Published 01 December 2019
The interface between film and video education and the Independent film and video production.
In matters of technology, as in matters of sex, it is easy to assume one's own preferences are universal and normal, and to regard other's tastes as somehow debased or improper.
Published March 1993
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.
Review To Traverse Water
IHOS Opera Hobart, Tasmania
Constantine Koukias and Ann Wulff
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.
Exhibition review Crossings Mary Knott: Drawings and Sculptures 1988 - 1992
Curated by Tony Geddes
The Art Gallery of Western Australia
October 3 - December 13 1992
Geraldton Regional Gallery
December 18 -January 21 1993
Bunbury Art Galleries
January 30 - March 7 1993
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.
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.
Exhibition review Souvenirs Aldo Iacobelli
Experimental Art Foundation
22 October - 15 November 1992
The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
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.
Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.