
Anne RutherfordWestern Sydney University · School of Humanities and Communication Arts
Anne Rutherford
B Communications (UTS); MA research (UTS); PhD (UWS)
About
36
Publications
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Introduction
Publications
Publications (36)
http://sensesofcinema.com/2003/feature-articles/embodied_affect/
This book offers a close study of how film produces sensory-affective experience for the spectator. It argues that we must explore this affective dimension if we want to understand how cinema takes up cultural or thematic issues. Examining cinematic affect through close readings of how affective immersion in cinema works to engage viewers with hist...
This article examines the powerful performance of actor Aaron Pedersen in Ivan Sen's
film, Mystery Road, exploring his performance and his role as a key to the cinematic
and cultural significance of the film. Through an analysis of pivotal scenes of the film
and drawing on a wide range of interviews with director and actor, the article argues
that...
The assumption of a clear demarcation and hierarchy between figure and ground has long informed key approaches in film studies to bodies and space. However, many filmmakers working in both animation and live cinema have confounded this hierarchy, working with an integration of figure and ground on equal terms to explore the full performative potent...
This article is an edited transcript of The Films of Ivan Sen symposium, convened and chaired by Susan Thwaites, at University of Canberra University of Canberra in 2015. Ivan Sen is an important figure in what has been called the Blak Wave in Australian cinema – the rise over the last few decades of a growing number of talented Indigenous filmmake...
‘Letter to Jay’ is a work of creative non-fiction that explores the character of Jay Swan in the acclaimed Australian film and TV series, Mystery Road. The piece is written in the experimental form of a letter to the character to explore questions of genre, gender and culture in the way the character has been both written and performed. Through the...
In Screen Australia’s 2016 commissioned report on the cultural value of Australia’s screen industries, cultural value is defined and measured using a methodology that gives no consideration to the role of a dynamic screen culture in nurturing and sustaining a vibrant industry. This article explores the conceptual underpinnings of this methodology,...
Ivan Sen is an important figure in what has been called the Blak Wave in Australian cinema – the rise over the last few decades of a growing number of talented Indigenous filmmakers who are redefining long-held conceptions about what Australian cinema is and can be, and challenging hegemonic definitions of Australia at their core. The chapter explo...
A discussion of the aesthetic strategies of Ivan Sen's 2016 film, Goldstone, on the date of its Australian première. Published in The Conversation:
http://theconversation.com/ivan-sens-goldstone-a-taut-layered-exploration-of-what-echoes-in-the-silences-60619
In a context in which inter-communal violence has wracked much of India since the riots of 1992, the
pastoralist communities of Kachchh, on the border between India and Pakistan, remained peaceful.
In So Heddan So Hoddan (Like Here Like There), multi-award-winning Indian documentary
filmmakers, Anjali Monteiro and K.P. Jayasankar, set out to explor...
This article juxtaposes cinema and moving image installation to question the ways cinema studies has understood embodied spectatorship. Through a close study of Amar Kanwar’s moving image installation, The Sovereign Forest, exhibited at ‘documenta 13’, the article draws on an intermedial approach to explore emerging transformations in the phenomeno...
This article explores the recent animated film installations and operatic stage direction of William Kentridge to conceptualise emerging trends in installation work, artists’ cinema and hybrid forms of the moving image. Kentridge opens new horizons for the articulation of the moving image with architectural space, reimagining the nature of film. Th...
This article examines the ways in which Ten Canoes (de Heer and Djiggir, 2006) works as what Nicholas Rothwell has called ‘an inter-cultural membrane’. The article scrutinizes the rhetoric developed around the film, exploring questions around ownership, cultural mediation and the authorial voice. An extended interview with the co-director, Rolf de...
http://www.eyelinepublishing.com/eyeline-78-79/article/spending-time-william-kentridge
http://www.textjournal.com.au/april13/rutherford_prose.htm
This article is a piece of creative non-fiction that explores the construction of place in the multimedia installation work of artist William Kentridge. The article explores the installation Black Box, an acclaimed miniature theatre work that traces the roots of the racist ideology of the N...
This chapter examines the central role of testimony in trauma studies and the complex role of memory in the ways viewers engage with media images, particularly for survivors of trauma. The chapter argues the need for an ethics of care in the enunciative strategies of work that addresses traumatic memory. The chapter argues that an exploration of fi...
This article explores the genesis of the film Ten Canoes in the photographs taken by anthropologist Donald Thomson, in Arnhem Land, in the 1930s. Thomson’s images profoundly informed the look and content of the film, and the paper traces this genealogy in order to identify a ‘cultural imaginary’ at work in the film. I argue that a close study of Th...
CTEQ Annotations on Film.
<http://www.sensesofcinema.com/2011/cteq/double-suicide-and-the-“fetishism-of-space”/>
This paper engages with Cynthia Contreras’ account of the Japanese visual schemas underpinning the architectural design of Harakiri (dir. Kobayashi Masaki, 1962). From an art historian’s perspective, Contreras peels back the layers of Kobayashi’s architectural sets like a palimpsest to reveal a construction of pictorial space reminiscent of an ‘Asi...
WHEN SIEGFRIED KRACAUER AND Walter Benjamin attempted to write the foundations of a materialist theory of cinema spectatorship, they looked to the potential of cinema to restore the mimetic faculty: "a mode of cognition involving sensuous, somatic and tactile forms of perception" (Hansen 1999, 5). For Kracauer, film does not just record the materia...
This paper draws the question of mimetic visuality into the core of the conceptualisation of the documentary image. Evoking the reconfiguring of spectatorship in contemporary film theory, it examines aspects of the auratic in the process of documentary filming and reception, and argues the centrality of mimetic innervation to documentary. The essay...
http://tlweb.latrobe.edu.au/humanities/screeningthepast/20/garin-nugroho.html
http://sensesofcinema.com/2004/feature-articles/angelopoulos_balkan_epic/
The article opens with a discussion of the use of location shooting in Theodorus Angelopoulos’s 1992 film, Ulysses’ Gaze, set across the whole of the Balkans including war-torn Sarajevo. Angelopoulos’s attention to location as a site for an awakening of the senses is explored...
http://search.informit.com.au/documentSummary;dn=830402090030579;res=IELLCC
Interview with Darlene Johnson
This paper takes as its point of departure models for an ethical, post-colonial critique produced by non-indigenous Australians, as proposed by Marcia Langton in her 1993 discussion of Australian film and television. The paper discusses questions of intercultural dialogue through an examination of concepts of history that underpin contemporary hist...
Interview with Darlene Johnson about her film, Two Bob Mermaid.