Published 01 September 2020
Published September 2020
In 1993 in Australia less than 2 per cent of the population attends the cinema yet over 90 percent of households own a VCR....
Review To Traverse Water
IHOS Opera Hobart, Tasmania
Constantine Koukias and Ann Wulff
Published March 1993
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.
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.
Beyond ethnicity, becoming Asian - Australian. How does one address issues of ethnicity? What is authenticity?
Exhibition review Feminisms
Curated by Niki Miller
Perth Institute of Contemporary Arts
November 1 - 28 1992
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.
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 broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
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.
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 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.
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.