Popular Modernism, Neoliberalism and Nationalism in the Australian New Wave: The Cars That Ate Paris (1974) and Gallipoli (1981).
Dominant narratives of the Australian New Wave tend to frame the efflorescence of national filmmaking in the 1970s through the lens of Gough Whitlam's brand of cultural nationalism. The narrative usually runs as follows: state-funded films tended to favour a conservative, genteel and respectable aes...
| Publicado en: | Journal of Australian Studies Vol. 48; no. 3; pp. 335 - 349 |
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| Autores principales: | , , |
| Formato: | Artículo |
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Taylor & Francis Ltd
Sep2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=179685813&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 179685813 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14443058 3J2 jtl: Journal of Australian Studies issn: 14443058 maglogo: N pubinfo: dt: Sep2024 vid: 48 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 179685813 10.1080/14443058.2024.2314311 ppf: 335 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Popular Modernism, Neoliberalism and Nationalism in the Australian New Wave: The Cars That Ate Paris (1974) and Gallipoli (1981). aug: au: Brooks, Grace Shervington, Laurent Aplin, Simon affil: Department of History, The University of Western Australia, Perth, Australia Department of English and Literary Studies, The University of Western Australia, Perth, Australia Department of Premier and Cabinet, Perth, Western Australia su: Cultural nationalism Social democracy Film genres Filmmaking Efflorescence sug: subj: Cultural nationalism Social democracy Film genres Filmmaking Efflorescence keyword: Australian New Wave film nationalism neoliberalism popular modernism ab: Dominant narratives of the Australian New Wave tend to frame the efflorescence of national filmmaking in the 1970s through the lens of Gough Whitlam's brand of cultural nationalism. The narrative usually runs as follows: state-funded films tended to favour a conservative, genteel and respectable aesthetic that came to be known as the "Australian Film Commission genre". This article uses Mark Fisher's concept of "popular modernism" to challenge this dominant account of the Australian New Wave first put forth by Susan Dermody and Elizabeth Jacka, outlining the ways in which social democracy and state funding provided the conditions that allowed filmmakers to produce radical films that were anti-nationalist in character. As we will argue, when national film production deviated from this configuration and became circumscribed by neoliberal restructuring and economic rationalism in the 1980s, the New Wave took on an increasingly nationalist impulse. The article will trace this trajectory through a narrative analysis of two films from lauded Australian director Peter Weir: The Cars That Ate Paris (1974) and Gallipoli (1981). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Australian Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Australian Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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