrate the tensions embodied in the physical location and poetic performance of Shelley’s celebrated “Letter.”     

Maciste goes to war: Maciste alpino (1916)

During the war years, both fiction and non-fiction films relating to the war populated Italian screens. This article examines Maciste alpino (1916), one of the best known and best received of the popular Maciste series of Italian silent cinema, in light of several factors: the growing nationalist movement that saw intervention in World War I as the means of creating political consensus; the sophistication and development of narrative, character, and attractions in the Maciste series; and its relation to popular film genres such as comic serials and the emerging strongman genre. Maciste functioned as a modern weapon par excellence, a Futurist mechanized man whose muscled body constituted its own fighting machine. At the same time, through his humor, goodwill, and muscled physique he became a national symbol of Italian wartime might.     

Reinventing the British film industry: the Group Production Plan and the National Lottery Franchise Scheme

This article is a comparative analysis of two analogous attempts to restructure the British film industry: the Group Production Plan of the early 1950s and the National Lottery Franchises of the late 1990s. The Group Production Plan brought together key industry figures such as Michael Balcon and John Grierson, who endured a fraught working relationship. The Plan failed, largely due to indifference from the major combines, Rank and the Associated British Picture Company (ABPC). Forty‐five years later, the Lottery Franchises were criticised for failing to produce enough films, although the example of Pathé Pictures suggests that expectations were too high and resources too low. The economic theory of path dependence problematises the policy drive to create vertically integrated companies. This article concludes that historical precedent plays an insufficient role in British film policy discourse and that academic research in cultural policy should aim to improve the dialogue between the past and the present.     

Poetry as Thought and Action: Mazzini's Reflections on Byron

Summary

This article opens with a brief introduction to Giuseppe Mazzini, with particular reference to his commitment to republicanism, an ideal that would be fulfilled in Italy only after considerable time and with great difficulty. It then focuses on Mazzini's critical reception of Byron. Although Giuseppe Mazzini and Percy Bysshe Shelley would have allowed a more obvious comparison, it was Byron who really attracted Mazzini's attention and criticism. Mazzini uses Byron, on the one hand, as a means to demonstrate that Italians could discuss European poetry without putting at risk their national identity, or, as the classicists maintained, that fragile and fragmented profile of a nation that contemporary Italy offered to the minds and hearts of thousands of young people. On the other hand, however, Mazzini questions Byron's authority by subverting and converting his value, in a very personal way: he gradually substitutes Byron's with a different authority and credits him with new values. Mazzini could not accept Byron as the emblem of elitism and isolation: Byron's solipsism needed to be purified, and his renowned cynical attitude tempered; eventually Byron's myth needed to be connected to the destiny of peoples and nations.     

Policy and creative strategies: Hong Kong CEPA films in the China market

Abstract

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.     

‘Rivalling the Metropolis’: cultural conflict between London and the regions c.1967–1973

ABSTRACT

As a contribution to this special issue on conflict and cultural production in twentieth century Britain, this article examines the relationship between London and the English regions in the second half of the 1960s. It argues that an excessive historical focus on the capital has been to the detriment of the regional scene. This was caused initially by journalistic accounts written in the period under consideration, which were dismissive of the regional city’s contribution and which subsequent historians have reproduced in their narratives. This article moves beyond the capital to revisit the regional city of the period in order to examine the extent to which it contained the features demonstrated by London in the mid-to-later 1960s. Both the ‘swinging’ period of 1964–1967 and the concomitant underground (1965–1973) are considered here and the argument made that the regions rather kept pace with the capital to an extent not seen before this decade. Journalistic accounts of the cities written in the period itself were symptomatic of London-based prejudice and a regional declinist paradigm, but the reality, as far as nightlife and experimental culture were concerned was rather more positive.     

Inside Checkpoint 300: Checkpoint Regimes as Spatial Political Technologies in the Occupied Palestinian Territories

As a part of the architecture of the Israeli occupation of the Palestinian Territories, the Israeli government introduced in 2005 a series of so‐called terminal checkpoints as “neutral border crossings”, to minimise the impact of these barriers on Palestinian lives through a different design and the use of several machines, such as turnstiles and metal detectors. In this article, we analyse terminal Checkpoint 300 in Bethlehem, framing it as a spatial political technology aimed at controlling the movement of Palestinians. More specifically, we investigate the interactions between Palestinian commuters, Israeli soldiers/security guards and the machines operating inside Checkpoint 300. We conclude by suggesting that Checkpoint 300 is a porous barrier whose regime is produced, reproduced but also challenged by such interactions, and that, despite the new “neutral design”, Checkpoint 300 is a place still filled with tension and violence, often exercised by the machines and their “decisions”.     

Geospatial Technologies as a Vehicle for Enhancing Graduate Education and Promoting the Value of Geography

Geospatial technologies (GSTs), such as geographic information systems, global positioning systems and remote sensing, present an avenue for expanding the already strong interdisciplinary nature of geography. This paper discusses how GSTs served as a common thread for a crosscutting faculty institute that was established to enhance graduate student teaching and learning at a comprehensive university. Results of this institute demonstrate that this effort advanced graduate education and promoted the value of geographic scholarship across the university.     

Thinking Outside the Box: Interdisciplinary Integration of Teaching and Research on an Environment and Development Study Programme

Abstract

Interdisciplinary education and research are increasingly in demand in land use, environment and development because understanding complex human-nature relationships requires a holistic approach. While the need for interdisciplinarity is acknowledged by most, in practice, traditional disciplines are still accorded greatest scientific recognition. This article illustrates how interdisciplinarity has been approached on an international education and research programme. A major challenge was how to strike a balance between interdisciplinarity and specialization, and a specific model based on problem-oriented group work and specialized research teams was developed which successfully negotiated this divide, according to a comprehensive student evaluation. International co-operation among Denmark, Thailand, Malaysia, South Africa, Swaziland, and Botswana has revealed structural and cultural barriers to the implementation of interdisciplinary programmes. Successful negotiation of these barriers requires personal relations based on long-term commitment which was achieved in this case through the study programme and annual joint student field courses.     

Grasslands as transitional spaces of play: Mongol children’s reimagination of the world in cinematic representation

ABSTRACT

This article examines children’s geographies in cinematic representation. It argues that cinematic landscape that intimates what D. W. Winnicott conceives as ‘transitional space’ contributes to a cinematic rendering of the otherness of childhood. Taking the Chinese movie Mongolian Ping-Pong (2005, dir. Ning Hao) as a case study, this article illustrates how the cinematic space of the grasslands is transformed into multiple transitional spaces of play for the Mongol child protagonists owing to the filmmaker’s employment of cinematic landscape, while a ping-pong ball discovered by one of the children becomes their ‘transitional object’. In transitional spaces, the children safely and creatively manipulate cultural resources of diverse scales to understand the social-cultural identity of the ball. Consequently, their unique vision of the world unfolds. The filmmaker’s cinematic treatment reveals his celebration of the children’s creativity. He sympathises that they cannot escape from acculturation once they start formal schooling in a Han-dominated society.     

Deviations from the known route: writing and walking in Ciaran Carson's Belfast

Considered as a whole the work of Ciaran Carson is perhaps distinguished above all by its sheer miscellaneity, but within this catholic remit of interests the city of Belfast continues to occupy a central place, manifesting itself in complex and various forms. Disclosing a dialectic of recollection and revision at its centre, Carson's work balances a desire to record everything about the city, and thereby to know Belfast in its totality, against the necessity of knowing it in terms of its provisional details and contingent multiplicity. This fundamental tension can be explored through his variations upon the theme of walking in the city, a mode of perceiving and navigating urban space that precludes any privileged position of detached objectivity in favour of active engagement in the writing and re-writing of the city-text. Moreover, I argue that whilst Carson's writing contains unusally sophisticated representations of Belfast as both labyrinth and panopticon, walking in the city also implies for him an utopian spatial politics through which resistance to state surveillance and paramilitary terror might be both imagined and effected.     

Introduction: Disability Policy as an Emerging Field of Mainstream Public Policy Research and Pedagogy

The purpose of this two-part symposium of the Policy Studies Journal is to broaden theconcept of disability policy from one that has relevance onlyforpeople interested in that substantive area to that of a major field of social policy having ramifications for the study and teaching of public policy broadly construed. The goal is for experiences in disability policy to be regarded in the same way that experiences in Other substantive areas, such as environmental policy, other social services, and civil rights, illustrate broader themes in areas such as public management, policy analysis, or ethics.     

The quality of gender equality: gender quotas and Swedish film governance

Since 2000, the Swedish Film Institute has been tasked with increasing gender equality by distributing commissioner support more equally between women and men. While this has resulted in an increase in the number of women behind the camera, this study shows that the implementation has been hampered due to a representation of gender equality as being in conflict with the core values of the film governance regime. This representation reveals a lingering gender order and opens avenues for stakeholders to consider behaviour that ignores the gender equality goals as legitimate. It is further argued that the design of gender equality measures creates a conflict between the economic conditions of women’s film making and the possibility to tell stories based on gendered experiences.     

Multi/Interdisciplinary investigations into Italy and World War I: An introduction

This introductory article details some of the main points that characterized Italian politics and culture in the period leading up to World War I and during the war itself, and then surveys the contributions of each article in this series that further investigates the period. The authors note the febrile nature of Italian domestic politics before the war which challenged traditional liberal parliamentarism. This political challenge was accompanied by a challenge to traditional art, and no movement epitomized these twin challenges to the old order like Futurism. Yet, though the Futurists and other nationalist groups glorified war and helped push Italy into the conflict, the country was hardly united. In fact, the hope was that war would finally unify the nation and erase the shame of Italy’s lackluster military performances since unification. As such, Italy’s cultural experience of the war was somewhat unique, in that the desire to prove its martial valor did not lead to the level of denunciations that other nations’ artists and writers produced – though there were some critics. Ialongo’s article traces the Futurist contribution to this pro-war ethic. Reich shows how the popularity of the Maciste alpino film during the war built upon this desire to unify the nation behind the war. And Palanti’s analysis of the post-war film Umanità notes that there were critics in Italy willing to challenge the cult of war.     

John Hewitt’s curatorial eye: art and poetry in the municipal galleries

ABSTRACT

This article examines the art writing of the poet, critic, and curator John Hewitt in mid-twentieth century Ireland and Northern Ireland. Hewitt’s promotion of modern art and artist collectives in Ulster through shifting definitions of internationalism and regionalism will be linked to the art writing of Herbert Read and the late poetry of W.B. Yeats. Taking an interdisciplinary approach to Hewitt’s poetry and art writing reveals the sustained imbrication of politics, poetry and the visual arts in his thinking. Hewitt’s ottava rima poem in response to Yeats, “The Municipal Gallery Revisited, October 1954”, will be reassessed with recourse to the context of the Municipal Gallery in Dublin and its mid-century sculpture collections. By identifying artworks within the Municipal Gallery poem, the article illustrates Hewitt’s broader dialogues with the late Yeats and the art scene in Ireland.     

Unmaking the fascist man: masculinity,film and the transition from dictatorship

This essay examines the recasting and renegotiation of Italian masculinity during the war and during the transition from dictatorship to democracy. Film is my privileged source for understanding the complexities of male experience during this period of dramatic change, but I also rely on war crimes charges, diaries and memoirs. While not explicitly comparative in nature, the essay considers whether we can speak of a ‘crisis of masculinity’ in postwar Italy akin to that diagnosed by historians of postwar Germany and France. Within this broad frame, the essay focuses the experiences and representations of one category of men who evoked particular anxieties about the legacies of defeat and the redemption of Italian men for democratic models of fatherhood and citizenship: veterans, in particular returned prisoners of war. The 1946 film Il bandito (The Bandit, Alberto Lattuada), which I analyze in the last section of the essay, dramatizes the situation of these returned prisoners and the problem of a generation of men raised according to fascist norms that linked masculinity to the performance of aggressive acts.