Mark David Ryan – författare

Australian Genre Film interrogates key genres at the core of Australia’s so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop.

The book examines what characterises Australian cinema and its output in this new golden age, as contributors ask to what extent Australian genre film draws on widely understood (and largely Hollywood-based) conventions, as compared to culturally specific conventions of genre storytelling. As such, this book offers a comprehensive and up-to-date survey of Australian genre film, undertaken through original analyses of 13 significant Australian genres: action, biopics, comedy, crime, horror, musical, road movie, romance, science fiction, teen, thriller, war, and the Western.

This book will be a cornerstone work for the burgeoning field of Australian film genre studies and a must-read for academics; researchers; undergraduate students; postgraduate students; and general readers interested in film studies, media studies, cultural studies, Australian studies, and sociology.

Australian Genre Film interrogates key genres at the core of Australia’s so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop.

The book examines what characterises Australian cinema and its output in this new golden age, as contributors ask to what extent Australian genre film draws on widely understood (and largely Hollywood-based) conventions, as compared to culturally specific conventions of genre storytelling. As such, this book offers a comprehensive and up-to-date survey of Australian genre film, undertaken through original analyses of 13 significant Australian genres: action, biopics, comedy, crime, horror, musical, road movie, romance, science fiction, teen, thriller, war, and the Western.

This book will be a cornerstone work for the burgeoning field of Australian film genre studies and a must-read for academics; researchers; undergraduate students; postgraduate students; and general readers interested in film studies, media studies, cultural studies, Australian studies, and sociology.

Offering a comprehensive analysis of web series as an experimental media form, this book traces their emergence in the late 1990s in the United States to their global influence across platforms such as YouTube, Facebook and TikTok.

Produced independently and outside traditional media channels, web series have transformed screen content by enabling creators to explore unconventional ideas, access new audiences directly, and carve pathways into the industry. This book explores how this medium has reshaped screen production practices and empowered diverse voices in the industry. Key features include the utilisation of the “total value” framework in assessing the cultural value of the format and comparative analyses of international policy responses to web series in Australia and Canada. This book investigates the diversity of web series creators and the content produced, as well as the varied ways in which web series engage with audiences, the unique production practices employed by creators, and the role of web festivals in this evolving landscape. Concluding with interviews from Australian web series creators, it suggests a re-evaluation of the web series format, highlighting its significant impact on individual careers and community building in screen industries.

This book is designed for an academic audience, including students, educators, and researchers in media, film, and screen production, as well as screen industry professionals and policy-makers interested in innovative content formats. Those researching online engagement, audience studies, and digital media will find valuable insights, as will educators in media and screen studies. By critically examining the development and contributions of web series, this book provides essential perspectives on their growing significance in the global media landscape.

Offering a comprehensive analysis of web series as an experimental media form, this book traces their emergence in the late 1990s in the United States to their global influence across platforms such as YouTube, Facebook and TikTok.

Produced independently and outside traditional media channels, web series have transformed screen content by enabling creators to explore unconventional ideas, access new audiences directly, and carve pathways into the industry. This book explores how this medium has reshaped screen production practices and empowered diverse voices in the industry. Key features include the utilisation of the “total value” framework in assessing the cultural value of the format and comparative analyses of international policy responses to web series in Australia and Canada. This book investigates the diversity of web series creators and the content produced, as well as the varied ways in which web series engage with audiences, the unique production practices employed by creators, and the role of web festivals in this evolving landscape. Concluding with interviews from Australian web series creators, it suggests a re-evaluation of the web series format, highlighting its significant impact on individual careers and community building in screen industries.

This book is designed for an academic audience, including students, educators, and researchers in media, film, and screen production, as well as screen industry professionals and policy-makers interested in innovative content formats. Those researching online engagement, audience studies, and digital media will find valuable insights, as will educators in media and screen studies. By critically examining the development and contributions of web series, this book provides essential perspectives on their growing significance in the global media landscape.

This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major new talents and a movement away with earlier films’ preoccupation with what it means to be Australian. With original contributions from leading scholars in the field, the collection contains chapters on particular genres (horror, blockbusters and comedy), Indigenous Australian film and television, women’s filmmaking, queer cinema, representations of history, Australian characters in non-Australian films and films about Australians in Asia, as well as chapters on sound in Australian cinema and the distribution of screen content. The book is both scholarly and accessible to the general reader. It will be of particular relevance to students and scholars of Anglophone film and television, as well as to anyone with an interest in Australian culture andcreativity.