![]() This analysis demonstrates the ways that the film serves both to show and to critique patriarchal and settler culture. For example the way that Peter Weir presents the Heidelberg School-influenced image of the white-clad girls picnic and cuts to a close-up of their Valentine’s Day cake crawling with ants, showing that the apparently static Victorian settler society conceals, on closer inspection, bustling other life beneath. This, she argues in this and her previous work, is not simply style for style’s sake, but the use of an attractive surface in order to critique the society that finds these particular artistic constructions appealing. Backman Rogers builds on her existing work examining the aesthetics of filmmakers such as Sofia Coppola by focusing her analysis on the look and style of the film and the way that it consciously engages with specific artistic styles. ![]() ![]() In this addition to the BFI Classics series, Anna Backman Rogers sets out the connections between the film, its production, contexts and themes and provides a wealth of interesting and useful detail on the film, its techniques and its contexts. It is a film that entices, and intrigues, and haunts. ![]() Picnic at Hanging Rock is a core film in the Australian New Wave, a classic of rural horror, a lyrical dream known for its unnerving beauty. ![]()
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