![]() I look at the way structural developments, new technologies and the re-emergence of popular art cinema have allowed directors such as Luhrmann to cross over into mainstream territory while operating from a small-scale artisanal base. I trace the potential and limitations inherent in Bazmark's relation- ship with major Hollywood studio Twentieth Century Fox, covering issues of copy- right, branding and artistic autonomy. (Williams 1980: 33)ĭrawing on original research conducted in Australia, I explore the industrial con- text, collaborative working practices, transnational ethos and aesthetic of Australian film-maker Baz Luhrmann's Sydney-based independent production company Bazmark Inq. He suggests that (…) something more than simple reflection or reproduction - actively occurs … there is the notion of 'homologous structures', where there may be no direct or easily apparent similarity, and certainly nothing like reflection or reproduction, between the superstructural process and the reality of the base, but in which there is an essential homology or cor- respondence of structures, which can be discovered by analysis. The late British cultural theorist Raymond Williams, in a celebrated essay on 'Base and Superstructure in Marxist Cultural Theory', argues that classic reflection theory is not an adequate explanation of the relations between a society and the cultural products it creates and consumes. ![]() This essay argues that the current prevalence in international art cinema of the network narrative, exemplified here by Babel (Iñárritu, 2006), can be explained through analysis of the mode and social relations of production characterizing the global film and media companies involved in making such films. ![]()
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