Published 01 September 2005
Published 01 June 2020
Beyond ethnicity, becoming Asian - Australian. How does one address issues of ethnicity? What is authenticity?
In the incredible shrinking space between 1984 and 2001 the distinction between social-issue documentary and surreal fiction is collapsing - almost as fast as Australian capitalism or Soviet communism.
Published March 1993
The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
Exhibition review Completing the Picture: Women artists and the Heidelberg era
Carrick Hill, South Australia
8 November - 6 December 1992
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.
To begin this discussion of Ross Gibson's new film 'Wild' it may be useful to trace its origins to his 1984 film 'Camera Natura'. The earlier film employed an essay mode to deconstruct the discourses around non-Aboriginal imaging of the landscape.
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.
Exhibition review Architecture without Walls Robert Harrison
University of South Australia Art Museum
10 September - 3 October 1992
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.
Exhibition review The Flower
Curated by Paul Zika
Plimsoll Gallery, Centre for the Arts
"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.
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.
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.