More than just a gay pun: the changing nature of Australian queer film criticism

More than just a gay pun: the changing nature of Australian queer film criticism

This essay looks at the critical reception of Australian queer cinema demonstrating the difference in reviews of queer Australian films. The Adventures of Priscilla, Queen of the Desert (Elliot, Stephan. 1994. The Adventures of Priscilla, Queen of the Desert. Sydney: Roadshow Distribution) and The S...

Full description

Saved in:
Bibliographic Details
Published in:Studies in Australasian cinema 2019-09, Vol.13 (2-3), p.51-66
Main Author: Richards, Stuart
Format: Article
Language:eng
Subjects:
Australian cinema
distribution
Film criticism
paratexts
queer cinema
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
Description
Summary:This essay looks at the critical reception of Australian queer cinema demonstrating the difference in reviews of queer Australian films. The Adventures of Priscilla, Queen of the Desert (Elliot, Stephan. 1994. The Adventures of Priscilla, Queen of the Desert. Sydney: Roadshow Distribution) and The Sum of Us (Dowling, Kevin, and Geoff Burton. 1994. The Sum of Us. Sydney: Southern Star) will be compared to films that came later in the 1990s, notably Love and Other Catastrophes (Croghan, Emma-Kate. 1996. Love and Other Catastrophes. Sydney: Fox Searchlight), The Well (Lang, Samantha. 1997. The Well. Sydney: Southern Star) and Head On (Kokkinos, Ana. 1998. Head On. Melbourne: Umbrella Entertainment). These later films managed to generate buzz on the queer film festival circuit as well as at general international film festivals. Their queerness attracts international LGBTQ audiences while, secondly, genre-related elements have the potential to attract a wider cinephile audience. I will utilise paratextual elements, particularly reviews during their film festival and theatrical runs, to demonstrate how they cross-over to wider audiences. In investigating their framing and reception, these films increasingly engage audiences through their genre signifiers. This essay demonstrates that the discourse around Australian queer cinema has matured to offer multi-faceted perspectives.
ISSN:1750-3175
1750-3183