More Bangs for Bucks: Male Sexuality and Violence in Australian Film

Cover of More Bangs for Bucks: Male Sexuality and Violence in Australian Film
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Reading the entrails: Digesting posthuman entanglement
Feature
Sasha Grbich

Published 01 December 2019
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Eating together online: The ambivalent conviviality of ASMR videos
Feature
Francis Russell

Published 01 December 2019
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Shared food conversations: Jason Phu and Nagesh Seethiah
Feature
In conversation with Sabrina Baker

Published 01 December 2019
Artlink Subs Promo
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A good dinner party: Food as a medium for social change
Feature
Courtney Coombs

Published 01 December 2019
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Eat the problem: MONA's carnivalesque of cuisine
Feature
Ashley Crawford

Published 01 December 2019
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Fair Share Fare
Feature
Jen Rae

Published 01 December 2019
NAVA
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Violent dreams of development: A food bowl in the north‑west of Australia?
Feature
Alana Hunt

Published 01 December 2019
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Mai Contemporary Kaurna Food
Feature
James Tylor

Published 01 December 2019

Looks at 3 Australian films: Romper Stomper Night Out and Resonance each of which brings masculinity, sexuality and violence together.

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More from this Issue Full Issue Contents

Perplexities: Experimenta 1992
Feature
John Cumming

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.

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"I Am Not A TV Show"
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Marion Benjamin

"I am not a TV show, this is not a TV show." These are the oft-spoken words of Tony Tjamu, Chairperson of the Mutitjulu Community at Uluru (Ayers Rock) in the Pitjantjatjara Lands of Central Australia. Their repetition reveals something of the exasperation born of the visibility of being Aboriginal in a predominantly white Australia.

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A Tale of Reproduction and Dependency
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Annabelle Sheehan

The interface between film and video education and the Independent film and video production.

Published March 1993
Floral Tributes: The Flower
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Peter Hill

Exhibition review The Flower
Curated by Paul Zika
Plimsoll Gallery, Centre for the Arts
Hobart Tasmania

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The 7th International Video Festival
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Jan Birmingham

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.

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Delayed Voyage: George Popperwell
Review
Richard Grayson

Exhibition review George Popperwell: Recent Works
Contemporary Art Centre, Adelaide, South Australia
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Published March 1993
TV Eye: Cinema in the Age of Video
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Leon Marvell

In 1993 in Australia less than 2 per cent of the population attends the cinema yet over 90 percent of households own a VCR....

Published March 1993
Memory and Image: The Multiculturalism in Film Project
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Cecelia Cmielewski

It is diversity, and the celebration of the marginal which makes Australian film innovative. Diversity provides the opportunity for people in Australia to enjoy and reflect on the cultural heterogeneity rather than on the alienating myth with which we are so familiar.

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Pretty as a Picture: Women Artists and the Heidelberg Era
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Exhibition review Completing the Picture: Women artists and the Heidelberg era
Carrick Hill, South Australia
8 November - 6 December 1992

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Cinema or Death
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Anna Epstein

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.

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Independent Distribution and Exhibition
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In the decades prior to the expansion of art-house cinemas and television programming, 'independent distribution and exhibition' denoted a more specific activity than it does in the 1990s.

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The Pure and The Impure: Shaun Kirby
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Exhibition review Cultic Gloss: Shaun Kirby
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