40 years ago, Steven Spielberg’s shark attack classic wowed cinemagoers and ushered in the modern blockbuster. It also helped create a climate from which horror has yet to recover.
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Palaeontologists have been lining up to complain about the inaccuracies in the new blockbuster. They need to focus on the positives.
Christopher Lee, who died on June 7, was one of the greatest character actors to have ever appeared on screen, even after fleeing Castle Dracula for the hills of Hollywood.
He was the best of the Draculas, an Anglo-European vampire who could be tragic and sensuous at the same time.
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.
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.
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.
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.
The curators of queer film festivals undertake a challenging task, assembling as best as possible a cinematic selection that reflects what is a very diverse community. Too often, lesbians are left out.
The film, widely championed for raising awareness about the disease, misses some key elements.
Manipulating the obstructions between the audience and what they know is coming is key to an effective cliffhanger.
Speaking with: David Tiley on funding Australian films
CC BY-ND23.2 MB (download)
Vincent O’Donnell speaks with David Tiley, editor of ScreenHub magazine, about financing film production in Australia and looking beyond box office numbers to measure a film's success.
Top contributors
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor, Film Studies, University of Sydney
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Senior Lecturer in Screen Studies, University of South Australia
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Jury Professor of English and Language and Literature, University of Adelaide
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Professor of Screen and Design, Deakin University
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Associate Professor of French Studies, University of Adelaide
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Visiting Fellow, University of Technology Sydney
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Lecturer, Department of Film and Television Studies, University of Warwick
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Senior Lecturer in American Literature and Film, Loughborough University
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Director, Institute for Screen Industries Research and Professor of Film Industries, University of Nottingham
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Executive Director, Compton School
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Associate Professor of Media Studies, Penn State
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Senior Lecturer (Media Studies and Production), University of Southern Queensland
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Lecturer in Film Studies, University of Sydney
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Former Honorary Research Associate, School of Media and Communication, RMIT University
