By Albert Moran, Errol Vieth
Even if it used to be Jane Campion's The Piano, Mel Gibson in Mad Max, Paul Hogan in Crocodile Dundee, or The Lord of the jewelry saga, we have now all skilled the cinema of Australia and New Zealand. With entries on many remarkable manufacturers, administrators, writers and actors, in addition to the movies indicated above etc, it additionally provides the early pioneers, the movie businesses and govt our bodies, and masses extra in its hundreds of thousands of cross-referenced dictionary entries. via a chronology that exhibits how a long way those cinemas have are available in a little while and an advent that provides them extra largely, a transparent portrait of the 2 countries' films emerge. The bibliography is a wonderful resource for extra studying.
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Additional info for Historical Dictionary of Australian and New Zealand Cinema
1977 Bruce Beresford’s The Getting of Wisdom and Peter Weir’s The Last Wave were released. New directors like Gillian Armstrong, Phillip Noyce, and Ken Cameron—later to make their mark on the industry— released short films. Bruce Petty’s Leisure won the American Academy Award for best animated short. April: The AFPA was superseded by the Independent Feature Film Producers Association (IFFPA). W. Film Corporation opened offices in the United States. 24 April: In a blatant example of censorship in the film industry, Home Affairs Minister Robert Ellicott vetoed funding of The Unknown Industrial Prisoner, on the grounds that it was not a commercial venture.
The first television presentation of the Australian Film Institute awards took place, and the best film of the year was The Devil’s Playground. 1977 Bruce Beresford’s The Getting of Wisdom and Peter Weir’s The Last Wave were released. New directors like Gillian Armstrong, Phillip Noyce, and Ken Cameron—later to make their mark on the industry— released short films. Bruce Petty’s Leisure won the American Academy Award for best animated short. April: The AFPA was superseded by the Independent Feature Film Producers Association (IFFPA).
Recognizing the profit potential of local production, the company began to invest once again in film, beginning with The Man from Hong Kong. 1975–1977 Color television broadcasting began in Australia, coinciding with a period of unemployment, and inflation, correlating with a slump of 30 percent to 40 percent in cinema attendances. 1976 Donald Crombie’s Caddie (9 April), Fred Schepisi’s The Devil’s Playground (12 August), and Henri Safran’s Storm Boy (19 November)—the third film supported by The South Australian Film Corporation—opened to critical and audience acclaim.