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Transnational Australian Cinema

Ethics in the Asian Diasporas

Olivia Khoo; Belinda Smaill and Audrey Yue

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Paperback
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To date, there has been little sustained attention given to the historical cinema relations between Australia and Asia. This is a significant omission given Australia’s geo-political position and the place Asia has held in the national imaginary, oscillating between threat and opportunity. Many accounts of Australian cinema begin with the 1970s film revival, placing “Asian-Australian cinema” within a post-revival schema of multicultural or diasporic cinema and ignoring Asian-Australian connections prior to the revival. Transnational Australian Cinema charts a history of Asian-Australian cinema, encompassing the work of diasporic Asian filmmakers, films featuring images of Asia and Asians, films produced by Australians working in Asia’s film industries or addressed at Asian audiences, and Asian films that use Australian resources, including locations and personnel.

Utilizing an interdisciplinary approach, the book considers diasporic Asian histories, the impact of government immigration and film policies on representation, and the new aesthetic styles and production regimes created by filmmakers who have forged links, both through roots and routes, with Asia. This expanded history of Asian-Australian cinema allows for a renewed discussion of so-called dormant periods in the nation’s film history. In this respect, the mapping of an expanded history of cinema practices contributes to our broader aim to rethink the transnationalism of Australian cinema.
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Lexington Books
Pages: 216Size: 6 1/4 x 9 1/4
978-0-7391-7324-4 • Hardback • March 2013 • $69.00 • (£47.95)
978-1-4985-1106-3 • Paperback • February 2015 • $39.99 • (£24.95)
978-0-7391-7325-1 • eBook • March 2013 • $39.99 • (£24.95)
Olivia Khoo is senior lecturer in film and television studies at Monash University.
Belinda Smaill is a senior lecturer in film and television studies at Monash University.
Audrey Yue is associate professor in screen and cultural studies at the University of Melbourne.
Chapter 1: Reframing Australian Cinema: Transnationalism, Ethics, and Asian Australian Cinema
Part A. Reframing National Cinema History
Chapter 2: Asian Stereotypes in 1920s Australian Cinema: The Cook, the Thief, the Wife and Lover
Chapter 3: Colombo Plan Documentary: Australia and Asia in the Postwar Era
Chapter 4: The Transnationalisation of the Australian Western: Japanese-Australian Productions in the Late 1960s
Part B. Australia’s Film Renaissance and Beyond: Uneasy Cinematic Encounters
Chapter 5: Romance, Entrepreneurialism and the Intercultural Couple
Chapter 6: The Global Back of Beyond: Ethics and the Asian Australian Road Movie
Chapter 7: Landscape Cinema: Asianness and Indigeneity
Part C. Networks and Technologies: Contemporary Asian Australian Cinema
Chapter 8: New Ethics in the Asian Australian Short Film
Chapter 9: The Community Cultural Development of Action Cinema
Chapter 10: Co-productions and New Queer Paradigms for Mobilities and Migration
Far more than the first major study of a supposedly “minor” cinema too long unexplored, Transnational Australian Cinema is a thought adventure of exceptional brilliance and daring. The “strong transnationalism” of its field-expanding method not only brings us rich historical discoveries but also creates new ways of thinking representation together with policy, viewership with social governance, ethnic identities with resource allocation, and film forms with production ecologies. This book redefines the field of national cinema studies and in the process it expands the capacities of film history to illuminate the great debates of our time.
Meaghan Morris, Professor of Gender and Cultural Studies, University of Sydney


Transnational Australian Cinema: Ethics in the Asian Diasporas is a welcome addition to scholarship on both Australian and transnational cinema. It makes significant and new arguments about the changing representation of Asia and Asian subjects in Australian cinema, and it proposes a useful approach to these subjects that allows them to be viewed in new ways. It will be of great interest not only to students and scholars of Australian and transnational cinema, but also to those in Australian studies, and particularly in Asian studies.
Ben Goldsmith, Queensland University of Technology


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