Published 01 December 2020
Expressionism and modernism. Two old fashioned words in these days of post modernism.
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
Looks at 3 Australian films: Romper Stomper Night Out and Resonance each of which brings masculinity, sexuality and violence together.
John Hughes independent documentary film on Walter Benjamin One Way Street was screened on ABC television in December 1992, the centenary year of Benjamin's birth. The film has been released to festival audiences in the US and Europe and will theatrical release in Sydney and Melbourne in 1993. Here John Hughe slips into pause and explores an opening on certain scenes.
Exhibition review Feminisms Curated by Niki Miller Perth Institute of Contemporary Arts Western Australia November 1 - 28 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.
Sydney's new Museum of Contemporary Art has actively integrated film, TV and videos into its programs since opening in 1991.
The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
Exhibition review George Popperwell: Recent Works Contemporary Art Centre, Adelaide, South Australia September 25 - October 8 1992
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.
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.
In his discussion of male sexuality, it was Freud who asserted that men customarily distribute their libido with expedience. What psychical energies a man 'employs for cultural aims he to a great extent withdraws from women and sexual life'. But not so in the love story, a genre which disavows this predicament.
Over 12 days in November 1992, the Melbourne based Modern Image Makers Association (MIMA) held the third Experimenta presenting nearly 200 works of film, video, installation and performance. It included work from Germany, Japan, England and the USA, thus providing an opportunity to assess the current state of 'avant garde' practice and discourse.
