The Mad Max franchise offers a distinctively Australian take on the action genre. And the fifth film, Furiosa, promises to be yet another extravaganza
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Articles on Screen
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The 2020 federal budget allocates an additional A$53 million towards screen funding, but there are strings attached.
Children now spend more time at home and alone with their parents – new research.
Some viewers will object to the reality TV format of How ‘Mad’ Are You, but the show achieves its aim of breaking down stigma.
Only 10% of films have a gender-balanced cast, and getting more women on screens starts with the screenwriters. The solution can be as simple as giving minor characters female names.
Updated guidelines for how much screen time children can have puts most of the onus on the parents to decide.
Bad female characters start with bad writing. We compare male and female character descriptions, which are often used as the starting point for casting calls.
‘I suppose that, as I’m 50, Molly is absolutely my demographic: I was nine when Countdown began and 23 when it ended, and I was a devotee for most of that time – a devotee who was often disgusted …’
England’s green and pleasant land will be beset by a plague of the living dead, corpses will dig their way out of graves … Jane Austen horror is now a distinctive subgenre of Austen adaptations.
It seems to me no coincidence that in Australian popular culture our founding colony is usually the site of major onscreen attacks. Might this speak of cultural guilt and repressed truths?
Quentin Tarantino has secured his place in popular culture by reaching into neglected corners of cinema for genres that are ready for reinvention and rediscovery.
You may have heard about the male gaze, but what is it? And is there such as thing as the female gaze?
It was the year of the grown-up superhero. Dark, witty and complex, superheroes on the big and small screen have – mostly – matured past mindless violence.
The kinds of voices that can be used in a show like ABC’s The Divorce are certainly not typical of those one would hear in Madama Butterfly. But – and let’s be honest for a second – does it matter?
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.
If the Australian screen industry is to grow into the future and prosper, it cannot ignore the untapped creative talent and leadership potential of women. We need strategies to address this problem.
As Benedict Cumberbatch prepares to return to 221B Baker Street for a Sherlock Christmas Special, a great, unsolved mystery remains: what is the source of the detective’s enduring appeal?
The Hunger Games movie franchise has ended. What can we learn from Katniss Everdeen about living a just life? This article contains spoilers for The Hunger Games: Mockingjay Part II.
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?
We know the ABC is facing tough times, given the decision last year to cut its budget by A$254 million over five years. But how hard are those cuts falling on locally-produced children’s TV?
Top contributors
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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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Visiting Fellow, University of Technology Sydney
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Lecturer in Film Studies, University of Sydney
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Executive Director, Compton School
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Dean of Research (Creative), University of South Australia
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Lecturer in Screen and Cultural Studies, The University of Melbourne
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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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Senior Lecturer, University of the Sunshine Coast
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Professor of Screen and Design, Deakin University
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Lecturer, Media, University of Tasmania
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Lecturer in 20th and 21st Century Literature, University of Exeter
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Paul Eliadis Chair of Classics and Ancient History, The University of Queensland
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Lecturer, BFA Screenwriting, Victorian College of the Arts, University of Melbourne, The University of Melbourne
