D Bruno Starrs
Biographic Data
| ID | 6600417 |
|---|---|
| NAME | D Bruno Starrs |
| GIVEN NAMES | D Bruno |
| FAMILY NAME | Starrs |
| SIGNATURE | STARRS D B |
| AFFILIATIONS | independent scholar |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 0 |
Authentic Muslima, the national imaginary of Bruneian cinema and Yasmine (dir. Siti Kamaluddin 2014)
Amid concerns about the disappearance of national/cultural specificity due to globalisation, this paper questions the notion of Bruneian cinema as a distinct (if emerging) nationalised imaginary, using the example of Brunei’s first feature-length commercial film, Yasmine (Siti Kamaluddin 2014). Many Asian cinemas have de-territorialised, obsequiously promoting the secular, democratic norms of mainstream Hollywood, but the Sultanate, with its nati…
The Aboriginal voice in Baz Luhrmann's left-leaning Australia (2008)
Arguing that Baz Luhrmann's Australia (2008) is a big-budget, non-independent film espousing a left-leaning political ideology in its non-racist representations of Aborigines on film, this paper suggests the addition of a 'fourth formation' to the 1984 Moore and Muecke model is warranted. According to their theorizing, racist 'first formation' films promote policies of assimilation whereas 'second formation' films avoid overt political statements…
Reverbing
This paper considers the place of the 100-plus-episode Internet series of Red vs. Blue (Burns and Hullum, 2003–2007) in the context of the war film genre, given that machinima is a kind of cinema. Unfettered by nationalistic censors or profit-hungry studio bosses, makers of anti-war machinima movies often depict a futuristic scenario in which combatants openly mock the purpose of their military leaders and in Red vs. Blue the generic characterist…
No prominent works on this page.
Reverbing
This paper considers the place of the 100-plus-episode Internet series of Red vs. Blue (Burns and Hullum, 2003–2007) in the context of the war film genre, given that machinima is a kind of cinema. Unfettered by nationalistic censors or profit-hungry studio bosses, makers of anti-war machinima movies often depict a futuristic scenario in which combatants openly mock the purpose of their military leaders and in Red vs. Blue the generic characterist…
The Aboriginal voice in Baz Luhrmann's left-leaning Australia (2008)
Arguing that Baz Luhrmann's Australia (2008) is a big-budget, non-independent film espousing a left-leaning political ideology in its non-racist representations of Aborigines on film, this paper suggests the addition of a 'fourth formation' to the 1984 Moore and Muecke model is warranted. According to their theorizing, racist 'first formation' films promote policies of assimilation whereas 'second formation' films avoid overt political statements…
Authentic Muslima, the national imaginary of Bruneian cinema and Yasmine (dir. Siti Kamaluddin 2014)
Amid concerns about the disappearance of national/cultural specificity due to globalisation, this paper questions the notion of Bruneian cinema as a distinct (if emerging) nationalised imaginary, using the example of Brunei’s first feature-length commercial film, Yasmine (Siti Kamaluddin 2014). Many Asian cinemas have de-territorialised, obsequiously promoting the secular, democratic norms of mainstream Hollywood, but the Sultanate, with its nati…
Art (3 works) · History (3 works) · Media studies (3 works) · Sociology (3 works) · Art history (2 works) · Cinema and Media Studies (2 works) · Digital Games and Media (2 works) · Gender Studies (2 works) · History (2 works) · Hollywood (2 works)