More from this Issue
"Just Trust The Text, Don't Colour It"
Tracey Moffatt offers her personal insights on the making of 'Bedevil' made in 1992 with Film Finance Corporation Trust funds. Due for release in 1993.
Digital Art
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.
The Last Days of Chez Nous: Love Stories and Girls' Blouses
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.
Who Told You We Wanted To Make Our Own TV?
The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.
Pretty as a Picture: Women Artists and the Heidelberg Era
Exhibition review Completing the Picture: Women artists and the Heidelberg era
Carrick Hill, South Australia
8 November - 6 December 1992
Delayed Voyage: George Popperwell
Exhibition review George Popperwell: Recent Works
Contemporary Art Centre, Adelaide, South Australia
September 25 - October 8 1992
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.
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.
Floral Tributes: The Flower
Exhibition review The Flower
Curated by Paul Zika
Plimsoll Gallery, Centre for the Arts
Hobart Tasmania
Monica Pellizari's Short Black Look at the Italian-Australian Experience
The title of Monical Pellizari's recently completed short film has a characteristically wry double edge. 'Just Desserts (1993)' tempers an unfortunates Australian maxim with distinctive humour. This film is a delight, a consolidation of the stylistic and thematic concerns of her previous 3 films in 13 witty and evocative minutes.
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....
Domestic Noir Night Out
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.