Museum Screen Dreams

Cover of Museum Screen Dreams
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Nagesh's recipe for Biryani
Feature
Nagesh Seethiah

Published 01 December 2019
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Geological pit stops: Kate Hill and Isadora Vaughan
Feature
Abbra Kotlarczyk

Published 01 March 2020
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Duchamp and Australia: In opposition
Feature
Rex Butler and A.D.S. Donaldson

Published 01 March 2020
NAVA
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The Brazilian moment: A picture gallery in transformation
Feature
John Mateer

Published 01 March 2020
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Crafty prepping
Feature
Sera Waters

Published 01 March 2020
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2019: The year of our cyberpunk future
Feature
Darren Jorgensen

Published 01 March 2020
Artlink Promo
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Art in the time of the burning
Feature
Ian Milliss

Published 01 January 2020
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Reading the entrails: Digesting posthuman entanglement
Feature
Sasha Grbich

Published 01 December 2019

Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.

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More from this Issue Full Issue Contents

Wild: Beyond the Deconstruction
Feature
Deane Williams

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.

Published March 1993
Transformation of the Real: Constantine Koukias and Ann Wulff
Review
Jane Deeth

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

Published March 1993
Brother Can You Spare a SP Betacam
Feature
Russell Edwards

Discussion with George Mannix. If there is any form of expression that eats money it is the feature length movie. Camera, lights and actors all cost big bucks and many ideas have stopped at the drawing board simply because there wasn't enough money. Independent Producer George Mannix had other ideas.

Published March 1993
Pretty as a Picture: Women Artists and the Heidelberg Era
Review
Louise Dauth

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

Published March 1993
"I Am Not A TV Show"
Feature
Marion Benjamin

"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.

Published March 1993
A Tale of Reproduction and Dependency
Feature
Annabelle Sheehan

The interface between film and video education and the Independent film and video production.

Published March 1993
Floral Tributes: The Flower
Review
Peter Hill

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

Published March 1993
Who Told You We Wanted To Make Our Own TV?
Feature
Philip Batty

The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.

Published March 1993
Aleksi Vellis
Feature
Deb Verhoeven

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.

Published March 1993
More Bangs for Bucks: Male Sexuality and Violence in Australian Film
Feature
Chris Berry

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

Published March 1993
Memory and Image: The Multiculturalism in Film Project
Feature
Cecelia Cmielewski

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.

Published March 1993
The End of Independence? Women's Film and Video in the 1990s
Feature
Sue Maslin

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.

Published March 1993