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Australian International Pictures
by Adrian Danks and Constantine Verevis
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Book Presentation:
Australian International Pictures examines the concept and definition of Australian film in relation to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although international co-production is particularly acute in the present day, this book examines the porous nature of Australian International filmmaking, and the intriguing transnational and cross-cultural formations created by globally targeted but locally focussed films made in Australia in the period 1946–75.
About the authors:
Adrian Danks is Associate Professor in Cinema Studies and Media at RMIT University. He is also the co-curator of the Melbourne Cinémathèque and the author of many publications including the edited collections A Companion to Robert Altman (2015) and American-Australian Cinema: Transnational Connections (with Stephen Gaunson and Peter Kunze, 2018).Constantine Verevis is Associate Professor in Film and Screen Studies at Monash University, Melbourne. His publications include: Film Remakes (Edinburgh UP, 2006), Transnational Film Remakes (Edinburgh UP, 2017), Film Reboots (Edinburgh UP, 2020), and Flaming Creatures (2020). With Claire Perkins, he is founding co-editor of Screen Serialities (Edinburgh UP).
Press Reviews:
Offering sharp and smart close-readings of films in Australia through the long post-war period, a moment often understudied and underappreciated (if not downright dismissed), the authors revise, yet also productively revive, conceptions of national cinema through a composite framework nicely attuned to scales of global and local and their necessary interaction.
-- Dana Polan, New York University
Before Australian cinema’s breakthrough in the early 1980s, visiting filmmakers made important and varied contributions to what Danks and Verevis call ‘the imagination of Australia’. The Overlanders, On the Beach, Age of Consent, Ned Kelly and Walkabout are among the international productions here valuably reconsidered from a contemporary Australian perspective.
-- Ian Christie, Birkbeck College, University of London
See the publisher website: Edinburgh University Press
> From the same authors:
Australian Film Theory and Criticism (2018)
Volume 3: Documents
Dir. Deane Williams and Constantine Verevis
US Independent Film After 1989 (2015)
Possible Films
Dir. Claire Perkins and Constantine Verevis
Subject: Genre > Independent cinema
B Is for Bad Cinema (2015)
Aesthetics, Politics, and Cultural Value
Dir. Claire Perkins and Constantine Verevis
Subject: General
Australian Film Theory and Criticism (2013)
Volume 1: Critical Positions
After Taste (2013)
Cultural Value and the Moving Image
Dir. Julia Vassilieva and Constantine Verevis
Subject: Sociology
Second Takes (2010)
Critical Approaches to the Film Sequel
Dir. Carolyn Jess-Cooke and Constantine Verevis
Subject: Economics
> On a related topic:
Cast Mates (2023)
Australian Actors in Hollywood and at Home
Law, Lawyers and Justice (2021)
Through Australian Lenses
Dir. Kim D Weinert, Karen Crawley and Kieran Tranter
The Lost Child Complex in Australian Film (2019)
Jung, Story and Playing Beneath the Past
A Companion to Australian Cinema (2019)
Dir. Felicity Collins, Jane Landman and Susan Bye
Finding Queensland in Australian Cinema (2019)
Poetics and Screen Geographies
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