Marks as a means to tease out the transgressions, both formal and structural, engineered by Shortland as a means to cast new light on the future of Australian cinema and expand the visions that make up its national fantasy.Įven with a cursory scan of the extensive scholarship surrounding cinematic movement, one can saf. It draws on the ideas of Julia Kristeva and Laura U. The film resists conventional depictions of Australia through a sensory aesthetics that radically re-envisions what Australia looks like, sounds like and feels like. This idealised Australia is problematized when we consider the work of Shortland and her film Somersault (2004).
Conventionally Australia is portrayed in terms of a carefully crafted kaleidoscope of burnt orange sands, endless sapphire skies and melting black bitumen roads. more In Intimate Revolt, Julia Kristeva declares “cinema as an apotheosis of the visible offers itself to the plethoric deployment of fantasies.” This paper explores how Australia has traditionally been fantasised by white male colonisers and how the cinema of Cate Shortland poses a radical challenge to these imaginings. In Intimate Revolt, Julia Kristeva declares “cinema as an apotheosis of the visible offers.
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