The Australian New Wave cinema movement burst onto the scene in the early 1970s, marking a transformative period in the country’s film industry. This cinematic renaissance, spanning from the early 1970s to the late 1980s, saw a surge in Australian film production and creativity. Australian Directors brought fresh perspectives to the screen, creating works that resonated both domestically and internationally. The movement significantly shaped Australian cultural identity and gained global recognition for its unique storytelling and visual styles. Films such as “Mad Max,” “Picnic at Hanging Rock,” and “Gallipoli” became iconic representations of this era, showcasing the diversity and depth of Australian cinema.

The Australian New Wave era, stretching nearly two decades saw the production of nearly 400 films, surpassing the total number of films made in Australia’s entire cinematic history up to that point. The movement encompassed a wide range of genres, from gritty outback dramas to urban comedies, period pieces to futuristic action films. It was characterised by its exploration of Australian identity, innovative storytelling techniques, and striking visual aesthetics that captured the unique Australian landscape. The New Wave not only revitalised the domestic film industry but also positioned Australian cinema on the global stage, earning critical acclaim and commercial success internationally.

The Australian New Wave cinema movement played a pivotal role in shaping and reflecting the nation’s cultural identity during a time of significant social change. These films explored themes of national identity, the complexities of Australian society, and the country’s relationship with its colonial past and Indigenous peoples. They challenged existing national and historical iconography, offering fresh perspectives on what it meant to be Australian. The movement coincided with a period of growing national confidence and a push against cultural cringe, contributing to a broader cultural renaissance in literature, music, and the arts. By bringing authentic Australian stories and voices to the screen, the New Wave helped foster a stronger sense of national identity and pride in Australian culture.

Historical Context and Origins

Pre-1970s Australian Film Industry

Before the Australian New Wave, the country’s film industry was in a state of dormancy. Despite some activity in the silent era and 1930s, Australia lacked a continuous, full-fledged feature film industry in the post-World War II period. The 1950s and 1960s saw very few locally produced features, with the industry largely dominated by imported films, particularly from Hollywood and Britain. This period was characterised by what became known as the “cultural cringe,” a sense of inferiority about Australian culture compared to those of other countries. The lack of a robust domestic film industry meant that Australian stories and perspectives were largely absent from the silver screen, creating a vacuum in the nation’s cultural expression through cinema.

The New Nationalism and Cultural Shifts

The rise of the Australian New Wave cinema was closely tied to broader cultural and political shifts in the country. The 1960s saw the emergence of “The New Nationalism,” a surge of national pride that encouraged a more confident expression of Australian identity. This movement coincided with Australia’s involvement in the unpopular Vietnam War, which led many to question American influence over Australian media and culture. There was a growing desire for Australian stories and voices in all forms of cultural expression. This period also saw increased activism and social change, with movements for Indigenous rights, women’s liberation, and environmental protection gaining momentum. These cultural shifts created a fertile ground for a new, distinctively Australian cinema to emerge.

Government Support and Funding Initiatives

Government intervention played a crucial role in kick-starting the Australian film revival. In 1970, the first government funding agency, the Australian Film Development Corporation (AFDC), was created with an initial endowment of $1 million. Prime Ministers John Gorton (1969-71) and Gough Whitlam (1972-75) were key supporters of developing the film industry. The Australian Film Commission (AFC) was established in 1975, becoming the principal government funding body. State film corporations, like the South Australian Film Corporation (SAFC) founded in 1972, also provided crucial support. The government also established the Australian Film, Television and Radio School in 1973 to train filmmakers.

Key Phases of the Movement

AFDC Period (1970-1975)

The AFDC Period marked the initial phase of the Australian New Wave, focusing on commercially-oriented films to kick-start the industry. This era saw the emergence of popular but controversial “ocker” comedies like “Stork” (1971) and “The Adventures of Barry McKenzie” (1972). These films, while criticised for their crude humour, proved that Australian audiences would attend local productions. The period also saw the release of more serious works like “Wake in Fright” (1971), which shocked audiences with its raw portrayal of outback life. This phase was crucial in establishing the commercial viability of Australian cinema and setting the stage for more diverse and ambitious productions in the years to come.

AFC Period (1975-1981)

The AFC Period shifted focus to more serious dramatic films exploring Australian history and culture, aiming for international standards and markets. This phase produced some of the most iconic films of the New Wave, including “Picnic at Hanging Rock” (1975), “The Devil’s Playground” (1976), and “My Brilliant Career” (1979). The AFC funded about 60 films during this period, supporting a wide range of genres and styles. This era saw the emergence of directors like Peter Weir, Bruce Beresford and Gillian Armstrong, who would go on to have significant international careers. The films of this period often delved deep into questions of Australian identity, history, and landscape, establishing the thematic concerns that would define the movement.

10BA Period (1981-1988)

The 10BA Period, named after the tax incentive scheme introduced in 1981, saw an explosion in film production due to increased private financing. This era produced a mix of critically acclaimed works and more commercially oriented films. Notable productions included “Gallipoli” (1981), “The Man from Snowy River” (1982), and “Crocodile Dundee” (1986). The 10BA scheme allowed for greater risk-taking and diversity in film production, but also led to concerns about the quality and cultural relevance of some projects. This period saw Australian cinema achieve unprecedented commercial success both domestically and internationally, with “Crocodile Dundee” becoming a global phenomenon.

Defining Characteristics

Exploration of Australian Identity

The Australian New Wave films deeply explored and often challenged notions of national identity. They grappled with Australia’s colonial past, its relationship with Indigenous peoples, and its evolving multicultural society. Films like “The Chant of Jimmie Blacksmith” (1978) and “Breaker Morant” (1980) offered critical perspectives on historical events, challenging traditional narratives. Urban stories like “Don’s Party” (1976) and “Monkey Grip” (1982) explored contemporary Australian life, while outback dramas like “Sunday Too Far Away” (1975) examined rural identities. These films collectively contributed to a national dialogue about what it meant to be Australian in the late 20th century.

Landscape as Character

One of the most striking features of Australian New Wave cinema was its treatment of the landscape. The vast and often unforgiving Australian terrain frequently functioned as a character in its own right, rather than merely serving as a backdrop. Films like “Picnic at Hanging Rock” and “Wake in Fright” used the Australian outback to create a sense of mystery, alienation, and unease. The harsh beauty of the landscape became a metaphor for the characters’ internal struggles and the nation’s complex relationship with its land. Cinematographers captured the unique light and colours of the Australian environment, creating a visual language that became internationally recognised as distinctly Australian.

Challenging Social Norms

Many films of the Australian New Wave era confronted social norms and tackled controversial topics, pushing the boundaries of traditional storytelling. They addressed issues such as gender roles, sexuality, and Australia’s treatment of its Indigenous people. Gillian Armstrong’s “My Brilliant Career” (1979) presented a complex female protagonist, challenging traditional representations of women in Australian cinema. “The Devil’s Playground” (1976) explored sexuality and repression within the Catholic Church. These films often provoked public debate and contributed to broader social discussions about Australian values and societal change.

Themes and Motifs

Isolation and the Outback

The theme of isolation, often set against the backdrop of the Australian outback, was a recurring motif in New Wave films. Works like “Wake in Fright” and “Walkabout” (1971) explored the psychological impact of the vast, empty landscape on their characters. The outback was often portrayed as both beautiful and menacing, a place of self-discovery and potential danger. This theme reflected broader cultural anxieties about Australia’s geographical isolation and its relationship with its harsh interior. Films like “Mad Max” (1979) took this concept further, imagining a post-apocalyptic outback where isolation breeds new forms of society and conflict.

Cultural Clashes

The Australian New Wave frequently explored cultural clashes, particularly between white Australians and Indigenous communities. Films like “The Last Wave” (1977) and “The Chant of Jimmie Blacksmith” (1978) delved into the complex and often fraught relationships between these groups. These works often challenged the dominant historical narratives, offering more nuanced and critical perspectives on Australia’s colonial past and its ongoing effects. The theme of cultural clash also extended to explorations of Australia’s multicultural society, with films like “Silver City” (1984) addressing the experiences of post-war immigrants.

Coming-of-Age Stories

Coming-of-age narratives set against the unique Australian backdrop offered fresh perspectives on universal themes. Films like “Puberty Blues” (1981) and “The Year My Voice Broke” (1987) explored the challenges of adolescence in distinctly Australian contexts. These stories often intertwined personal growth with broader themes of national identity and social change. The coming-of-age genre allowed filmmakers to examine the evolving nature of Australian society through the eyes of its youth, offering both critique and celebration of Australian culture.

Conclusion

The Australian New Wave cinema movement marked a transformative period in the country’s film industry, establishing a sustainable and creative national cinema. It revitalized Australian filmmaking, challenging societal norms and presenting nuanced explorations of national identity to both domestic and international audiences. The movement’s impact on filmmaking techniques, storytelling approaches, and thematic concerns continues to resonate in contemporary Australian cinema. From the stark realism of “Wake in Fright” to the mystical atmosphere of “Picnic at Hanging Rock,” from the action-packed “Mad Max” to the historical drama of “Gallipoli,” the Australian New Wave produced a diverse body of work that remains influential and critically acclaimed.

The influence of the Australian New Wave extends far beyond its immediate time frame. It launched the careers of numerous talented filmmakers, actors, and technicians who went on to make significant contributions to world cinema. Directors like Peter Weir, Bruce Beresford, Gillian Armstrong and George Miller achieved international success, while actors such as Mel Gibson, Judy Davis, and Sam Neill became global stars. The movement’s success paved the way for subsequent generations of Australian filmmakers, who continue to explore themes of national identity while appealing to global audiences. The technical and artistic innovations of the New Wave period helped establish Australia as a major player in international film production.

The Australian New Wave secured Australia’s place in world cinema history, contributing unique perspectives to global cinema. It helped reshape the nation’s cultural exports, influencing how Australia was perceived internationally. The movement’s emphasis on authentic storytelling, visual innovation, and exploration of national identity continues to resonate in Australian cinema today. Ultimately, the Australian New Wave did more than just put Australian cinema on the map; it helped reshape the nation’s cultural landscape, fostering a new confidence in Australian stories and perspectives. Its enduring legacy ensures that this pivotal movement will continue to inspire and influence filmmakers and audiences for generations to come, cementing its place as a defining chapter in the history of Australian cinema and culture.

Best Australian New Wave Cinema

1. Breaker Morant (1980) Director: Bruce Beresford
2. Wake in Fright (1971) Director: Ted Kotcheff
3. Gallipoli (1981) Director: Peter Weir
4. Mad Max 2: The Road Warrior (1981) Director: George Miller
5. Picnic at Hanging Rock (1975) Director: Peter Weir
6. The Chant of Jimmie Blacksmith (1978) Director: Fred Schepisi
7. My Brilliant Career (1979) Director: Gillian Armstrong
8. The Last Wave (1977) Director: Peter Weir
9. Walkabout (1971) Director: Nicolas Roeg
10. The Getting of Wisdom (1977) Director: Bruce Beresford
11. Sunday Too Far Away (1975) Director: Ken Hannam
12. The Year of Living Dangerously (1982) Director: Peter Weir
13. Age of Consent (1969) Director: Michael Powell
14. Don’s Party (1976) Director: Bruce Beresford
15. Storm Boy (1976) Director: Henri Safran, Ian Goddard
16. The Devil’s Playground (1976) Director: Fred Schepisi
17. Newsfront (1978) Director: Phillip Noyce
18. Road Games (1981) Director: Richard Franklin
19. Mad Max (1979) Director: George Miller
20. The Cars That Ate Paris (1974) Director: Peter Weir
21. Long Weekend (1978) Director: Colin Eggleston
22. The Plumber (1979) Director: Peter Weir
23. The Getting of Wisdom (1977) Director: Bruce Beresford
24. Hoodwink (1981) Director: Claude Whatham
25. Money Movers (1978) Director: Bruce Beresford
26. The Man from Hong Kong (1975) Director: Brian Trenchard-Smith, Jimmy Wang Yu
27. Next of Kin (1982) Director: Tony Williams
28. Starstruck (1982) Director: Gillian Armstrong
29. Puberty Blues (1981) Director: Bruce Beresford
30. Turkey Shoot (1982) Director: Brian Trenchard-Smith
31. Patrick (1978) Director: Richard Franklin
32. Mad Max Beyond Thunderdome (1985) Director: George Miller, George Ogilvie
33. Razorback (1984) Director: Russell Mulcahy
34. Harlequin (1980) Director: Simon Wincer
35. Dark Age (1987) Director: Arch Nicholson
36. Stone (1974) Director: Sandy Harbutt
37. Mad Dog Morgan (1976) Director: Philippe Mora
38. End Play (1976) Director: Tim Burstall
39. Sidecar Racers (1975) Director: Earl Bellamy
40. Dead End Drive-In (1986) Director: Brian Trenchard-Smith
41. Fair Game (1986) Director: Mario Andreacchio
42. Thirst (1979) Director: Rod Hardy
43. BMX Bandits (1983) Director: Brian Trenchard-Smith
44. The Adventures of Barry McKenzie (1972) Director: Bruce Beresford
45. Night of Fear (1973) Director: Terry Bourke
46. The Naked Bunyip (1970) Director: John B. Murray
47. Barry McKenzie Holds His Own (1974) Director: Bruce Beresford
48. Alvin Purple (1973) Director: Tim Burstall
49. Number 96 (1974) Director: Peter Benardos
50. Strange Behavior (1981) Director: Michael Laughlin
51. Stunt Rock (1978) Director: Brian Trenchard-Smith
52. Treasure of the Yankee Zephyr (1981) Director: David Hemmings
53. The Day After Halloween (1979) Director: Simon Wincer
54. Eliza Fraser (1976) Director: Tim Burstall
55. Stork (1971) Director: Tim Burstall
56. The Chain Reaction (1980) Director: Ian Barry
57. Lady, Stay Dead (1981) Director: Terry Bourke
58. Felicity (1978) Director: John D. Lamond
59. The Survivor (1981) Director: David Hemmings
60. Ned Kelly (1970) Director: Tony Richardson
61. Fantasm (1976) Director: Richard Franklin
62. Fantasm Comes Again (1977) Director: Colin Eggleston
63. The F.J. Holden (1977) Director: Michael Thornhill
64. High Rolling in a Hot Corvette (1977) Director: Igor Auzins
65. Pacific Banana (1981) Director: John D. Lamond
66. Stage Fright (1980) Director: John D. Lamond
67. Bloodmoon (1990) Director: Alec Mills
68. Houseboat Horror (1989) Director: Kendal Flanagan, Ollie Martin
69. Plugg (1975) Director: Terry Bourke