Articles on Film

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Adaptations are a learned skill – can Australian cinema do it successfully? The Dressmaker/Universal Pictures

Do film adaptations boost Australian movies at the box office?

With the success of films like The Dressmaker, book adaptations are giving a much needed boost to the Australian box office. So why are there so few? And why isn't adaption a compulsory part of screen studies?
Gillian Armstrong’s 1971 student film The Roof Needs Mowing featured a bathtub full of baked beans. VCA Film & Television School

Magnetic memoir: a love letter to VHS from the archives

In less than a decade, most people won't be able to play a VHS tape anymore. Let's farewell the humble tape, and celebrate the archives finding their way to digitisation and YouTube.
Sport continues to be one of Australia’s most potent social lubricants. AAP/David Crosling

More than fun: capitalising sport’s social goods

Public discourse and commentary are generally blind to the massive contribution that local sport contributes to social connectedness.
James Stewart and Kim Novak in Vertigo (1958). Alfred J. Hitchcock Productions

The great movie scenes: Hitchcock’s Vertigo

What makes a film a classic? In a new monthly column, film scholar Bruce Isaacs analyses a single sequence from a great film. Here, we look at a scene from Vertigo.
The poster for Stranger Things, which stars Winona Ryder, Matthew Modine and some brilliantly charismatic newcomers. 21 Laps Entertainment

Nostalgia, VHS and Stranger Things' homage to 80s horror

The Netflix series Stranger Things is a throwback to the glory days of cinematic horror. And as VHS disappears from our shelves, this show's 80s-infused nostalgia is doubly poignant.
Idris Elba and Richard Madden in the terror thriller Bastille Day: the film has been pulled from French cinemas. Jessica Forde/StudioCanal

As life imitates art, how are we to read terror plots in film and TV?

The film Bastille Day – featuring a CIA agent trying to avert a terror attack in Paris – has been withdrawn from French cinemas after the tragedy in Nice. But what are we to make of Hollywood's fondness for these kinds of stories?

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