By Deane Williams
The postwar interval in Australian historical past used to be rife with severe debate over notions of nation-building, multiculturalism, and internationalization. Australian Post-War Documentary movie tackles those matters in a thought of, wide-ranging research of 3 different types of documentaries: governmental, institutional, and radical. Charting the increase of innovative movie tradition, this quantity opinions key motion pictures of the period, together with The again of past, and retells movie background through putting those documentaries in a global context. “A major contribution to documentary heritage, the historical past of left-wing inspiration within the West, and Australian studies.”—Ian Henderson, Editor of experiences in Australasian Cinema “Deane Williams re-evaluates Australian documentary movie construction after global warfare II, positioning it as a part of a global left tradition that could include manufacturers as diversified because the Realist movie Unit, Cecil Holmes, John Heyer and Maslyn Williams. He invitations readers on an consistently enlightening and sometimes intriguing trip via a posh internet of individuals and flicks and occasions, to view Australian tradition in the course of the documentary movie ‘arc of mirrors’.”—Ina Bertrand, college of Melbourne “Australian Postwar Documentary movie: An Arc of Mirrors is a completely and painstakingly researched research of its topic, which pulls upon a wealth of latest oral and other kinds of ancient source with regards to the Australian labour move and linked film-making.”—Ian Aitken, De Montfort collage “With erudition and perception, Deane Williams during this booklet reconstructs a formerly obscured period of documentary cinema in Australia, laying off gentle at the community of affiliations and institutions that underlay the making of a cluster of compelling, politically charged documentary movies within the postwar period. . . . this is often an immensely considerate and well timed contribution to the growing to be literature at the background of documentary cinema.”—Charles Wolfe, collage of California, Santa Barbara
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Extra info for Australian Post-War Documentary Film: An Arc of Mirrors
Why don’t you realise that it is stupid to be spending money on improving our gaols, hospitals and asylums without rooting out the slums which make them necessary? … Mr. Calwell says we need more children. Watch those children. What hope is there for children here? (14) In a 1947 article for the Victorian Amateur Cine Society journal Victorian Movie Makers, Jack Fitzsimons, who is credited with working on A Place to Live, writes that he suggested to Brotherhood volunteer and friend Don Wilding that the films Gaol Does Not Cure, Beautiful Melbourne and These are Our Children be made (Fitzsimons 1947: 74).
Hogenkamp 1986: 158) It is possible that Coldicutt read about such Soviet and British initiatives and, recognizing the potential agitational effect on a target audience such as the immigrant rural workers, cast himself as an antipodean mirror to Medvedkin and the Left Book Club. Coldicutt was also carrying on a tradition of the touring showman who, Diane Collins points out, was initially the prime moving picture exhibitor for Australian rural areas (Collins 1989: 73). During the first two decades of this century, moving pictures were brought to isolated areas by horse and cart, then motorized truck.
These events would have been well known to the left community and Coldicutt’s focus on the British situation points to a reliance on authorized overseas film criticism. Later, Coldicutt did monitor the state of film censorship in Australia. In the many reviews and articles he wrote, he pointed to the banning and cutting of imported films. ’ (Coldicutt 1948: 7) He reported in 1949, in an article entitled ‘Fine films banned’ that ‘the Commonwealth Film Censor is insisting on cuts’ to The Blue Angel (1930), Metropolis (1926) and Dimitri Kirsanov’s French silent, Menilmontant (1924), ‘all of which had already been tampered with’.