Australian Cinema is International – Exploring the works of George Miller

Australian Cinema is International – Exploring the works of George Miller
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Australian Cinema is International – Exploring the works of George Miller
Introduction to Australian film
The Australian film industry growth and development over the past few decades involved significant transformations that make it almost similar to American Hollywood. However, even with the internationalism in Australian production, their content seems to be mostly limited. Although Australia can release several blockbuster films, they never compete against Hollywood cinema enough, making Australian film's role somewhat limited in the international scene (Khoo, Smaill and Yue, 2013). As a result, the Australian cinema's outward-looking aspect tends to gain a reaction of indifference from the global audience. Similarly, the blockbusters do not gain much following from local viewers, and there is a strong allure for culturally resonant cinema. 
There is an assumption that Australians do not actively follow Australian blockbusters. Yet, there are up to 25 films released each year in the international market. Despite the movie's failure in the local markets, the blockbusters tend to fare well in international cinema festivals. Prestigious events such as those in Cannes, Berlin, Toronto, and Sundance feature Australian international cinema (Goldsmith, 2010). On the other hand, the local audiences access the films from designated shops until the release window when they can access it from local free-to-air television. At the same time, the boundaries of national cinema go beyond the local entertainment scene. In contrast, the dynamic shifts between the local and international may tend to define Australian film and what it constitutes. 
Internationalism in Australian film
In Australia, the main transformations involve an increase in the complexity and growth of the production processes and policy. The nature of Australian cinema and its public reception define the national identity, which is usually fragmented, ever-changing, contingent, and dispersed across a complex system of relations. A relational perception of the film industry suggests a high connection between Australia and the rest of the world. The development of the film scene's internationalization began as early as a decade before with the Keating government (Ward, 2004). At the time, the assumption was that over the years, the Australian international film would gradually resonate to and be for the benefit of the national culture systems. Furthermore, the inception of internet technologies and a global cinema industry led to the integration of both domestic and international culture economies. Hailing, as one of the few internationally recognized film industries, created a universal reaction to the convergence as a cue to acknowledging television as a more substantial ‘creative sector’ (Ward, 2004). However, the emergence of other numerous film industries in the global sector required a new perspective that takes to count the spatial culture configurations that influence film. Such new perspectives define aspects of market dynamics, such as competitive advantage. For...