More from this Issue
The 7th International Video Festival
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.
TV Eye: Cinema in the Age of Video
In 1993 in Australia less than 2 per cent of the population attends the cinema yet over 90 percent of households own a VCR....
Perplexities: Experimenta 1992
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.
More Bangs for Bucks: Male Sexuality and Violence in Australian Film
Looks at 3 Australian films: Romper Stomper Night Out and Resonance each of which brings masculinity, sexuality and violence together.
A Golden Threat: Feminisms
Exhibition review Feminisms
Curated by Niki Miller
Perth Institute of Contemporary Arts
Western Australia
November 1 - 28 1992
Film and Video
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....
Delayed Voyage: George Popperwell
Exhibition review George Popperwell: Recent Works
Contemporary Art Centre, Adelaide, South Australia
September 25 - October 8 1992
Brother Can You Spare a SP Betacam
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.
Against 'Neofuturism': Women Artists in Technological Media
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.
Independent Distribution and Exhibition
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.
Wild: Beyond the Deconstruction
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.
The End of Independence? Women's Film and Video in the 1990s
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.