Therese Davis I would like to reflect on the conference themes of “remaking history” and “remapping cinema” by focussing on the construction of an Indigenous perspective on Australian national history…
The rise of cinema around the turn of the 20th century as a popular cultural activity is commonly linked to the emerging modern lifestyle of city residents - a product…
After more than a hundred years of filmmaking in New Zealand the corpus of films made either by or about New Zealanders has built up to such an extent that…
1. Introduction The two films to be presented in this paper were produced in the 1980s at the height of Hong Kong’s popularity as an Asian film hub, although they…
1. Introduction ‘History returns forever – as film,’ voiced Anton Kaes.[1] However, film in turn returns as history. Cinema is a culture we can refer to and use to encode…
“Those Who Wait” is the title of an essay, first published in 1922, by Siegfried Kracauer.[1] In this essay, Kracauer employs the image of waiting to describe a mass of…
Every voyage can be said to involve a re-siting of boundaries … an undetermined journeying practice, having constantly to negotiate between home and abroad, native culture and adopted culture, or…
I have essentially set myself two tasks in this paper. Firstly, to look at Thomas Elsaesser’s (2000) notion of the ‘historical imaginary’, particularly drawing on those aspects of it which…
One significant aspect of the work currently being done on the history of film exhibition and audiences in the United States stresses the importance of rural cinemas and itinerant showmen…
So instead of looking through the window at history we’re actually going to climb through that window to the other side and feel it. (Janice Feyen, Pioneer House) The historical re-enactment…
1. Les Glaneurs est la glaneuse (1999) Agnès Varda has been linked to the work and the ideas of the French Nouvelle Vague (Jean-Luc Godard, Éric Rohmer, François Truffaut, Claude Chabrol) having to do…