Lesbian Independent Cinema and Queer Theory

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.

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The Last Days of Chez Nous: Love Stories and Girls' Blouses

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.

Leonie Naughton

Cinema or Death

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.

Anna Epstein

The End of Independence? Women's Film and Video in the 1990s

Independent cinema may have been diverse in form, but its practitioners had in common a position of difference and marginality, working outside the mainstream and in opposition to it.

Sue Maslin

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

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

Chris Berry

Floral Tributes: The Flower

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

Peter Hill

"Just Trust The Text, Don't Colour It"

Tracey Moffatt offers her personal insights on the making of 'Bedevil' made in 1992 with Film Finance Corporation Trust funds. Due for release in 1993.

Deb Verhoeven

"I Am Not A TV Show"

"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.

Marion Benjamin

Aleksi Vellis

Aleksi Vellis announced his arrival in the turmoil of early 90s Australian cinema with his debut feature 'Nirvana Street Murder' a restlessly energetic film with cavalier camera moves that are almost as swish as the director himself.

Deb Verhoeven

Pretty as a Picture: Women Artists and the Heidelberg Era

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

Louise Dauth

Selected Shorts: Oppositionality, Postmodernity and the Australian Short Film

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....

John McConchie

Perplexities: Experimenta 1992

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.

John Cumming

Transformation of the Real: Constantine Koukias and Ann Wulff

Review To Traverse Water IHOS Opera Hobart, Tasmania Constantine Koukias and Ann Wulff

Jane Deeth

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