| Reference Type |
chapter
|
| Title |
An Australian Film Reader |
| Chapter/Web article title |
Part Three: Renaissance of the Feature |
| Editor(s) | Tom O'Regan,Albert Moran |
| Town |
Sydney |
| State |
NSW |
| Country |
Australia |
| Publication Date |
00-00-1985 |
| Citation Date |
|
| Page Number |
139-143 |
| Comments |
I am particularly interested in Thornhill and Hall's contrasting stand on the Australian film industry. Hall contended that Australia could never have an industry on a scale like Hollwood's, while Thornhill looks for support from government sources, in the forms of subsidy, quota or both. |
| Synopsis |
A summary of the readings within this section by Moran and O'Regan.
A key move of establishing a low-budget, experimental cinema to function as a kind of nursery for a feature industry. There was also a recommendation that a national film and television training school be established and that a film development corporation be set up.
Establishment of the Australian Film Development in 1970 finally kick started a feature film industry but the early films produced mostly sex comedies, which was a box office hit but ignored the cultural aspects. It was until the birth of Picnic at Hanging Rock that Australia finally came up with something that could fulfil both commerical and cultural mandates. |
tags:
add tag Please Wait...
|
|
Notes ( click to view )
|
| Note on the Commonwealth Film Unit |
Pg.107 By the mid 1970s, the Commonwealth Film Unit was able to point to filmmakers who they are confident that will make it to the commerical industry. Thornhill was on the CFU list, but how wrong they were huh....well, at least they got one fellow right and that's Peter Weir who has gone on to Hollywood to make movies.
|
|
|
Close Notes
|
|
| |
