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.     

Multiculturalism and the immigrant “Irish woman” after the Celtic Tiger: marginalisation,gender-based violence and family dysfunction in Ebun Akpoveta’s Trapped: Prison Without Walls

This article breaks new ground in examining how “new Irish” immigrant women have responded to the collapse of Ireland’s Celtic Tiger economy and the different forms of gender discrimination and marginalisation they face both within their minority ethnic communities and the Irish host society. It approaches Ebun Akpoveta’s Trapped: Prison Without Walls (2013) as an exemplary work of fiction which exposes unresolved injustices and inequalities suffered by immigrant women. Akpoveta creates a narrative that complicates previous representations of cultural encounters between newcomers and long-established members of Ireland’s host society, not least because her Nigerian female protagonist arrives as a postgraduate student rather than an asylum seeker or refugee. She fictionalises female experiences of marginalisation, gender-based violence and family dysfunction within an all-Nigerian family that outwardly appears to be a model of integration and social inclusion in an open and welcoming Irish multicultural society.     

Immigration,the Celtic Tiger and the economic crisis

Abstract

This article addresses the puzzle of why Ireland has proved so open to immigration. It compares responses to immigrants in the Republic of Ireland during the Celtic Tiger era and during the post-2008 economic crisis and finds no evidence of a political backlash during the latter period even though opinion polls suggest that opposition to immigration had increased and other evidence suggested that there had been an increase in racist incidents within Irish society. Nor did the resumption of large-scale emigration trigger political hostility to immigrants. The outcome of the 2004 Referendum on Citizenship, which removed a constitutional right to Irish citizenship to the Irish-born children of immigrants, suggested that that nationalism still matters hugely and a latent tendency towards ethnic chauvinism amongst the host population. Yet, a decade after the 2004 Referendum it looked as if the old mono-ethnic sense conception of the Irish nation had been disrupted, at least a little bit.     

Contemporary Irish theatre,the new Playboy controversy,and the economic crisis

Abstract

This article examines the impact of the economic crisis on contemporary Irish theatre. More specifically, I contend that the legal controversy surrounding Bisi Adigun and Roddy Doyle’s second production of Playboy of the Western World: A New Version in 2008 provides a case study of how professional theatre productions that dramatised stories of immigrant empowerment during the Irish economic boom were profoundly inhibited by the bust that followed. Their collaborative version of the new Playboy was widely regarded as Ireland’s most successful intercultural play and a commercial success when it was first staged at the Abbey Theatre in 2007. The subsequent breakdown in their relationship and ensuing legal dispute is more symptomatic of Celtic Tiger Ireland in economic collapse, I suggest, than the content of the play itself, or most other productions mounted in the period. I argue that this dispute did not simply reflect but also reinforced the social effects of the economic crisis, through its prolonged litigation, enormous expense, and especially the missed opportunity that it represented to position the multicultural and migrant themed Playboy within the Irish theatrical mainstream. More broadly, I suggest that the economic crisis has been marked by the disappearance of immigrants from the professional Irish stage, a void which was only partially filled by community theatre productions. A case in point is Adigun and Arambe’s most recent adaptation of Jimmy Murphy’s The Kings of the Kilburn High Road in The Paddies of Parnell Street (2013), a play which I positively appraise as an example of successful “intercultural re-appropriation”.     

The neo-liberalization of strategic spatial planning and the overproduction of development in Celtic Tiger Ireland

This paper argues that the role of the planning system in the overproduction of development during Ireland’s Celtic Tiger needs to be analysed as instructive of contemporary neo-liberal transformations of strategic spatial planning. Leaning on a Foucauldian governmentality perspective, the genealogy of modern Irish planning practice is explored to elucidate how neo-liberal rationalities became embedded in institutional norms through consensus-driven partnership governance. The central premise is that the turn to ‘strategic spatial planning’, particularly with the publication of the National Spatial Strategy in 2002, was usefully exploited to mask the spatial politics of the ever-increasing need for the state to facilitate capital switching into built environment formation in order to maintain conditions of high economic growth. Using the empirical case study of housing development in the ‘Upper Shannon’ region and large-scale commercial development in County Meath, it is argued that this contributed to a destabilization of the planning system and an abandonment of basic planning principles. The paper concludes that, in the context of the new and deeply uneven economic geography of post-crisis Ireland, there is an urgent need for a repoliticized critique of normative interpretations of strategic spatial planning practice in order for more progressive practices to emerge.     

The Profumo affair in popular culture: The Keeler Affair (1963) and ‘the commercial exploitation of a public scandal’

This article demonstrates that the Profumo affair, which obsessed Britain for large parts of 1963, was not simply a political scandal, but was also an important cultural event. Focussing on the production of The Keeler Affair, a feature film that figured prominently in contemporary coverage of the scandal but which has been largely overlooked since, the article shows that this film emerged from a situation in which cultural entrepreneurs, many of them associated with the satire boom, sought to exploit the scandal for financial gain. Many Profumo-related cultural products found an audience, and thus formed an integral part of, and helped to shape public attitudes towards, the Profumo affair. However, these products did not go uncontested, and resistance to them, and especially to the idea that Keeler might benefit materially from her role in the scandal, speak to concerns about cultural mediations of sex, politics and humour in early-1960s Britain.     

Democratic ambivalence in post mortem

Pablo Larraín’s trilogy of films has broken new ground in Chilean cinema by offering a new perspective on realities of the Pinochet dictatorship, the outbreak of the coup, and the dissolution of Pinochet’s power. This article explores Larraín’s use of banality, which, I claim, realizes a democratic ambivalence that is latent in historical representation and History proper. Rather than accusing Larraín’s films of conservatism or apathy, I argue that these films seek to destabilize the known categories of identification: a radical gesture against any form of establishment. Paying particular attention to Larraín’s aesthetics, I claim that the radical gesture of Post mortem (2010) lies in its innovations at the level of mise-en-scène and editing. Drawing on philosophical insights in Jacques Rancière’s and Gilles Deleuze’s writings on historical representation and ambivalent representations, I argue that Larraín avoids conventional forms of historical fiction and Latin American political cinema.     

Revising history: Elvira Giallanella’s Umanità and the editing of gender

A mix of fantasy, history, spirituality, and political engagement, Elvira Giallanella’s film, Umanità (1920), is a sort of Carrollian ‘through the looking glass’ in which reality resembles itself but upside-down. In the immediate aftermath of WWI, Giallanella’s film – a revision of Vittorio Emanuele Bravetta’s 1916 children’s story from 1916. children’s story – both reflects and critiques gender roles that had been temporarily fissured by the war itself. A feminist position transpires in the juxtaposition of the pre-war male-authored text with the postwar female-directed film, further revised by men. An invaluable historical source, Umanità not only offers insight into a woman’s and a feminist’s perspective on the Great War and its aftermath but also sheds light on the moral, political, and philosophical atmosphere of destabilization at the time. Coming full circle, Umanità suffered from the very same revisions by the re-established postwar patriarchy, and by the end of the 1920s, cinema itself had been reclaimed as male territory, leaving the film lost amongst the debris. Umanità’s resurfacing in 2007 allows us to reflect on the process of history-making in itself: what is omitted, what is included, and more importantly whose voices will be validated enough to be heard along the way. This instance – one amongst several – can serve as an example of how history is indeed a continuous process made up of (re)visions, and never a singular, univocal one.     

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.