Nevertheless, the year 1968 saw the revival of Australian cinema, in a quest to nationalize its content to address local and national interests. Accordingly, by the 1980s, Australian cinema produced respectable and morally cultivated films that fit the interests of the middle class viewers, as well as middle-aged ones (Ryan, 2009; pp. 45). The Australian government had put in place several regulations to ensure that the film content adhered to the preservation of Australian identity, culture, and character.
Australian cinema was national in every sense, since it produced images that reflected the everyday life of the Australian people, the challenges they faced and their aspirations (Kindem, 62, 2000). The images in Australian film showed the Australian landscape and resources, while all the actors were of Australian origin, thus, enhancing the localization of Australian cinema. For a long time, Sydney has been the center of film production in Australia as the New South Wales (NSW) became the leading national producer of audio-visual films. This dominance by NSW and Sidney in Australian film production was a result of heavy federal funding and the presence of many institutions for training in cinematography.
In spite of this growth in nationalized films, the Australian cinema was in a dilemma because the cultural and goals were in conflict with the goals of global economy. Evidently, the global economy affects each and every sector of the society, thus, the Australian film industry had little choice but to shift towards the goals of the global economy.
During the twentieth century, Australia was also struggling with exhibition venues for its content, especially after the disintegration of the European movie production after World War II. Essentially, this is what made the Australian film industry form an alliance with the producers in Hollywood, leading