By Deane Williams
The postwar interval in Australian historical past used to be rife with severe debate over notions of nation-building, multiculturalism, and internationalization. Australian Post-War Documentary movie tackles those concerns in a thought of, wide-ranging research of 3 different types of documentaries: governmental, institutional, and radical. Charting the increase of innovative movie tradition, this quantity evaluations key movies of the period, together with The again of past, and retells movie heritage by way of putting those documentaries in a global context. “A major contribution to documentary background, the historical past of left-wing notion within the West, and Australian studies.”—Ian Henderson, Editor of reviews in Australasian Cinema “Deane Williams re-evaluates Australian documentary movie construction after global warfare II, positioning it as a part of a global left tradition that could embody manufacturers as various because the Realist movie Unit, Cecil Holmes, John Heyer and Maslyn Williams. He invitations readers on an continually enlightening and sometimes fascinating trip via a fancy internet of individuals and flicks and occasions, to view Australian tradition throughout the documentary movie ‘arc of mirrors’.”—Ina Bertrand, collage of Melbourne “Australian Postwar Documentary movie: An Arc of Mirrors is a completely and painstakingly researched research of its topic, which attracts upon a wealth of latest oral and different kinds of old source regarding the Australian labour circulation and linked film-making.”—Ian Aitken, De Montfort college “With erudition and perception, Deane Williams during this ebook reconstructs a formerly obscured period of documentary cinema in Australia, laying off gentle at the community of affiliations and institutions that underlay the making of a cluster of compelling, politically charged documentary movies within the postwar period. . . . this can be an immensely considerate and well timed contribution to the turning out to be literature at the historical past of documentary cinema.”—Charles Wolfe, collage of California, Santa Barbara
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Extra info for Australian Post-War Documentary Film: An Arc of Mirrors
Example text
He describes how, during the period 1937–39, he spoke and wrote about the need for a left wing film organisation which, unlike ad hoc bodies such as the Spanish Relief Committee, would develop expertise in film, would not compromise on censorship, would plough back money into more films and equipment, and which would make its own films. (Coldicutt 1982: 62) His work was briefly cut short by the war when he spent three years in New Guinea with the Royal Australian Air Force. Upon his return, Coldicutt heard that Mathews and Ted Cranstone (at the time a photographer with the Works Department and later a Department of Information and Commonwealth Film Unit camera operator) had begun film screenings at the New Theatre at 92 Flinders Street, Melbourne.
Many places could not be filmed because of the absence of electric current for the photofloods. However, I managed to film one house by taking a long lead down the street from a nearby house that was supplied with electricity. T. in my socks and trouser cuffs and pulled the socks over the cuffs) the heat from the photofloods brought out the bugs, which I filmed in close ups. (Fitzsimons 1947: 74) The most striking thing about Beautiful Melbourne is how much it is like A Place to Live. It contains much of the same footage.
Indd 36 12/8/08 18:03:01 A Realist Film Unit and Association in Australia | 37 high-rise flats very much like those proposed in Housing Problems. Another filmic model popular on the left at this time was Ralph Steiner and Willard Van Dyke’s The City (1939) which employs images of urban housing conditions and children playing in gutters and rubbish dumps which contrast with the utopian semi-suburban (and bourgeois) ideal of planned housing. A Place to Live also belongs to a body of films about housing conditions that were made in Melbourne at this time.