Published 01 September 2020
Published September 2020
Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.
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
Published March 1993
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....
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.
Exhibition review Feminisms
Curated by Niki Miller
Perth Institute of Contemporary Arts
November 1 - 28 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.
Looks at 3 Australian films: Romper Stomper Night Out and Resonance each of which brings masculinity, sexuality and violence together.
Despite my distrust of the postmodern, the possibility of disruption, the disturbance of vision that postmodernity is capable of providing within the cultural framework needs to be investigated. That such disturbances fail to deliver the most popular short films may be because they unsettle the comfortable fictions with which we seek to live....
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.
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.
The interface between film and video education and the Independent film and video production.
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.