Published 25 August 2021
Looks at 3 Australian films: Romper Stomper Night Out and Resonance each of which brings masculinity, sexuality and violence together.
Despite my distrust of the postmodern, the possibility of disruption, the disturbance of vision that postmodernity is capable of providing within the cultural framework needs to be investigated. That such disturbances fail to deliver the most popular short films may be because they unsettle the comfortable fictions with which we seek to live....
Published March 1993
The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
Blotting paper, alchemy or potent cocktail. When radical European film-makers in the 1950s with the Nagra sound recorder and noiseless, hand held camera, the Eclair, launched what they called Cinema Verite, they thought they had discovered a way to film truth on the move.
Surely one of the powers of cinema is the aesthetic redemption of everyday reality, a poetics in motion that can distill and energise mundane objects, be they tiles on a kitchen wall, the fluorescent facade of an airport terminal, a luminously white T-shirt being twisted and tugged or the compact shapeliness of Y-fronts on a young body emerging from bed.
Expressionism and modernism. Two old fashioned words in these days of post modernism.
What is the effect on film when the maker's background is utterly different from the culture in which he now works. Anna Epstein talked to a film-maker who brings fresh vision to the Australian film industry.
Over 12 days in November 1992, the Melbourne based Modern Image Makers Association (MIMA) held the third Experimenta presenting nearly 200 works of film, video, installation and performance. It included work from Germany, Japan, England and the USA, thus providing an opportunity to assess the current state of 'avant garde' practice and discourse.
Exhibition review Architecture without Walls Robert Harrison
University of South Australia Art Museum
10 September - 3 October 1992
Exhibition review Souvenirs Aldo Iacobelli
Experimental Art Foundation
22 October - 15 November 1992
Lesbians do not exist in mainstream Australian cinema. Apart from a brief sequence representing youthful lesbian desire in 'The Getting of Wisdom (1977)' and the undercurrent of adolescent homoeroticism in 'Picnic at Hanging Rock (1975)' Australian cinema has remained mute - perhaps dumbstruck might be a more appropriate term - in relation to the issue of desire between women.
In his discussion of male sexuality, it was Freud who asserted that men customarily distribute their libido with expedience. What psychical energies a man 'employs for cultural aims he to a great extent withdraws from women and sexual life'. But not so in the love story, a genre which disavows this predicament.
Exhibition review Feminisms
Curated by Niki Miller
Perth Institute of Contemporary Arts
November 1 - 28 1992