Titlebook: Australian Screen in the 2000s; Mark David Ryan,Ben Goldsmith Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Australian Sc

絆住

George Eliot, Music and Victorian Cultureaesthetic characteristics can be understood in relation to contemporary international art-horror trends, whilst achieving Kent’s objective of using the horror genre to explore dark aspects of parenthood. . success as art-horror is an example of the ‘international turn’ in Australian film production during the twenty-first century.

搖晃

George Eliot: An Intellectual Lifere Margot Nash’s personal essay documentary film . (2015), Sophie Hyde’s queered coming-of-age film . (2014) and Sue Brooks’ dramedy . (2015). Whilst these three films differ in genre, aesthetic and budget, each uses interruption as way of creating spaces for different kinds of intergenerational female stories.

Substitution

Philosophy, Politics and Historyoint of audience identification. To illustrate this shift, Hopgood examines five feature films that traverse melodrama and comedy—. (2007); . (2007); . (2008); . (2009); and . (2012)—and finds that each employs a range of strategies to encourage our empathy for the character living with a mental illness.

Detain

Foam-Cells

progestogen

George Eliot’s Originals and Contemporariesred the text in terms of film genre. Yet, as this chapter argues, the film’s attempt to develop a subversive depiction of colonial Australian violence is limited by the film’s formulaic approach to genre and an orthodox representation of settler Australia.