Kenta McGrath is a Japanese/Australian writer, filmmaker and academic. His research interests include Japanese cinema, the Asia-Pacific War on film, documentary theory and cinematic minimalism.
Lecturer in Screen Arts, Curtin University
Curtin University, PhD
Beyond Borders: Translation and Cultural Authenticity in Hirokazu Koreeda’s The Truth, Metro, 205, 80-85.
Santiago Álvarez's Now, in S. Murguia, S. O'Reilly & A. McMenamin (Eds.), A Cuban Cinema Companion (pp. 232-234). Roman & Littlefield.
Sweet, Sour and Spicy Country: Isolation as Performance in Warwick Thornton’s The Beach, Metro, 206, 50-55.
Legacy of a Law-breaker: Andrew Dominik’s Chopper Turns Twenty, Metro, 203, 108-113.
White Pigs and Black Pigs, Wild Boar and Monkey Meat: Cannibalism and War Victimhood in Japanese Cinema, in N. Kiviat & S. J. Rivera (Eds.), (In)digestion in Literature and Film: A Transcultural Approach (pp. 71-87). Routledge.
Abandon the Young in Tokyo: Yoshitarō Nomura’s The Demon and Hirokazu Koreeda’s Nobody Knows, in D. Olsen (Ed.), The Child in World Cinema (pp. 333-352). Lexington Books.
The Confused Nation: Hitoshi Matsumoto’s Big Man Japan, in C.D.G. Mustachio & J. Mustachio (Eds.), Giant Creatures in Our World: Essays on Kaiju and American Popular Culture (pp. 123-137). McFarland Press.
Riot and Revenge: Symmetry and the Cronulla Riot in Abe Forsythe’s Down Under, Alphaville: Journal of Film and Screen Media 13, 13-32.