Felicity Collins is Reader/Associate Professor in Screen Studies, La Trobe University, Melbourne, Australia. She is author of The Films of Gillian Armstrong and Australian Cinema after Mabo.Jane Landman was Senior Lecturer, Victoria University, Melbourne, Australia. She is author of The Tread of a White Man's Foot: Australian Pacific Colonialism and the Cinema 1925–1962.Susan Bye is Education Programmer, Australian Centre for the Moving Image, Melbourne, Australia. She has published widely in the field of film, television and media history.

• About the Editors viiiNotes on Contributors xForeword xviTom O’ReganAcknowledgments xxiiiIntroduction: Australian Cinema Now 1Felicity Collins, Jane Landman, and Susan ByePart I An Indigenous Screen Culture 291 You Are Here: Living Maps of Deep Time, Clock Time 31Felicity Collins2 Charlie’s Country, Gulpilil’s Body 54Corinn Columpar3 Ivan Sen’s Cinematic Imaginary: Restraint, Complexity, and a Politics of Place 68Anne Rutherford4 Shadowing and Disruptive Temporality in Bangarra Dance Theatre’s Spear 89Felicity Ford5 Beyond the Wonderland of Whiteness: The Blak Wave of Indigenous Women Shaping Race on Screen 107Odette Kelada and Maddee ClarkPart II An International Cinema 1316 Another Green World: The Mad Max Series 133Constantine Verevis7 Is Everything Awesome?: The LEGO Movie and the Australian Film Industry 149Ben Goldsmith8 Jane Campion: Girlshine and the International Auteur 165Lisa French9 Constructing Persona: Mediatisation, Performativity, Quality, and Branding in Australian Film Actors’ Migration to Hollywood 184P. David MarshallPart III A Minor Transnational Imaginary 20510 Interpreting Anzac and Gallipoli through a Century of Anglophone Screen Representations 207James Bennett11 Unsettling the Suburban: Space, Sentiment, and Migration in National Cinematic Imaginaries 228Helen Grace12 The Rocket: Small, Foreign‐Language Cinema 248Olivia Khoo13 Serangoon Road: The Convergent Culture of Minor Transnationalism 262Audrey YuePart IV An Auteur‐Genre‐Landscape Cinema 28514 An Independent Spirit: Robert Connolly as Auteur‐Producer 287Susan Bye15 Disruptive Daughters: The Heroine’s Journey in Four Films 313Diana Sandars16 Atopian Landscapes: Gothic Tropes in Australian Cinema 336Jane Stadler17 Spirits Do Come Back: Bunyips and the European Gothic in The Babadook 355Stephen GaunsonPart V A Televisual Industry 37118 Between Public and Private: How Screen Australia, the ABC and SBS have shaped Film and Television Convergence 373Amanda Malel Trevisanut19 Quality vs Value: The Case of The Kettering Incident 391Sue Turnbull and Marion McCutcheon20 The Evolution of Matchbox Pictures: A New Business Model 416Helen Goritsas and Ana Tiwary21 Schapellevision: Screen Aesthetics and Asian Drug Stories 442Anthony LambertPart VI A Multiplatform Ecology 46122 CHURN: Cinema Made Sometime Last Night 463Ross Gibson23 Over the Horizon: YouTube Culture Meets Australian Screen Culture 472Stuart Cunningham and Adam Swift24 Digital Transmedia Forms and Transnational Documentary Networks 493Deane Williams25 Ecological Relations: FalconCam in Conversation with The Back of Beyond 508Belinda Smaill26 Where Am I?: The Terror of Terra Nullius 525Norie NeumarkIndex 537

Felicity Collins is Reader/Associate Professor in Screen Studies, La Trobe University, Melbourne, Australia. She is author of The Films of Gillian Armstrong and Australian Cinema after Mabo.Jane Landman was Senior Lecturer, Victoria University, Melbourne, Australia. She is author of The Tread of a White Man's Foot: Australian Pacific Colonialism and the Cinema 1925–1962.Susan Bye is Education Programmer, Australian Centre for the Moving Image, Melbourne, Australia. She has published widely in the field of film, television and media history.

• About the Editors viiiNotes on Contributors xForeword xviTom O’ReganAcknowledgments xxiiiIntroduction: Australian Cinema Now 1Felicity Collins, Jane Landman, and Susan ByePart I An Indigenous Screen Culture 291 You Are Here: Living Maps of Deep Time, Clock Time 31Felicity Collins2 Charlie’s Country, Gulpilil’s Body 54Corinn Columpar3 Ivan Sen’s Cinematic Imaginary: Restraint, Complexity, and a Politics of Place 68Anne Rutherford4 Shadowing and Disruptive Temporality in Bangarra Dance Theatre’s Spear 89Felicity Ford5 Beyond the Wonderland of Whiteness: The Blak Wave of Indigenous Women Shaping Race on Screen 107Odette Kelada and Maddee ClarkPart II An International Cinema 1316 Another Green World: The Mad Max Series 133Constantine Verevis7 Is Everything Awesome?: The LEGO Movie and the Australian Film Industry 149Ben Goldsmith8 Jane Campion: Girlshine and the International Auteur 165Lisa French9 Constructing Persona: Mediatisation, Performativity, Quality, and Branding in Australian Film Actors’ Migration to Hollywood 184P. David MarshallPart III A Minor Transnational Imaginary 20510 Interpreting Anzac and Gallipoli through a Century of Anglophone Screen Representations 207James Bennett11 Unsettling the Suburban: Space, Sentiment, and Migration in National Cinematic Imaginaries 228Helen Grace12 The Rocket: Small, Foreign‐Language Cinema 248Olivia Khoo13 Serangoon Road: The Convergent Culture of Minor Transnationalism 262Audrey YuePart IV An Auteur‐Genre‐Landscape Cinema 28514 An Independent Spirit: Robert Connolly as Auteur‐Producer 287Susan Bye15 Disruptive Daughters: The Heroine’s Journey in Four Films 313Diana Sandars16 Atopian Landscapes: Gothic Tropes in Australian Cinema 336Jane Stadler17 Spirits Do Come Back: Bunyips and the European Gothic in The Babadook 355Stephen GaunsonPart V A Televisual Industry 37118 Between Public and Private: How Screen Australia, the ABC and SBS have shaped Film and Television Convergence 373Amanda Malel Trevisanut19 Quality vs Value: The Case of The Kettering Incident 391Sue Turnbull and Marion McCutcheon20 The Evolution of Matchbox Pictures: A New Business Model 416Helen Goritsas and Ana Tiwary21 Schapellevision: Screen Aesthetics and Asian Drug Stories 442Anthony LambertPart VI A Multiplatform Ecology 46122 CHURN: Cinema Made Sometime Last Night 463Ross Gibson23 Over the Horizon: YouTube Culture Meets Australian Screen Culture 472Stuart Cunningham and Adam Swift24 Digital Transmedia Forms and Transnational Documentary Networks 493Deane Williams25 Ecological Relations: FalconCam in Conversation with The Back of Beyond 508Belinda Smaill26 Where Am I?: The Terror of Terra Nullius 525Norie NeumarkIndex 537

Felicity Collins is Reader/Associate Professor in Screen Studies, La Trobe University, Melbourne, Australia. She is author of The Films of Gillian Armstrong and Australian Cinema after Mabo.Jane Landman was Senior Lecturer, Victoria University, Melbourne, Australia. She is author of The Tread of a White Man's Foot: Australian Pacific Colonialism and the Cinema 1925–1962.Susan Bye is Education Programmer, Australian Centre for the Moving Image, Melbourne, Australia. She has published widely in the field of film, television and media history.

• About the Editors viiiNotes on Contributors xForeword xviTom O’ReganAcknowledgments xxiiiIntroduction: Australian Cinema Now 1Felicity Collins, Jane Landman, and Susan ByePart I An Indigenous Screen Culture 291 You Are Here: Living Maps of Deep Time, Clock Time 31Felicity Collins2 Charlie’s Country, Gulpilil’s Body 54Corinn Columpar3 Ivan Sen’s Cinematic Imaginary: Restraint, Complexity, and a Politics of Place 68Anne Rutherford4 Shadowing and Disruptive Temporality in Bangarra Dance Theatre’s Spear 89Felicity Ford5 Beyond the Wonderland of Whiteness: The Blak Wave of Indigenous Women Shaping Race on Screen 107Odette Kelada and Maddee ClarkPart II An International Cinema 1316 Another Green World: The Mad Max Series 133Constantine Verevis7 Is Everything Awesome?: The LEGO Movie and the Australian Film Industry 149Ben Goldsmith8 Jane Campion: Girlshine and the International Auteur 165Lisa French9 Constructing Persona: Mediatisation, Performativity, Quality, and Branding in Australian Film Actors’ Migration to Hollywood 184P. David MarshallPart III A Minor Transnational Imaginary 20510 Interpreting Anzac and Gallipoli through a Century of Anglophone Screen Representations 207James Bennett11 Unsettling the Suburban: Space, Sentiment, and Migration in National Cinematic Imaginaries 228Helen Grace12 The Rocket: Small, Foreign‐Language Cinema 248Olivia Khoo13 Serangoon Road: The Convergent Culture of Minor Transnationalism 262Audrey YuePart IV An Auteur‐Genre‐Landscape Cinema 28514 An Independent Spirit: Robert Connolly as Auteur‐Producer 287Susan Bye15 Disruptive Daughters: The Heroine’s Journey in Four Films 313Diana Sandars16 Atopian Landscapes: Gothic Tropes in Australian Cinema 336Jane Stadler17 Spirits Do Come Back: Bunyips and the European Gothic in The Babadook 355Stephen GaunsonPart V A Televisual Industry 37118 Between Public and Private: How Screen Australia, the ABC and SBS have shaped Film and Television Convergence 373Amanda Malel Trevisanut19 Quality vs Value: The Case of The Kettering Incident 391Sue Turnbull and Marion McCutcheon20 The Evolution of Matchbox Pictures: A New Business Model 416Helen Goritsas and Ana Tiwary21 Schapellevision: Screen Aesthetics and Asian Drug Stories 442Anthony LambertPart VI A Multiplatform Ecology 46122 CHURN: Cinema Made Sometime Last Night 463Ross Gibson23 Over the Horizon: YouTube Culture Meets Australian Screen Culture 472Stuart Cunningham and Adam Swift24 Digital Transmedia Forms and Transnational Documentary Networks 493Deane Williams25 Ecological Relations: FalconCam in Conversation with The Back of Beyond 508Belinda Smaill26 Where Am I?: The Terror of Terra Nullius 525Norie NeumarkIndex 537