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.     

Teaching Indigenous geography in a neo-colonial world

Australian universities are increasingly embedding Indigenous content and perspectives within curriculum to promote Indigenous cultural competency. We present teaching challenges in an Indigenous geography course designed to present an engaged, intercultural learning experience. We critically reflect on student evaluations, informal discussions and observations to complement scholarly debates. Course design and delivery was seen as stimulating and illuminating in terms of course content. While diversity of student cohorts, backgrounds and learning styles remain challenging, the romanticism of some students can override critical engagement with the geographical context of the course material and their positionality. There remains a tendency in both student constructions and the geographical literature to create an Indigenous/non-Indigenous binary that not only essentializes both, but can be culturally unsafe for Indigenous students. Both Indigenous and non-Indigenous students may share a sense of pessimism in confronting apparently unstoppable development and environmental destruction. We argue for scholarship around the fundamentally intercultural nature of coexistence to contextualize the spatial diversity of Indigenous lives in landscapes, currently obscured by dominant constructions of Indigeneity. Critical reflection on settler educators’ and learners’ positionalities with respect to neocolonial structures will help to transcend both essentialism and pessimism.     

Recalibrating intercultural governance in Australian Indigenous organisations: the case of Aboriginal community controlled health

Aboriginal Community Controlled Health Services (ACCHSs) have a strong track record of delivering comprehensive primary health care in Australia, but the sector also suffers from governance challenges. This article argues that a combination of settler-state dominance of governance arrangements and inadequate conceptualisation of governance in the sector have led to the risk of ‘controlled communities’ – either quasi-government control of organisations or the control of individual ACCHSs by a small cohort of members. In response, we deploy a political rather than technical approach to governance to consider the contested and intercultural nature of ACCHSs governance alongside recent governance initiatives in Southeast Queensland that signal the value of disaggregating and delineating different forms of governance in the sector. Key conceptual steps and a matrix for recalibrating intercultural governance are presented to support further research, to clarify lines of jurisdiction, and inform governance reform in and around ACCHSs.     

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.     

A Land and a People of Extremes – Ireland and the Irish in German Cinema

Irish film history has often been seen as a pragmatic “creative bricolage” that draws almost exclusively on images of Ireland and Irishness that have emanated from the cinema industries of the USA and the United Kingdom. Yet, Ireland has also featured in the film industries of other non-Anglophone countries and the images produced in these contexts also represent an element within the vast and extensive archive of Irish filmic images. This article writes the first chapter in the expansion of Irish film history by examining the depiction of Ireland and Irishness in German film. Ireland and the Irish, not unlike the Anglo-American gaze, are depicted as a people and a land of extremes marked by an intensity of emotion, nationalism, Catholicism and alcohol, while extremes of poverty and wild untameable landscapes also feature prominently.     

Representations of the Outbreak of World War II in Polish Film, 1945–67: From Partial Recognition to a Component of National Memory

In September 1939, Poland was invaded by Nazi Germany and the Soviet Union, starting World War II. The war’s end in 1945 marked not the true liberation of the country, but the beginning of a period of Soviet domination that ended only in 1989. As a result, for forty-five years of Polish history, the alliance made by the Hitler with Stalin in 1939 and its tragic consequences for Poland were taboo across society. Polish filmmakers presenting the beginning of World War II were constrained by realities of the Communist state and its own historical narratives. These films reflect what happened to their country in 1939 and highlight the political changes that occurred within Poland under Communist rule, as well as the impact of shifts in the regime itself. The most significant period in this regard was 1945–67, when the outbreak of war was first presented following the end of Stalinism, emerging as a component of national memory both generally and for the Communist authorities.     

Chinese Queer Images on Screen: A Case Study of Cui Zi’en’s Films

The image of Chinese LGBT (lesbian, gay, bisexual and transgender) is largely absent from the big screen under the Chinese Communist Party’s censorship control. Taking advantage of the now cheaply available digital-video (DV) technology, queer activist and filmmaker Cui Zi’en has produced more than 10 LGBT-themed films since 2002, which shows the momentum of Chinese independent DV filmmaking. Although circulated mainly underground in China and at international film festivals, Cui’s films seek to promote the visibility of Chinese LGBT by representing queer diversity in this community. As the only filmmaker consistently dealing with LGBT themes and experimenting with new film techniques in China, Cui employs unconventional film aesthetics, featuring extreme long takes, unstable camerawork and minimal narrative, to challenge the oppression of Chinese LGBT by heteronormative conventions, as embodied by state power and a patriarchal social order. Furthermore, facilitated by DV technology, Cui adapts Western New Queer Cinema to the Chinese context, which brings a new dimension to Chinese cinema. In China’s restrictive political environment, Cui, like many other independent filmmakers, uses moving images to challenge official interpretations of social realities in contemporary China.