This edited collection assesses the complex historical and contemporary relationships between US and Australian cinema by tapping directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition associations between Australia and the US. To explore this idea, the book investigates the influence that Australia has had on US cinema through the exportation of its stars, directors and other production personnel to Hollywood, while also charting the sustained influence of US cinema on Australia over the last hundred years. It takes two key points in time-the 1920s and 1930s and the last twenty years-to explore how particular patterns of localism, nationalism, colonialism, transnationalism and globalisation have shaped its course over the last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although this concentration on US production, or influence, is particularly acute in relation to developments such as the opening of international film studios in Melbourne, Sydney, Adelaide and the Gold Coast over the last thirty years, the book also examines a range of Hollywood financed and/or conceived films shot in Australia since the 1920s.

Irish Australian outlaw Ned Kelly led one of the most spectacular outbreaks the tradition has ever experienced, culminating in a siege at Glenrowan on June 28, 1880. Donned in homemade metal armor and a helmet, he was captured and sentenced to hang at the Melbourne Gaol in November. Immortalized in a series of onscreen productions, he has since become one of the most resilient screen presences in the history of Australian cinema. "The Ned Kelly Films" recounts the history of this presence, covering the nine feature films, three miniseries, and two TV movies that have been made about this controversial character. Providing a comprehensive overview of these productions and their reception, Stephen Gaunson illuminates a central irony: From dime novels to comics to the branding of the site where he was captured, most cultural representations of Kelly are decidedly lowbrow. But only the films have been condemned for not offering a more serious interpretation of this figure and his historical context. Parsing the assumption that films about Kelly should do more than broadcast the sentiments of his fans, Gaunson explores why historical films have a reputation as a form of "bad" culture. Asking what value we can place on such "bad" historical cinema, he offers new insights about the textual characteristics of cinematic material and the conditions of film distribution, circulation, and reception.

This edited collection assesses the complex historical and contemporary relationships between US and Australian cinema by tapping directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition associations between Australia and the US. To explore this idea, the book investigates the influence that Australia has had on US cinema through the exportation of its stars, directors and other production personnel to Hollywood, while also charting the sustained influence of US cinema on Australia over the last hundred years. It takes two key points in time-the 1920s and 1930s and the last twenty years-to explore how particular patterns of localism, nationalism, colonialism, transnationalism and globalisation have shaped its course over the last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although this concentration on US production, or influence, is particularly acute in relation to developments such as the opening of international film studios in Melbourne, Sydney, Adelaide and the Gold Coast over the last thirty years, the book also examines a range of Hollywood financed and/or conceived films shot in Australia since the 1920s.