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AbstractHistoryArchive Description
Source: Sleeping Beauty website, http://www.sleepingbeautyfilm.com/
Sighted: 18/04/2011
Notes
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For further information, see the Sleeping Beauty website: http://www.sleepingbeautyfilm.com/
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films
2017
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.
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Teasing Threads – Sundry Film and Literary Criticism : Why Everyone Speaks the Same Way in Australian Movies.
2016
single work
essay
— Appears in: Rochford Street Review , July-September no. 19 2016; 'Chris Palazzolo notices something many recent Australian movies share.' -
The 100 Best Australian Films of the New Millenium
2016
single work
column
— Appears in: FilmInk , 22 September 2016; -
Australian Fairy-tale Films
2015
single work
criticism
— Appears in: Fairy-Tale Films Beyond Disney : International Perspectives 2015; (p. 233-245) 'In this chapter's first section, we explain why we do not include Aboriginal narratives and, therefore, why we focus on the European fairy-tale tradition's influence in regard to the Australian fairy-tale literature of the 1890s and the films we later discuss. We draw attention to the recurring trope of the "lost child" as a signifier of the anxieties of colonial identity. The centrality of national identity in Australian cinema, complicated by the fluctuating fortunes of the domestic film industry, has also had an impact on the production of fairy-tale films in Australia. We outline these matters in the second section, where we survey a range of fairy-tale films made since the 1970s, asking what makes a fairy-tale film Australian. Finally, we present three studies based on what we identify as the dominant and emergent features of Australian fairy-tale films. Our aim is to be representative, not comprehensive, and to focus on films that are distinctly Australian in flavour. The first study returns to the lost-child figure. The second discusses revisionist fairy-tale films, focusing on how an Australian cultural disposition inflects the "happily ever after" ending. The last study discusses recent developmental short films, which we suggest may herald the birth of uniquely Australian fairy tales.' (pp.233-234) -
Surrendering Expectations of the Girl in Julia Leigh's Sleeping Beauty
2014
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 8 no. 1 2014; (p. 2-15) 'Following a screening of Julia Leigh's Sleeping Beauty (2011) at the Sydney Film Festival in 2011, I was surprised by the antagonism in questioners' responses to the main character Lucy which appeared to reify the ‘girl’ within conventional expectations of feminine behaviour. Lucy is a young university student who, as one of many part-time jobs, is voluntarily drugged so as to sleep naked and peacefully in bed with older men who may do with her as they wish, so long as they do not penetrate her. Identifying Lucy as ‘girl’ highlights both the space of liminality in which she exists and the desire for her to transition through this stage of her life to become a responsible woman. I examine the expectations of girls produced in the media and society and the contradictions they entail, the vulnerability that Lucy's employment as a sleeping beauty represents, and the ways in which the character encourages viewers to rethink what constitutes passivity. I argue that Sleeping Beauty highlights the importance of placing aside such expectations and accepting the challenge of confused and imperfect representations. Indeed, surrendering such expectations enables recognition of the heteronormative constraints that structure society.' (Publication summary)
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Skin-Deep Emotion
2011
single work
review
— Appears in: Sunday Canberra Times , 22 May 2011; (p. 23)
— Review of Sleeping Beauty 2011 single work film/TV -
Strange Dreams a Dark and Whimsical Combination
2011
single work
review
— Appears in: The Sydney Morning Herald , 13 June 2011; (p. 10)
— Review of Sleeping Beauty 2011 single work film/TV -
This Beauty's More Creepy Than Sleepy
2011
single work
review
— Appears in: The Courier-Mail , 23 June 2011; (p. 42)
— Review of Sleeping Beauty 2011 single work film/TV -
This Birdmann has Flown
2011
single work
review
— Appears in: The Sydney Morning Herald , 24 June 2011; (p. 8)
— Review of Sleeping Beauty 2011 single work film/TV -
Untitled
2011
single work
review
— Appears in: The Sun-Herald , 26 June 2011; (p. 6)
— Review of Sleeping Beauty 2011 single work film/TV -
First-Time Director Up for Cannes Honour
2011
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column
— Appears in: The Sydney Morning Herald , 16-17 April 2011; (p. 7) -
Director in Fairy Tale Debut as Sleeping Beauty Selected for Cannes
2011
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column
— Appears in: The Australian , 15 April 2011; (p. 3) -
A Fairytale Existence
2011
single work
column
— Appears in: The Sun-Herald , 1 May 2011; (p. 8) -
Two Aussies Find They Really Cannes
2011
single work
column
— Appears in: The Weekend Australian , 16 -17 April 2011; (p. 5) -
Untitled
2011
single work
column
— Appears in: The Australian , 20 April 2011; (p. 15)
Awards
- 2011 official selection Festival de Cannes — Palme d'Or