On the surface, All of Us Strangers is a dark and twisty love story. Underneath, there is the often-present storyline seen in queer cinema: that of trauma and tragedy.
Academic rigor, journalistic flair
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Studios like Marvel may be grabbing the headlines — but it is also an exciting time for Australian stories on screen.
While the government is showing support and generosity to foreign filmmakers and commercial television interests, it seems less inclined to demonstrate similar largesse to its own creators.
In the popular Australian TV series Wentworth, the setting of a women’s prison is a pressure-cooker for drama. The setting also allows for greater representation of diverse female characters.
Climate scientists often bombard their audiences with facts and figures - a method of communication that often doesn’t work. Perhaps this is where cli-fi can step in, with its compelling characters and just slightly embellished science.
Online video is flourishing in Australia with very little government attention. Content creators like Youtube channel RackaRacka are getting millions of viewers, numbers the traditional screen industry can only dream of.
Watching David Stratton’s loving recall of Australian films of the past 50 years over the past three weeks on the ABC, makes you realise how much impact they have had on us all. As one actor says, our…
Women are underrepresented in the film industry, but it’s not their fault. New research analyses the system that ensures male dominance and identifies the ‘gender offenders’: men who work predominantly with men.
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.
Screen Australia has announced a five point plan to promote gender balance, including A$3 million funding for female-led creative projects.
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.
The government has announced its latest method to stop the boats: a telemovie with storylines about asylum seekers dying at sea. Is it really the role of government to fund propaganda pieces like this?
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.
Urban skyline, as seen from inside a medium-density apartment block, opens Australian director Leah Purcell’s Who We Are: Brave New Clan (2014), which was broadcast on Foxtel’s Bio Channel last night…
Over the past 20 years the size of government spending has grown, both absolutely and as a percentage of GDP. Public sector debt has also increased substantially. The cautionary tale of Greece indicates…
The recommendation made by the Commission of Audit to merge Screen Australia and the Australia Council is yet another example of this government’s policy incoherence. Locked into belligerent opposition…
If you step back from the perceived glamour of the feature-film industry for a moment and look at it through dispassionate eyes it becomes obvious it’s really about creating a new product and taking it…
We live in an age of great public fascination with minds and brains; books about brain plasticity, for instance, regularly make the bestseller lists. This fascination is not merely the product of our thirst…
Top contributors
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Canada 150 Research Chair in Gender and Cultural Informatics, University of Alberta
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Associate Professor and Principal Fellow (Hon), School of Culture and Communication, The University of Melbourne
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Adjunct Professor of Media and Communications, RMIT University
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Associate Professor, School of Humanities and Communication Arts, Western Sydney University
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Researcher, Screen Australia
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Senior Research Fellow, Uehiro Centre for Practical Ethics, University of Oxford
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Former Honorary Research Associate, School of Media and Communication, RMIT University
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Professor of Economics, RMIT University
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ARC Centre of Excellence for the Weather of the 21st Century, Australian National University
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Professor in Cultural and Social Analysis, Western Sydney University
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Professor of Cultural Economy, University of South Australia
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Distinguished Professor of Media and Communication, Queensland University of Technology
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Lecturer in Film and Screen Studies, Monash University
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Associate Professor Film, Screen, Animation, Queensland University of Technology
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Lecturer in Screenwriting, The University of Melbourne
