A History Of Australian Cinema (1990-Present)

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[b][u]Part Three: 1990-Present[/u][/b][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3]
[b]1. Independent's Day: The Reign of Quirk[/b][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3]
[color="#336703"]Australian c[/color][color="#336703"]inema[/color] in the past twenty years has often looked like a manifestation of a culture constantly trying to second-guess itself. Faced with a narrowed era of multiplexes and blockbusters, moviemaking in Oz has failed, in spite of the occasional spotlights falling upon it, to gain even the kind of effective niche that British or French films had managed to carve in the modern cineaste panorama, and the fact domestic audience could rarely be counted upon to give necessary support stirred the question as to whether that support ought to be given automatically or first earned.[/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3]
On top of this, the always problematic issue of how and what films to sell to the public has become all the more confusing, leading to fractious partisan battles of rhetoric. In the early 2000s, [color="#336703"]Ray La[/color][color="#336703"]wrence[/color]'s [i]Lantana[/i] was seen as a nuanced, grown-up alternative to a small avalanche of modest TV-derived comedies and in-your-face provocation; by the decade's end, further attempts to make grown-up, sober-minded dramas were being blamed in media critiques for dampening the industry's ever-ailing chances in being "depressing."[/size][/font][/color]
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