Australian International Pictures examines the concept and definition of Australian film in relation to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although international co-production is particularly acute in the present day, this book examines the porous nature of Australian International filmmaking, and the intriguing transnational and cross-cultural formations created by globally targeted but locally focused films made in Australia in the period 1946-75. Case Studies: The Overlanders (1946) and Ealing Down Under; Kangaroo (1952); On the Beach (1959); The Sundowners (1960); The Drifting Avenger (1968); Age of Consent (1969); Color Me Dead (1970); Ned Kelly (1970); Walkabout (1971); Wake in Fright (1971); The Man from Hong Kong (1975).

Deploying the term 'late-colonial' to describe a body of largely French films made during, and in response to, the Algerian War of Independence (1954-1962), this book revolves around one question - what is late-colonial French cinema? - generating two answers. Firstly, Sharpe argues that late-colonial cinema represents a formally and thematically important, yet unappreciated tendency in French cinema; one that has largely been overshadowed by a scholarly focus on the French New Wave. Secondly, Sharpe contends that whilst late-colonial French cinema cannot be seen as a coherent cinematic movement, school of filmmaking, or genre, it can be seen as a coherent ethical trend, with many of the fifteen central case studies explored in Late-colonial French Cinema filtering the Algerian War of Independence through a discourse of 'redemptive pacifism'.

Norwegian Nightmares investigates the origins of this horror wave and charts its unique characteristics in relation to the chiefly American influences that inspired it. Norwegian nature and wilderness, in particular an obsession with dark and deadly water, give shape and national identity to Norway's tradition of horror cinema. Andresen studies the cinematic journey to the dark side of a wealthy, ostensibly peaceful and harmonious social democracy on the fringes of the Arctic. Case studies include: Dark Woods and Dark Woods 2 (Pål Øie, 2003 and 2015), Cold Prey trilogy (Roar Uthaug et al, 2006-2010), Next Door and The Monitor (Pål Sletaune, 2005 and 2011), Thelma (Joachim Trier, 2017), The Innocents (Eskil Vogt, 2021), Troll Hunter (André Øvredal, 2010) Ragnarok (Mikkel Sandemose, 2013), and Lake of Death (Nini Bull Robsahm, 2019).

Offering the first comprehensive study of Greek film noir, this book explores the reception and influence of US and European film noir and neo-noir in Greece and their effect on Greek filmmaking. Employing theoretical frameworks from New Film History, it offers a fresh look at underrated or neglected cultural products to provide insights into Greek modernity and reveal the affinities of established Greek auteurs with the film-noir tradition. Firmly establishing Greece on the film noir cinematic map, it provides a panoramic overview of leading Greek auteurs, from Nikos Koundouros and Maria Plyta to Theo Angelopoulos and Nikos Nikolaidis, whose work is innovatively viewed from an angle of film-noir style and thematics.

This is the first book to investigate the coming-of-age genre as a significant phenomenon in New Zealand's national cinema, tracing its development and elucidating its role in cultural change.

What happens when a film is remade in another national context? How do notions of translation, adaptation and localisation help us understand the cultural dynamics of these shifts, and in what ways does a transnational perspective offer us a deeper understanding of film remaking? Bringing together a range of international scholars, Transnational Film Remakes is the first edited collection to specifically focus on the phenomenon of cross-cultural remakes. Using a variety of case studies, from Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon. Looking at iconic contemporary titles such as 'The Girl with the Dragon Tattoo' and 'Oldboy', as well as classics like 'La Bête Humaine and La Chienne', this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.