{"id":841,"date":"2011-05-06T23:47:45","date_gmt":"2011-05-06T21:47:45","guid":{"rendered":"http:\/\/www.filmfestivalresearch.org\/?page_id=841"},"modified":"2025-03-30T10:18:07","modified_gmt":"2025-03-30T08:18:07","slug":"6-6-australia","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/6-transnational-cinemas\/6-6-australia\/","title":{"rendered":"6.6 Australia"},"content":{"rendered":"<p>Benson, Chloe. 2016. \u201cLanguage Matters.\u201d <i>Senses of Cinema <\/i>(80). http:\/\/sensesofcinema.com\/2016\/new-directions\/language-matters\/. Accessed May 22, 2020.<\/p>\n<p>Carroll Harris, Lauren. 2017. \u201cTheorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films.\u201d <i>Studies in Australasian Cinema<\/i> 4 (182): 46\u201358. https:\/\/doi.org\/10.1080\/17503175.2017.1356611.<\/p>\n<p>Ford, Akkadia. 2017. \u201cRegional &amp; Queer: Refusing to Be Invisible, Creating Queer Space in a Non-Queer World.\u201d <i>Cybergeo<\/i>. http:\/\/journals.openedition.org\/cybergeo\/pdf\/27952. Accessed May 22, 2020.<\/p>\n<p>Herrschner, Irina. 2015. \u201cThe Role of Art in German Cultural Diplomacy: An Analysis of the Festival of German Films in Melbourne, Australia.\u201d <i>Media Transformations<\/i>, no. 11: 124\u201341. https:\/\/doi.org\/10.7220\/2029-8668.11.07.<\/p>\n<p>Hope, Cathy, and Adam Dickerson. 2006. \u201c&#8217;Ill-Will with the Trade&#8217;: The Sydney and Melbourne Film Festivals (1959-1964).\u201d <i>Screening the Past <\/i>(20). http:\/\/www.latrobe.edu.au\/screeningthepast\/20\/sydney-melbourne-film-festivals-1959-1964.html. Accessed March 16, 2008.<\/p>\n<p>Hope, Cathy, and Adam Dickerson. 2006. \u201c&#8217;Separating the Sheep from the Goats&#8217;: The Sydney and Melbourne Film Festivals (1965-1972).\u201d <i>Screening the Past <\/i>(20). http:\/\/www.screeningthepast.com\/2014\/12\/separating-the-sheep-from-the-goats-the-sydney-and-melbourne-film-festivals-1965-1972\/. Accessed May 22, 2020.<\/p>\n<p>Hope, Cathy, and Adam Dickerson. 2011. \u201c\u2018Give It a Go You Apes\u2019: Relations Between the Sydney and Melbourne Film Festivals, and the Early Australian Film Industry (1954\u20131970).\u201d <i>Screening the Past <\/i>(30). http:\/\/www.screeningthepast.com\/2011\/04\/%e2%80%98give-it-a-go-you-apes%e2%80%99-relations-between-the-sydney-and-melbourne-film-festivals-and-the-early-australian-film-industry-1954%e2%80%931970\/. Accessed May 22, 2020.<\/p>\n<p>Loreck, Janice, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens. 2020. \u201cLooking Back, Moving Forward: Retrospectives at the Melbourne Women in Film Festival.\u201d <i>Camera Obscura<\/i> 35 (2): 159\u201369. https:\/\/doi.org\/10.1215\/02705346-8359640.<\/p>\n<p>Muller, Clare. 2012. \u201cHuman Rights Film Festivals and Human Rights Education: The Human Rights Arts and Film Festival (HRAFF), Australia.\u201d In <i>Film Festival Yearbook 4: Film Festivals and Activism<\/i>, edited by Dina Iordanova and Leshu Torchin, 165\u201373. St Andrews: St Andrews Film Studies.<\/p>\n<p>Murray, Virginia, and Katya Johanson. 2015. \u201cThe Cut-Through Concept: <i>52 Tuesdays<\/i>, Festivals and the Distribution of Independent Australian Films.\u201d <i>Studies in Australasian Cinema<\/i> 9 (1): 52\u201365. https:\/\/doi.org\/10.1080\/17503175.2014.1002270.<\/p>\n<p>Pe\u00f1aloza, Fernanda. 2019. \u201cScreening Latin America: The Sydney Latin American Film Festival.\u201d In <i>Mapping South-South Connections: Australia and Latin America<\/i>, edited by Fernanda Pe\u00f1aloza and Sarah Walsh, 223\u201339. New York, NY: Springer.<\/p>\n<p>Popescu, Stefan. 2015. \u201cFestival Director&#8217;s Report: Sydney Underground Film Festival \u2013 a Community of Cinema Junkies.\u201d <i>Studies in Australasian Cinema<\/i> 9 (2): 205\u201310.<\/p>\n<p>Richards, Stuart, and Lauren Carroll Harris. 2021. \u201cFrom the Event to the Everyday: Distributor-Driven Film Festivals.\u201d <i>Media International Australia<\/i> 180 (1): 91-100. https:\/\/doi.org\/10.1177\/1329878X20938479.<\/p>\n<p>Richards, Stuart James. 2016. \u201cProud in the Middleground: How the Creative Industries Allow the Melbourne Queer Film Festival to Bring Queer Content to Audiences.\u201d <i>Studies in Australasian Cinema<\/i> 10 (1): 129\u201342. https:\/\/doi.org\/10.1080\/17503175.2016.1140467.<\/p>\n<p>Richards, Stuart James. 2016. <i>The Queer Film Festival: Popcorn and Politics. <\/i>Framing Film Festivals. New York: Palgrave Macmillan.<\/p>\n<p>Searle, Samantha. 1996. \u201cFilm and Video Festivals: Queer Politics and Exhibition.\u201d <i>Meanjin<\/i> 55 (1): 47\u201359.<\/p>\n<p>Searle, Samantha. 1997. <i>Queer-Ing the Screen: Sexuality and Australian Film and Television. <\/i>The moving image 5. St. Kilda: Australian Teachers of Media.<\/p>\n<p>S\u00f6lter, Arpad-Andreas. 2015. \u201cFestival Circus, Golden Gnomes and Cultural Diplomacy: The Audi Festival of German Films in the Context of Multicultural Festivals in Australia.\u201d <i>Studies in Australasian Cinema<\/i> 9 (2): 190\u2013204.<\/p>\n<p>S\u00f6lter, Arpad-Andreas. 2018. \u201cStrategically Shaping International Cultural Relations in a Changing Competitive Environment: Reflections on Recent German-Australian Encounters.\u201d In <i>German-Australian Encounters and Cultural Transfers: Global Dynamics in Transnational Lands<\/i>, edited by Benjamin Nickl, Irina Herrschner, and El\u017cbieta M. Go\u017adziak, 3\u201328. Global Germany in transnational dialogues. Singapore: Springer.<\/p>\n<p>Stevens, Kirsten. 2013. \u201cSee It at a Festival Near You: The Film Festival as Exhibition Practice in Melbourne, 1952-2012.\u201d PhD Thesis, Film and Television Studies, School of English, Communication and Performance Studies, Monash University.<\/p>\n<p>Stevens, Kirsten. 2014. \u201cEnthusiastic Amateurs: The Origins and Evolution of the Melbourne International Film Festival as Grassroots Phenomenon.\u201d NECS 2014 Conference &#8220;Creative Energies \u00bb Creative Industries&#8221;, Milan, June 20.<\/p>\n<p>Stevens, Kirsten. 2016. <i>Australian Film Festivals: Audience, Place, and Exhibition Culture. <\/i>New York: Palgrave Macmillan.<\/p>\n<p>Stevens, Kirsten. 2016. \u201cFrom Film Weeks to Festivals: Australia\u2019s Film Festival Boom in the 1980s.\u201d <i>Studies in Australasian Cinema<\/i>, 1\u201314. https:\/\/doi.org\/10.1080\/17503175.2016.1198450.<\/p>\n<p>Stevens, Kirsten. 2017. \u201cBetween Like and Love: Cinephilia and Connected Viewing in Film Festival Audiences.\u201d <i>Participations<\/i> 14 (2): 660\u201381. http:\/\/www.participations.org\/Volume%2014\/Issue%202\/34.pdf. Accessed June 22, 2021.<\/p>\n<p>van Hemert, Tess. 2016. \u201cBIFF to BAPFF: Considering \u2018Festival Memory\u2019 in the Face of Change and Innovation.\u201d <i>New Review of Film and Television Studies<\/i> 14 (1): 164\u201380. https:\/\/doi.org\/10.1080\/17400309.2015.1110882.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/vg07.met.vgwort.de\/na\/b121bd20f06743e1844dff01ef3a5b9b\" alt=\"\" width=\"1\" height=\"1\" \/>(Last updated: 30. March 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Benson, Chloe. 2016. \u201cLanguage Matters.\u201d Senses of Cinema (80). http:\/\/sensesofcinema.com\/2016\/new-directions\/language-matters\/. Accessed May 22, 2020. Carroll Harris, Lauren. 2017. \u201cTheorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films.\u201d Studies in Australasian Cinema 4 (182): 46\u201358. https:\/\/doi.org\/10.1080\/17503175.2017.1356611. Ford, &hellip; <a href=\"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/6-transnational-cinemas\/6-6-australia\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":72,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-841","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/comments?post=841"}],"version-history":[{"count":16,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/841\/revisions"}],"predecessor-version":[{"id":3198,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/841\/revisions\/3198"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/72"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}