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Brassed Off', Screen Education, 41, 2006: Brassed Off is one of the few British films considered in this book, and so seems to invite comparison with the majority: There is in Britain a tradition of social realism: But audiences will not generally be large for films which show only bleak lives unrelieved by more cheerful aspects, and so we have films like this one.

The lives of the mineworkers in Grimsley at a time when the pits are being closed - or at any time for that matter - are not the merriest; and yet in Mark Herman's film we have glamour and romance Ewan and Tarafine music the brilliant Grimethorpe Colliery Bandand black humour the performances of Mr Chuckles.

So this film leavens its political seriousness with geniality, with resulting popularity. This chapter takes a critical view of the film's ideology, its system of ideas, in both appreciating and praising the way in which it makes its point, but also in drawing attention to the questionable assumptions which underlie its presuppositions. Films about musicians afford us the opportunity to think about the importance of the arts to our lives, and music in particular.

This is not a 'musical' in the narrow sense of a narrative in which the story as such is carried forward to a significant extent by playing and singing and dancing. But it is, first, about the importance of such matters, and secondly, does use musical performances at key points in the story.

So it raises questions about the relative importance of the benefits of work and the uses of leisure and the effects of both on family, friendships and social groups. Breaker Morant Karen Ford, 'Abused by the motherland: Breaker Morant', Australian Screen Education, 31, 2001: Breaker Morant is both an historical film and a war film, and can be read as either, both, or indeed much more than either.

It is also quite possible to ignore the fact it is a film, and read it as an historical document, one version of the facts represented in it - which is the approach taken by Mark Enders. Her main theme is the notion of Australian identity, and of course the film offers an excellent basis for thinking about what it means to be Australian in the context of a war fought overseas under Imperial British orders against a different colonial enemy the Boers of South Africa.

The fact that Harry Morant, an English Australian, is power point on high noon alpha mills by an English actor makes the subtle ambiguities of what is in play all the more crucial. There is a visual ambiguity also at play.

  • Lantana Melanie Beal, 'Lantana;
  • Secrets and Lies Adam Trainer, '"The business of living";
  • Colonialism is clearly such an important matter in Rabbit-Proof Fence that it is hard to think about anything else than the policies of the Australian government in 1931 and their effect on the indigenous people of the country;
  • Is colonialism a feature of that contact, either inside the story, or in the way is it told in the film?
  • However, the political implications are clearly there, as pointed out by the following chapter.

The film is one of the disproportionately large number of films shot in the versatile state of South Australia, standing in quite effectively on this occasion for South Africa. This is a convenient analogy with the Boers, who stand in for the enemy in the earlier events in the story, although the real 'enemy' turns out to be the men who sentence Morant and Handcock to death as scapegoats in Kitchener's terms they are to be 'sacrificed'.

In filmic and historical terms, therefore, this film makes for a pertinent comparison with Peter Weir's Gallipoli, which deals with very similar situations although in another war, as does another film about yet another war, the conflict in Vietnam, The Odd Angry Shot Tom Jeffrey, 1979. The scene which cries out for shot-by-shot analysis is the closing sequence: What is the effect on the audience: Of Handcock and Morant holding hands?

Of them sitting in chairs - which tip backwards with them and freeze? Of Morant's last line: And what about the music, which is so often taken for granted? The sounds from outside which are heard intermittently in the background of the courtroom scene and the reading of the verdict are those of a brass band outside playing military-themed music: The execution is carried out without non-diegetic music, but once it is done, it is time for the vocal version of the song 'Soldiers of the Queen', sung by none other than Edward Woodward, who of course plays Morant.

The tunes may not be familiar to many in today's audiences, but people may at least hear the words of the final song as a comment from the film-makers. Shirley Law's chapter is a very comprehensive survey of many issues raised in and by Cinema Paradiso, a particularly signficant film and the only one dealt with in this book which is itself about cinema.

This self-consciousness, giving it the status of meta-film, also allows for the introduction of bits of many other texts in the work. All texts are power point on high noon alpha mills - that is, all texts refer potentially to all the other texts that have ever existed and most actually refer to some specific and recognisable previous texts.

In this case, however, the intertextuality is particularly tangible and functional. I mean that all the other texts that are quoted, visually and verbally, add meaning to the story of Salvatore di Vita. Cinema Paradiso provides many opportunities for the analysis of scenes which have scenes on the screens within them, to examine examples of the operation of relationships between texts.

Clueless Harriet Margolis, 'Clueless: Clueless is, to some extent, related to Jane Austen's Emma, as Jane Mills's title implies, and her chapter begins with that idea. However, the work it does is an exemplary piece of film analysis, taking the first few minutes of the film and breaking it down into filmic categories: Harriet Margolis's chapter, on the other hand, stays with the comparison between novel and film throughout, making a thorough job of the moral differences and similarities between the situations of Emma and Cher and their social and physical contexts.

Clueless is the only film to have two chapters devoted to it in this book, as they provide strikingly different ways of approaching a filmic text. One goes deeply into its morality, that is, its ideological dimension, using a comparison with another written text; the other treats the film as a technical assemblage of all those elements power point on high noon alpha mills make a film different from a novel, while still being aware of the things they have in common.

It is to hoped the comparison between the two chapters will in itself be useful. Hunter Cordaiy's chapter makes for a revealing comparison with Jane Mills's. She regards her film Clueless as unproblematic: Hunter Cordaiy, on the other hand, discusses one of the problems involved in making films, one that is of particular interest to readers of this book: As he points out, the novelist can convey this either with simple thought report 'Ellie.

But film-makers unless they use a voiceover simply reading such material have to convey interiority in other ways. The chapter includes useful discussion and examples of this. This chapter deals with Crocodile Dundee as a collection of stereotypes. There are many other ways of dealing with it.

What type of film is it? Parts of are a bit like a western: But it's basically a comedy, isn't it?

What is the humour based on? Take a particular scene and see how the comedy works. The chapter mentions the first encounter with Neville Bell David Gulipilil: The most remarkable thing about this film is its incredible popularity, especially as power point on high noon alpha mills by the money it made, both in Australia and in the USA.

What made is so acceptable in each country? In Australia, is it because it appeals to views of Australian nationalism, or the Australian character? In what ways is Mick Dundee typical of an idea of what an Australian is like?

Is its American appeal based on its exoticism, the strangeness of the people and animals of this distant country? Are audiences in both countries intrigued by the contrasts and comparison between the two countries?

It's quite intentional that all three of the Crocodile Dundee films are partly set in both Australia and America: Donnie Darko Adam Trainer, '"They made me do it": Many films are now being re-released in the form of the director's cut, as the emergence of DVD has made this easily possible, if not almost obligatory.

But few director's cuts are also re-released in theatrical form, as was the case with Donnie Darko. Adam Trainer gives us a rather complicated definition of what is meant by a 'cult film', but a simpler one might be along the lines of a film that becomes so popular over time that people want to see it again and againso that distributors might even be prepared to take the considerable risk of spending large amounts of money on prints and advertising to put a film back into cinemas again.

Film as Text

What is it about Donnie Darko that has made it so remarkably popular? Among other things it may be something to do with the combination of the highly unusual with the comfortingly familiar, plus some of the trappings of youth culture popular music - cults these days usually being youth phenomena. Donnie Darko in himself combines the unusual - his strange mental states - with the commonplace - he's an adolescent.

But there are characters who are much more extraordinary than Donnie, not only Grandma Death with her Philosophy of Time Travel, but even more so Frank, the six-foot rabbit who appears to be a projection of Donnie's psychosis.

As Trainer makes clear, the film-makers have chosen the music for the film with great care, not only so that it underlines or makes the emotional and ideological points at the appropriate moments, but also so that it is recognisable as popular as well as specific to the period of the film's setting.

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Where do you stand with regard to Donnie Darko, and why? Are you a fan? Elizabeth Garry Gillard, '"I have become a Virgin": Elizabeth', Screen Education, 37, 2004: What strikes me about Shekhar Kapur's version of the Queen Elizabeth I story is its modern sensibility, but it also takes great pains to achieve the effect of historical accuracy. One of the ways of approaching it is of course through history, and it might be useful to compare different accounts of the events with the one here.

Where there is a variation from the received historical consensus, you might ask if it is in the service of narrative or stylistic convenience, or if it is trying to throw a new and different light on the period and the people.

You might ask similar questions in an approach from the specific biography of Elizabeth. Obviously, a selection has to be made from everything that ever happened in her life, and you may want to consider what has been left out and why. The chapter reads the film as a kind of thriller and detective story. Is it not also a love story? The lover, Dudley, is certainly given a good deal of prominence in the film. But if it is, it is an unusual kind of romance. You might like to consider how you see its success in telling this particular version of the boy not getting the girl.

Gallipoli Garry Gillard, 'A sort of war memorial on celluloid: Gallipoli', Screen Education, 38, 2005: This chapter is about attitudes to war; and it's quite difficult to think of any other way in which to approach Weir's film, due to its particular subject and its undeniable strength.

I've watched the ending of the film many times, and its power has never diminished for me: I find it very hard to watch. As with Elizabeth, and indeed Breaker Morant, there is an official historical record with which to compare the representations of the film, so that is one possible approach.

And, as with Crocodile Dundee, questions of the Australian national character arise or at least the male aspects thereof ; but whereas Mick Dundee is a loner, Gallipoli hangs to a large extent on the relationship between two men, the two friends Archy and Frank: And so the theme of 'mateship' is also an important one. Gattaca has often been written about in the pages of Australian Screen Education. Julie Clarke discusses the film in the context of the pseudo-science of eugenics, which is an important aspect of its background.

Kathleen Ellis reads the film in the context of the representation of disability, to make the point that although it ventilates the issue it is fundamentally conservative and not directed towards cultivating attitudinal change. To illustrate the point that there are usually a number of different but still enlightening approaches to any text, yet another is taken in the present chapter, one which might be called 'philosophical'.

  • The opening shot shows that the Amish people come out of the earth and therefore suggests that they belong to it;
  • Consider the use of fire;
  • Kate Matthews, 'Serious laughter;
  • Will Kane does not put his marshal's badge under his boot and step on it, as the article suggests; he merely throws it in the dust, as is said later in the article, and we see it in front of his left boot as he turns to get in the wagon;
  • What effect does it have on the story that Fran is second-generation Spanish-Australian?
  • Her main theme is the notion of Australian identity, and of course the film offers an excellent basis for thinking about what it means to be Australian in the context of a war fought overseas under Imperial British orders against a different colonial enemy the Boers of South Africa.