AustLit

'Video games with suburban settings offer distinctive experiences of quotidian environments. This article examines how Australian games set in homes or verdant residential neighbourhoods contribute to a global circulation of ideas about suburban life. It contributes to understanding the relationship between Australian games and Australian society by showing how gameworlds that represent everyday spatial environments exist at intersections of the global and the local. By using suburbia as a focal point for demonstrating how Australian games can be read on both international and local levels, the article explores an alternative to a cultural nationalist approach. The Australian games examined are Rumu (Robot House, 2017), Roombo: First Blood (Samurai Punk, 2019), Mars Underground (Moloch Media, 2019), Moving Out (SMG Studio and DevM Games, 2020), Untitled Goose Game (House House, 2020) and Unpacking (Witch Beam, 2021). This article argues that by positioning suburbia as both familiar and foreign, games offer experiences of virtual travel and exploration that contribute to re-imagining everyday environments. While addressing universal themes such as moving house and domestic labour, these games can also be understood in relation to Australian cultural traditions and contexts.' (Publication abstract)

'In an era in which comedians have been positioned as public commentators, a cycle of Australian television documentaries centres on the premise of a comedian’s investigation of a theme of existential significance. Produced for the Australian Broadcasting Corporation, these series are Lawrence Leung’s Choose Your Own Adventure (2009), Judith Lucy’s Spiritual Journey (2011), Judith Lucy is All Woman (2015) and Luke Warm Sex (2016). This article examines the relationship between genre-mixing and cultural commentary in this cycle, which explores themes of life goals and identity, spirituality, gender and sex. Employing conventions of personalized documentary, these docucomedies use performance reflexively to highlight spectacle and explore the humour of awkward situations and contemporary and changing cultural values. Central to each series is the positioning of the comedian as commentator, central participant, therapeutic subject and performer. Using humour to address uncertainties about what is acceptable in today’s society, these docucomedies draw on traditions of Australian screen comedy and non-fiction representation to serve as public pedagogy about twenty-first-century concerns, from spirituality and mediated intimacy to pornography.' (Publication abstract)

'Produced for SBS Television, Kelrick Martin’s Prison Songs is unusual as a documentary in which the participants convey their stories through songs that were written for the film. Centring on inmates of Darwin Correctional Centre, known as Berrimah Prison, and described in its press kit as ‘Australia’s first ever documentary musical’, Prison Songs involved a collaborative production process in which inmates contributed to writing the musical numbers. As a documusical, the film belongs to a documentary subgenre that originated in the United Kingdom and forms part of a wider landscape of convergence between non-fiction and fictional television. Prison Songs expands Australian documentary, contemporary Indigenous film-making and stories about incarceration. The film’s presentation of participants’ experiences through music, story, dance and humour can be situated within the performative documentary mode, in which orthodox screen discourses of sobriety are supplanted by poetic expression. Its use of songs and musical performance as partial alternatives to interviews and narration traverses boundaries between avant-garde and television forms, expression and information, and prison and the wider society.'   (Publication summary)

'Edwin G. Bowen’s White Death (1936) is an Australian–American film about shark fishing that stars the American novelist and fisherman Zane Grey as himself. Set mainly at the Great Barrier Reef, it has a semi-fictional plot about Grey’s quest to kill a shark in the face of opposition from an anti-fishing activist, Newton Smith (Alfred Frith). Although White Death was financially unsuccessful and has received little attention in histories of Australian film or Grey’s life, it is significant in several ways. The film is unusual among early Australian productions for combining elements of the genres of travelogue documentary, fictional adventure film and exotic exploitation film. It reflects an American perspective of Australia as an exotic location. White Death is also linked to the interwar development of tourism at the Great Barrier Reef and foreshadows the growth of the environmental conservation movement.' (Publication abstract)

'Comedy has been a perpetual part of Australian film, in which humour reflects Australia's adaptation in times of crisis, social change and technological advances. This was never more so than in the 1930s, when Australia produced more comedy feature films than in any other decade before 1970.

'These films of the 1930s embraced the new technology of sound, made local vaudeville performers into movie stars, offered escape from the Depression and revealed a diverse and international Australia. In these films, Australia moves further from Empire and the bush, forges the Digger legend, responds to cultural diversity and views itself as a modern, urban nation.

'Influenced by Hollywood, Australian comedies of the 1930s adapted international styles to local points of view. Based on research at the National Film and Sound Archive, Lesley Speed's book provides new insight into Australian comedy films of the 1930s and the extraordinary period of social change in which they were produced.' (Publication summary)