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Return Home (Ray Argall, 1990)
The history of Australian cinema is littered with small-scale, unobtrusive and even intimate portraits of working and middle class life that are largely forgotten in
Contemporary Australian Filmmakers Dossier
This dossier (the first of a projected series) on contemporary Australian filmmakers focuses on currently active directors who started making audiovisual work in the 1990s
A Tribute to Jonathan (Jono) Dawson
At the end of Orson Welles’ Touch of Evil (1958), Marlene Dietrich’s Tana wearily intones an epitaph for Orson Welles’ Hank Quinlan, a bloated, corrupt
“The temperate zone’: Humphrey Jennings’ Words for Battle
Words for Battle (1941) is the first of Humphrey Jennings’ extraordinary string of wartime documentaries to fully extend the parameters, conventions and patriotic necessities of
“There is still time… brother”: On the Beach and Lawrence Johnston’s Fallout
“Swimming”, he told her. “He wants to have a swim.” “Sailing? There’s a race on Saturday.” “I didn’t ask him. I should think he sails.
Mann of the Southwest: Border Incident (1949)
This is a revised version of an essay that first appeared in a 1997 edition of CTEQ: Annotations on Film. Border Incident (1949) sits within
From Ubu Roi to My Generation: A Tribute to Albie Thoms
Albie Thoms (1941-2012) was one of the most significant figures of Australian postwar film culture. In a peripatetic career that stretched from his adventurous work
Special Dossier: Tasmania and the Cinema
Introduction: Tasmania and the Cinema Tasmania’s intermittent relationship with the cinema dates back before the first feature film made on its rugged West Coast in 1925,
“Change – why should I? I never pretended to be anything than I am”: The Films of Errol Flynn and Raoul Walsh (1)
“Flynn does not deal in depth, but he has a freshness, a galvanizing energy, a cheerful gaiety (in the old sense) made to inspire boys.”
The Cats in the Hats Come Back; or “at least they’ll see the cats”: Pussycat Poetics and the Work of Chris Marker
For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the late