Published 01 March 2019
Published 01 December 2018
The interface between film and video education and the Independent film and video production.
Exhibition review George Popperwell: Recent Works
Contemporary Art Centre, Adelaide, South Australia
September 25 - October 8 1992
Published March 1993
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 Cultic Gloss: Shaun Kirby
Contemporary Art Centre
Adelaide, South Australia
October 23 - November 24 1992
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.
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.
Exhibition review Feminisms
Curated by Niki Miller
Perth Institute of Contemporary Arts
November 1 - 28 1992
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.
Expressionism and modernism. Two old fashioned words in these days of post modernism.
"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.
Exhibition review Architecture without Walls Robert Harrison
University of South Australia Art Museum
10 September - 3 October 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 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.