Arts and Humanities Commons^™

The Template Model: Putting Meaning At The Centre Of Film Education, Marc Barrett

Marc Barrett

What The Boomerang Misses: Pursuing International Film Co-Production Treaties And Strategies, Brian Yecies

Dr Brian Yecies

This paper illustrates some of the dynamic ways that members of the Korean, Australian, New Zealand and Chinese creative and cultural industries have engaged with international instruments such as co-production treaties. Strategies, benefits returned and lost costs, that is, sacrifices that are made in the process of producing a film or digital media program in more than one country, and/or with an international team are investigated to reveal how creators are engaging with the demands of different governments' policies. It is hoped that this paper and the larger research project to which it is attached will assist scholars, creative and …

Korean-Chinese Film Remakes In A New Age Of Cultural Globalisation: Miss Granny (2014) And 20 Once Again (2015) Along The Digital Road, Kai Ruo Soh, Brian Yecies

Dr Brian Yecies

No abstract provided.

Film Pioneer Lee Man-Hee And The Creation Of A Contemporary Korean Cinema Legend, Ae-Gyung Shim, Brian Yecies

Dr Brian Yecies

At the peak of Korean cinema's contemporary golden age in the mid-2000s, 1960s auteur director Lee Man-hee and his films were rediscovered and have since become appreciated in ways that Lee himself never experienced. In 2010, his classic Late Autumn was remade as a transnational coproduction for a pan-Asian audience. Four decades after his death, Lee remains one of the most influential directors in Korea's history. To understand his legacy and its sociohistorical conditions, the authors analyze how Lee's provocative genre experimentation reinvigorated the Korean film industry in the 1960s under Park Chung-hee's authoritarian regime, a spirit that remains alive …

Chinese International Film Encounters: Closing The Gaps With Hollywood With Soft Power Appeal At Home And Abroad (中国电影与韩国的国际碰撞-中国电影通过软实力追赶好莱坞), Brian Yecies

Dr Brian Yecies

In this article, I aim to expand our understanding of the transnational production and increasing international appeal of contemporary Chinese cinema in 2012 and 2013; my viewpoint is from the outside looking in. To achieve this aim, I analyze two key developments that are contributing to the rapidly shifting shape and style of the Chinese film industry: 1) increasing post-production collaborations with film industry practitioners and firms from South Korea – an important trading partner for China; and 2) the popular reception of Chinese films on the international film festival circuit, in particular the responses of a diverse group of …

White Woods And Blue Jasmine: Woody Allen Rewrites A Streetcar Named Desire, Verna Foster

Verna Foster

The film's reviewers almost invariably commented on the parallels with Streetcar, many noting, too, that Cate Blanchett, who plays the title character, Jasmine, had also successfully played Blanche Dubois in Liv Ullmann's 2009 production of the play at the Brooklyn Academy of Music.2 But for all the similarities in character types and plot structure and for all the allusions to specific lines in Streetcar, the themes of Blue Jasmine are very different from those of Williams's play because the story that Allen tells also channels the fall of Bernie Madoff and his wife, Ruth. The flashbacks are a filmic equivalent …

The Dancer's Paradox: Dance In Egyptian Film, Roberta L. Dougherty

Roberta L. Dougherty