Through a shrewd analysis of the historical experience of imperialism and settler colonialism, Limbrick draws new conclusions about their effect on cinematic production, distribution, reception and filmic discourse.

This anthology adds to the burgeoning field of settler colonial studies by examining settler colonial narratives in the under analyzed medium of film. Cinematic Settlers discusses different cinematic genres, national traditions, and specific movies in order to expose related threads, shared circulations of knowledge, and paralleled representations. Organized into thematic groupings—conquest, settlers, natives, and space—the contributors explore the question of how film compares to written genres and other visual media in representing and effecting settler colonialism on a global scale. Striving for inclusiveness, the volume covers different eras and settler colonial situations in Australia, New Zealand, Taiwan, Hawaii, the American West, Canada, Latin America, Russia, France, Algeria, German Africa, South Africa, and even the next frontier: outer space. By showing how films offer layered, contested, and dynamic settler colonial narratives that advance and challenge settler hegemonic readings, the essays enable students to better analyze and understand the complex history of diversity and colonialism in film. This book is important reading for undergraduate classes on the history of empire, colonialism, and film.

"In Settler Aesthetics, Mishuana Goeman examines Terrence Malick's film The New World (2005) and the Pocahontas narrative, analyzing the settler structures and regimes of power that sustain colonialism and empire"--

The Oxford Handbook of Silent Cinema is a collection of new scholarship that investigates the first decades of motion-picture history from diverse perspectives and methodologies. Featuring over thirty essays by leading scholars in the field, the Handbook offers a comprehensive overview of cinema's earliest years while also illuminating how cinema derived strength from competing cultural forms, becoming in the process the most influential mass medium of the early twentieth century.

This open access book demonstrates that despite different epistemological starting points, history and speculative fiction perform similar work in “making the strange familiar” and “making the familiar strange” by taking their readers on journeys through space and time. Excellent history, like excellent speculative fiction, should cause readers to reconsider crucial aspects of their society that they normally overlook or lead them to reflect on radically different forms of social organization. Drawing on Gunlög Fur’s postcolonial concept of concurrences, and with contributions that explore diverse examples of speculative fiction and historical encounters using a variety of disciplinary approaches, this volume provides new perspectives on colonialism, ecological destruction, the nature of humanity, and how to envision a better future.

When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play – the matter and the maker—thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.

Filmmakers have honed their skills and many have achieved critical and popular success at home and abroad, as have actors and other crew. American filmmakers and companies have found it cheaper to make films in Australia because wages and salaries are lower, tax rebates have been attractive and the expertise in most areas of filmmaking is comparable to that of anywhere in the world. At the same time, Australian audiences still enjoy watching Australian films, making some of them profitable, even if this is a small profit when considered in Hollywood terms. New Zealand filmmakers, cast and crew have shown that they are equal to the world’s best in making films with international themes, while other films have shown that the world is interested in New Zealand narratives and settings. Increased support for Maori filmmakers and stories has had a significant impact on production levels and on the diversity of stories that now reach the screen. It has also helped create more viable career paths for those who continue to be based in their home country. This second edition of Historical Dictionary of Australian and New Zealand Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on leading films as well as many directors, writers, actors and producers. It also covers early pioneers, film companies, genres and government bodies.