Renting locations, hotel rooms, offices and cast trailers can eat the lion’s share of a budget. We rented an off-season summer camp and won best feature film at the Chicago Comedy Film Festival 2020.
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We’re running out of time – so we can’t leave it all to Greta Thunburg and David Attenborough.
Slow movies have until now been largely confined to arthouse cinema, for film aficionados only. Not any more.
Despite the furore over the ‘ghosting’ of Peter Cushing in Rogue One, directors will continue to push for improved technology enabling digital replication of actors.
VR cinema explodes the frame, placing the spectator inside the space of the film. Audiences effectively edit it themselves, by choosing what to look at and when.
Editing a movie beside the late, great Paul Cox was like attending ‘a one on one’ film school. The growling auteur was a brilliantly stubborn man, who treated film with reverence and wore his heart on his sleeve.
A growing vocal minority blame poor computer generated images for ‘ruining’ the movies. But digital effects can co-exist with real sets and stunts - and films have always been fake.
Australia’s defining narratives are apparently, with rare exception, stories by, for and about white cis men. We need more than Screen Australia’s new measures to address gender equity in the film industry.
The future of the worlds largest short film festival hangs in the balance. Can Tropfest survive? And, if not, what’s the loss to Australia’s film industry?
Liberal arts institutions teach students critical thinking skills. But rarely do they learn how to collaborate.
New research suggests if 3D films make you dizzy it’s probably all in your mind.
I have always been interested in how we try to understand the world in which we live, and artworks provide us with a great stimulus for such discussions. My research focuses on aesthetics, ethics and education…
Paul Walker is only the most recent dead actor to appear on screen. But as the technology develops, what are the legal and ethical limits?
Gabe Polsky’s documentary Red Army opens with the film’s main subject – former NHL and Soviet hockey great Viacheslav (Slava) Fetisov – giving the finger to Polsky while checking his phone. At the film’s…
The first Iraqis to appear in Clint Eastwood’s Iraq War drama, American Sniper, are a young mother and boy of maybe 12. They are seen from the point of view of the man who will kill them: Chris Kyle, the…
Feature films and television shows notoriously play fast-and-loose with the facts. When prologues proclaim “Based on a True Story,” they’re gracefully implying that what follows is mostly fiction. Awards…
Most broadcasters – especially those who work at the BBC – must produce their programmes to conform to strict guidelines. They must be within five seconds of the required length, they must comply with…
The taxi driver was mystified by the long queue waiting to go into Leeds Picturehouse cinema on a recent Sunday afternoon. He was clearly surprised when I explained that what turned out to be a capacity…
In the film industry, research is commonly understood as audience research. Films, in contrast, are entertainment or a form of audiovisual communication. But can film-making also be a form of academic…
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Communications Producer - Multimedia, University of Tasmania
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Head of Department of Screen and Media, Flinders University
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Associate Professor in Earth System Science, University of Exeter
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Senior Lecturer in Philosophy of Education, University of Birmingham
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Visiting Fellow, University of Technology Sydney
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Senior Lecturer in Media Production, RMIT University
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Professor of History, Director of the Honors Program, Calvin University
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Visiting Professor of Film, Brown University
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Christopher Hird is a Friend of The Conversation.
Film maker and Visiting Professor, City, University of London
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Senior Lecturer in Broadcast Production, University of the West of Scotland
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Film and Media Studies Senior Lecturer, Arizona State University
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Professor of Film & Media Studies, University of California, Irvine
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Associate Professor, Department of Film and Media Studies, Dartmouth College
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Professor of Vision Science, Newcastle University
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Lecturer , The University of Melbourne
