The new issue of Screening the Past, as always, features some interesting articles about the history of Australian film, including Dirk de Bruyn’s praise of the sparse, often years in the making works of experimental filmmaker Lynsey Martin (“That Light and Dark was initiated in 1973 and completed 25 years later defines and overwhelms this film and tests its content as a forgotten memory. Somehow the film folds in on itself, embracing all that frustration and darkness of the lost open-ended unfinished works. The period of its making bridges all of it.”) and Lesley Speed’s unearthing of the lost origins of Ozploitation (“That Australian exploitation films are part of mainstream local cinema is exemplified by the career of director P. J. Ramster…. By 1925, P. J. Ramster Photoplays was one of the “more established” local film companies and the director used his prominence to support the local industry by calling for a government quota requiring exhibitors to screen a percentage of Australian films. Whereas American “exploiteers kept fairly low profiles” because “little” was “to be gained by notoriety, Ramster’s career reflects a more contradictory combination of prominence and low critical regard.”).
But the issue kicks off with a dossier on the still overwhelming influence on many filmmakers of Stanley Kubrick. Peter Krämer shows the strong influence of 2001 on the making and marketing of Avatar (“There is an implied promise here that eventually all of humankind might learn to evolve to a higher level through its interaction with the life forms of Pandora, in the same way that in 2001 the transformation of astronaut David Bowman into a “Star-Child” was meant to signal that humanity could develop into a more highly evolved state”), Yeqi Zhu traces the long shadow of The Shining over Hong Kong horror films (“[T]he post-‘golden age’ Hong Kong horror films influenced by The Shining increasingly shift their focus from the realm of the supernatural towards ‘realistic’ and psychological reworkings of Kubrick’s film”), while Stella Louis considers his influence on the genre in the west (“The same observation can be applied to the house in Funny Games (Michael Haneke, 1997), the desert in Gerry (Gus Van Sant, 2002), the high school in Elephant (Gus Van Sant, 2003), or the film set in David Lynch’s Inland Empire (2006). They are all presented as maze-like, labyrinthine spaces”). Other aspects of the director’s legacy are explored in James Fenwick’s look at the curation of museum exhibits devoted to Kubrick (“The curation of Stanley Kubrick: Cult Auteur played into a trend for the need in Kubrick fandom to acquire a closer experiential understanding of Kubrick and his films. It is part of the fetishising of Kubrick, with the exhibition being part of a series of exhibitions that offer new perspectives via a tangible physical look at objects that Kubrick possessed and worked with and to use these to re-consume and re-interpret his work”) and Filippo Ulivieri’s account of collaborating with Kubrick’s assistant Emilio D’Alessandro on what would be one of a flood of memoirs from collaborators (“By comparing the varied views of Kubrick, I began to think that he behaved quite differently in and out of his directorial work. When he was developing a story with a writer, or setting up a budget with the financiers, or testing the actors, or directing his crew – then he indulged in whatever strategy he felt was needed for achieving the desired result. I believe this might account for a feeling of aloofness and bewilderment in some of the memoirs.”)