This study reviews the exploratory implementation of an ‘internationalising the curriculum’ policy in relation to a cultural studies unit within a Creative Industries Faculty at an Australian university. Charting certain pedagogical practices in the delivery of transnational film studies, this case study involves a critical, contextual examination of student feedback as well as current theories about transcultural curricula in general and film studies curricula in particular. The study shows that tertiary students can be provided with an extraordinarily rich range of differing, sometimes conflicting, but always engaging transcultural insights and understandings. It is further argued that transnational competencies may be developed and enabled through the innovative realisation of a type of ‘border crossing’ pedagogical model, largely by foregrounding transcultural ‘affective’ issues around social justice.
This paper considers the work of the Argentinian filmmaker Lucrecia Martel and the Australian filmmaker Jane Campion in a transnational context. In doing so it focuses on landscape and the elements of the Gothic in their work to explore notions of universal cinematic storytelling that are essential to the exploration of the transnational film. Transnational Film theory directs the focus away from the National Cinema paradigm towards a more expansive cinema in which locally specific stories reach global audiences (Ezra and Rowden, 2006).
This article investigates the writing of the Female Gothic as extended metaphor in the Complex TV series Big Little Lies (2017). It builds on my earlier work, ‘Theme and complex narrative structure in HBO’s Big Little Lies 2017’ (2019), wherein I applied
Porter et al.’s (2002) structuralist narrative tool, the ‘Scene Function Model’, to investigate the way narrative and theme is progressed in complex interweaving stories via the writing of core or ‘kernel’ narrative scenes. Herein, I further investigate storytelling
in series TV by proposing the ‘satellite’ narrative scene as a means by which the screenwriter may conceptualize and deploy metaphor to create viewer engagement. First, I consider David E. Kelley’s series screenplay, Big Little Lies, as a blueprint for HBO’s
televised series. Specifically, I apply theories of Complex TV, Gothic Television and Domestic Noir to consider how Kelley deploys the Female Gothic as extended metaphor to inform formal narrative elements including the pre-titles sequences and flashbacks repeated across episodes.
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