Deane Williams
Biographic Data
| ID | 3693193 |
|---|---|
| NAME | Deane Williams |
| GIVEN NAMES | Deane |
| FAMILY NAME | Williams |
| SIGNATURE | WILLIAMS D |
| AFFILIATIONS | Monash University |
| ORCID | 0000-0002-7501-2052 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Introduction to the Ross Gibson memorial issue
Ghost tropic
Special issue introduction
While Australian cinema is generally defined by the feature filmmaking tradition, at least since the 1970s, ‘utilitarian filmmaking' represents a significant but barely visible portion of screen culture in Australia, a portion that has had an emphatic but unexamined influence on the media industries, education systems, industrial relations, research culture and national culture. Recent scholarly work undertaken internationally has shown how this …
The utilitarian film dispositif
In film studies in recent years, we have seen the (re)emergence of two fields of enquiry, both of which concern this essay. (1) The interest in what we have termed ‘client-sponsored, instructional and governmental filmmaking existing outside the conventional theatrical contexts by which cinema is usually defined’. We have seen a number of conferences and anthologies appear that attest to this. (2) The reconsideration of the notion of the disposit…
Australian (post) national cinema
This article proposes that Tom O'Regan's Australian National Cinema book is best understood among the contexts from which it emerged and, in this process, repositions the magnum opus of his scholarly career, as a post-national theorising of the national cinema formation in terms of 'an unprincipled assemblage' and a discursive multiplicity
Australian Film Theory and Criticism
Before and after Acmi
The 2002 opening of the Australian Centre for the Moving Image (ACMI) in Melbourne reconfigured the State Film Centre of Victoria (SFCV) for a new millennial moment of cinema and media, and within the context of the new languages of post-production, media convergence, digitisation, and globalisation. This occasion, with its ongoing emphasis on immediacy and the future, urgently requires a substantial research project that looks backwards and forw…
Introduction
(2017). Introduction: Cinema at the End of the World. Critical Arts: Vol. 31, Cinema at the End of the World, pp. 1-11
The Maslyn Williams Network
This paper provides some accounting for recent work by the authors on a cultural biography of Ron Maslyn Williams (20 February 1911 to 11 August 1999), an Australian photographer, writer, film-maker, and musician. An inveterate traveller and man of influence in many artistic and diplomatic spheres around the world, he became a leading Catholic figure, a kind of “cultural ambassador” promoting a worldview that far outreached “Anglican” constraints…
Reading across cultures towards a comparative documentary film studies
This article examines Eduardo Coutinho's Jogo de Cena (2007) in relation to documentary spectatorship across cultures. Coutinho's documentary contains numerous culturally specific and localised references amongst the stories told by a cast of women actors. These stories and the figures that relate them make available a number of layers of knowledge production constituting a filmic experience that is multivalent and complex. In considering these c…
Grierson Effect
Pulling focus
Jane Stadler, New York/London, Continuum, 2008, 274 pp., $AUD 135.00 (hardcover), ISBN-13 978-0-8264-2973-5 Ever since its inception, the challenge for film studies in Australia, as in many other c
Contemporary Australian Film Theory and Criticism
The discipline of film studies has, since the late 1960s and early 1970s, been a burgeoning academic and intellectual field of inquiry. This article seeks to provide a map of the local and international flows of Australian film theory and criticism. By tracing some key critical positions, personnel and institutions, it provides an account of the state of contemporary Australian film studies. The article falls into three parts. The first reflects …
The Overlanders
This article argues that Harry Watt's The Overlanders (1946), an Ealing Studios film shot in Australia, should be understood as an international film product, one with a foot in the post-war cultural histories of both Australia and Britain. In this sense the film requires different reading strategies to those used within a national cinema framework. The article resists ‘settling’ the account, or justifying the film's raison d'être with respect to…
Ghost Stories
Back in 1986, Ross Gibson was interviewed in Filmnews by Adrian Martin and Tina Kaufman about his experimental short essay film Camera Natura (1984). Accompanying that interview was a photo of Gibson ‘on location’ for his film, wearing a hat not unlike the one that features on the cover of his new book The Summer Exercises. Back then I understood the hat to be an explorer’s, someone like Charles Sturt, someone whose willingness to learn from his …
No prominent works on this page.
Ghost Stories
Back in 1986, Ross Gibson was interviewed in Filmnews by Adrian Martin and Tina Kaufman about his experimental short essay film Camera Natura (1984). Accompanying that interview was a photo of Gibson ‘on location’ for his film, wearing a hat not unlike the one that features on the cover of his new book The Summer Exercises. Back then I understood the hat to be an explorer’s, someone like Charles Sturt, someone whose willingness to learn from his …
The Overlanders
This article argues that Harry Watt's The Overlanders (1946), an Ealing Studios film shot in Australia, should be understood as an international film product, one with a foot in the post-war cultural histories of both Australia and Britain. In this sense the film requires different reading strategies to those used within a national cinema framework. The article resists ‘settling’ the account, or justifying the film's raison d'être with respect to…
Contemporary Australian Film Theory and Criticism
The discipline of film studies has, since the late 1960s and early 1970s, been a burgeoning academic and intellectual field of inquiry. This article seeks to provide a map of the local and international flows of Australian film theory and criticism. By tracing some key critical positions, personnel and institutions, it provides an account of the state of contemporary Australian film studies. The article falls into three parts. The first reflects …
Pulling focus
Jane Stadler, New York/London, Continuum, 2008, 274 pp., $AUD 135.00 (hardcover), ISBN-13 978-0-8264-2973-5 Ever since its inception, the challenge for film studies in Australia, as in many other c
Grierson Effect
Reading across cultures towards a comparative documentary film studies
This article examines Eduardo Coutinho's Jogo de Cena (2007) in relation to documentary spectatorship across cultures. Coutinho's documentary contains numerous culturally specific and localised references amongst the stories told by a cast of women actors. These stories and the figures that relate them make available a number of layers of knowledge production constituting a filmic experience that is multivalent and complex. In considering these c…
Introduction
(2017). Introduction: Cinema at the End of the World. Critical Arts: Vol. 31, Cinema at the End of the World, pp. 1-11
The Maslyn Williams Network
This paper provides some accounting for recent work by the authors on a cultural biography of Ron Maslyn Williams (20 February 1911 to 11 August 1999), an Australian photographer, writer, film-maker, and musician. An inveterate traveller and man of influence in many artistic and diplomatic spheres around the world, he became a leading Catholic figure, a kind of “cultural ambassador” promoting a worldview that far outreached “Anglican” constraints…
Australian Film Theory and Criticism
Before and after Acmi
The 2002 opening of the Australian Centre for the Moving Image (ACMI) in Melbourne reconfigured the State Film Centre of Victoria (SFCV) for a new millennial moment of cinema and media, and within the context of the new languages of post-production, media convergence, digitisation, and globalisation. This occasion, with its ongoing emphasis on immediacy and the future, urgently requires a substantial research project that looks backwards and forw…
Australian (post) national cinema
This article proposes that Tom O'Regan's Australian National Cinema book is best understood among the contexts from which it emerged and, in this process, repositions the magnum opus of his scholarly career, as a post-national theorising of the national cinema formation in terms of 'an unprincipled assemblage' and a discursive multiplicity
Special issue introduction
While Australian cinema is generally defined by the feature filmmaking tradition, at least since the 1970s, ‘utilitarian filmmaking' represents a significant but barely visible portion of screen culture in Australia, a portion that has had an emphatic but unexamined influence on the media industries, education systems, industrial relations, research culture and national culture. Recent scholarly work undertaken internationally has shown how this …
The utilitarian film dispositif
In film studies in recent years, we have seen the (re)emergence of two fields of enquiry, both of which concern this essay. (1) The interest in what we have termed ‘client-sponsored, instructional and governmental filmmaking existing outside the conventional theatrical contexts by which cinema is usually defined’. We have seen a number of conferences and anthologies appear that attest to this. (2) The reconsideration of the notion of the disposit…
Introduction to the Ross Gibson memorial issue
Ghost tropic
Art (11 works) · Cinema and Media Studies (9 works) · Media studies (8 works) · Sociology (8 works) · Art history (7 works) · Aesthetics (6 works) · Political science (6 works) · Visual arts (6 works) · Law (5 works) · Literature (5 works)