Published 01 December 2019
The interface between film and video education and the Independent film and video production.
Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.
Published March 1993
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.
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.
The title of Monical Pellizari's recently completed short film has a characteristically wry double edge. 'Just Desserts (1993)' tempers an unfortunates Australian maxim with distinctive humour. This film is a delight, a consolidation of the stylistic and thematic concerns of her previous 3 films in 13 witty and evocative minutes.
Exhibition review Cultic Gloss: Shaun Kirby
Contemporary Art Centre
Adelaide, South Australia
October 23 - November 24 1992
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.
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.
Exhibition review Architecture without Walls Robert Harrison
University of South Australia Art Museum
10 September - 3 October 1992
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.
The emphasis in this collection has been on the films and videos themselves rather than the structures which support their production and circulation but they have not been overlooked....
The Third International symposium on Electronic Art (TISEA) which took place in 16 venues in Sydney from 9 -13 November 1992 converted the whole city into a massive hologram event.
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.