Most of us are familiar with the National Lampoon films of the 70s and 80s. But this documentary offers insight into the magazine of the same name and the questionable dynamics of modern satire.
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Peter Greenaway’s new biopic of the famed Soviet director depicts a period spent in Mexico and an affair that – in Greenaway’s telling – had a transformative effect on Eisenstein’s output.
The Doof Warrior in Mad Max: Fury Road is a red-jumpsuited, masked guitarist, bungee-strapped to the front of the Doof Wagon, a massive, mobile speaker stack, replete with on-board drummers. What’s not to love?
The producers of a creationist doc took advantage of Screen Australia’s tax offsets. Were they exploiting a loophole? Hardly – and there’s good reason why producers of all films should enjoy such benefits.
The current climate is inviting us to conceive of Baltimore not as a place where the law doesn’t work but, more radically, as an example of Italian legal philosopher Giorgio Agamben’s “state of exception”.
While MasterChef might teach us a lot about food and food trends, it also glosses over some of the harsher realities of the industry that produces this food. What’s the secret to its sudden ratings boost?
In a recent study, of the 53 films watched that had at least one anthropologist as a character, just under half belonged to the horror genre. Why should that be the case? And how were indigenous peoples in those films portrayed?
There are metal spikes, sadistic implements of torture galore, massive machine guns mounted on the top of buggies, jeeps, motorcycles, and more leather than a Judas Priest concert. But does it work?
George Miller’s Mad Max films have aged remarkably well – perhaps because they have had such a profound influence on the films that followed them.
Showing the “impact” of arts and cultural events is ever more important. But defining and measuring that impact requires long-term tracking and customised tools.
The producers of this series are doing what public service media are tasked to do – making the marginal visible, including the excluded, putting poverty on the public agenda.
Juliette Binoche and Kristen Stewart star in French director Olivier Assayas’ latest film, an elliptical address to the cruelties of the star system.
Game of Thrones never even approaches the slippery and surprising world of gender manipulation and redefinition that existed in medieval spirituality.
Once upon a time heroes were solitary creatures but in Age of Ultron the Avengers jostle for space on the screen. Equipped with all manner of weapons and special powers, they are odd advocates for tranquility.
Star Wars is not a complete picture of human life, but is a way of pointing us to contemplate and live life more authentically.
Avengers: Age of Ultron, released this week, is one of many superhero films destined for the multiplex in the coming months and years. What’s behind this trend? And what kind of villain would be powerful enough to stop it in its tracks?
We know the transformation of global media technologies pose particular challenges to local filmmakers – and that the rewards are still slim. But there are good reasons to be optimistic about the future of the industry.
With four episodes leaked before the launch of the current Game of Thrones season, illegal downloaders face a quandary: binge now, or hang on and enjoy the weekly water-cooler chats at work.
Narrative power is produced through sophisticated storytelling, as evidenced by Breaking Bad, House of Cards, The Wire, Mad Men and many others.
Brisbane’s Gallery of Modern Art is hosting the exhibition, David Lynch: Between Two Worlds, until June 7. It’s an opportunity to explore the connections between all the elements of Lynch’s artistic output.
Kontributor teratas
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor and Cinema and Screen Studies Discipline Leader, Swinburne University of Technology
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Former Honorary Research Associate, School of Media and Communication, RMIT University
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Executive Director, Compton School
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Visiting Fellow, University of Technology Sydney
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Lecturer in Film Studies, University of Sydney
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Dean of Research (Creative), University of South Australia
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Researcher and Sessional Tutor in Screen and Cultural Studies; Secretary for the Melbourne Cinematheque, The University of Melbourne
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Lecturer in Screen and Cultural Studies, The University of Melbourne
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Paul Eliadis Chair of Classics and Ancient History, The University of Queensland
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Lecturer in 20th and 21st Century Literature, University of Exeter
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Professor of Screen and Design, Deakin University
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Senior Lecturer, University of the Sunshine Coast
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Lecturer, Media, University of Tasmania
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Lecturer, BFA Screenwriting, Victorian College of the Arts, University of Melbourne, The University of Melbourne
