Martin Gray

Ian Craven

Geraldine Stoneham

Australia's leisure culture is legendary, and as millions of British viewers of Neighbours, fans of Yothu Yindi or drinkers of Castlemaine XXXX would attest, Australian popular culture is popular outside of Australia. Australian Popular Culture is an exciting collection of essays bringing together new perspectives on the nature and meaning of a nation's changing life. The collection also explores the idea of popular culture at large. Leading authors represent a range of approaches, backgrounds and fields to explore subjects of wide interest within the categories of 'the everyday', 'the mass media' and 'critical theory'. Chapters are devoted to the Aussie Back Yard; Vegemite; postage stamps; Australian Rules football; the introduction of television; Crocodile Dundee; The Lindy Chamberlain Affair; Spycatcher; Domesticity, leisure and love and Postmodernism and Australian Culture.

Australian Popular Culture

Colourfully illustrated story for young children about two children whose house catches on fire. Incorporates advice about fire safety.

Captain Barney and the House on Fire

This study is a collection of critical and scholarly analyses of the organisation of the Australian Film Industry since 1990. Particular emphasis is put on globalisation, authorship, national narrative and film aesthetics.

Australian Cinema in the 1990s

Movies on Home Ground: Explorations in Amateur Cinema offers a critical response to the still under-explored mode of amateur cinema, as a particular sphere of British film practice. Concentrating upon a roughly fifty-year period (1930–1980), during which such filmmaking grew rapidly as a significant leisure activity in Britain, the volume shows how popular ‘cine’ assumed distinctive institutional and ideological forms, and some remarkable aesthetic emphases, grounded in consistent technical and critical apparatuses. Although an outline history of such filmmaking is certainly implicit, the priority of Movies On Home Ground is to offer a series of overlapping perspectives on amateur movie-making, with a view to locating such filmmaking as a component of the broader shape of British film culture. Emphasis is thus given to institutional contexts, technical determinants, and the social formations of practising filmmakers, as well as to concerns with the construction of amateur outlooks, understandings of amateur aesthetics, and the remarkable diversity of amateur genericity. The anthology thus supplies a text offering support to study courses dealing with the many varieties of non-professional participation best understood as truly ‘amateur’, rather than as ‘independent’ or ‘alternative’ filmmaking. By granting the amateur a place within the acknowledged range of significant interventions, the recognised canon of British filmmaking is widened in fascinating new directions.

Ian Craven

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