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    • Yet there is something potentially to thin about when it comes to weird – transgression of boundaries –
    • there is something Australian or antipodean about the weird.
    • If the weird symobilises a breaking of tradition from the status quo, strange hybridising of monters– an usual mix of – braking of the expected – the dangerous and unusual monsters of Australia may have something to with this
    • This essay then, explores this tension between disrupting of the status quo, and how we can deploy the weird in a way to move beyond the settler-colonial frames that have been so common in Australian film before.

    -the potential for the weird to be a form of ‘upheaval’ could be radical

    • I provide two options…

    • Weird ecological environmental humanities

    • loops stitch together apparently distinct spatialities and temporalities, like a montage (277) – referring to moreton or fischer here
    • crashing together
      -
    • the weird then, as a form of upheaal - refers to but breaks down this gesture or tradition – through the form of experimental cinema, using remix, bricolage, and collapsing narrative and prior cinematic languages on its head
  • perhaps weird cinema in doing so, can offer a critique of settler colonial

  • Defining weird in various threads:

    • Weird then – expands on this by Taking cues from Melville and Jeffrey Weinstock who understand the ‘weird’ in terms of ‘bricolage’, ‘fragmentation’ (207, 512) and genre transgression (2016, 182),
    • of disparate spatialities molecular/species/cosmic—and temporalities—past/
    • present/future—is exemplary of the Anthropocene’s weird ecological loopy-ness, (277) – referring tochernobyl – but this can be sid of all the time
  • Yet there is something potentially to thin about when it comes to weird – transgression of boundaries –

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