adrian-danks
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
“Scorched earth and space”: The Overlanders (Harry Watt, 1946)
The Overlanders is the first of five films made by Ealing Studios in Australia between the mid-1940s and the late 1950s. It provides a fascinating
Walls and Mirrors: Iranian Films at the 2012 Melbourne International Film Festival
The Melbourne International Film Festival (MIFF) has showcased the New Iranian Cinema since a special focus in 1993 called “Spotlight Iran”. It has routinely highlighted
Coeur fidèle
I just want to say this: you have to love it and hate it at the same time – and love it as much as
Between Innocence and Experience: Lee Chang Dong’s Secret Sunshine
Miryang (Secret Sunshine, 2007) begins with the sky. Shine-ae (Jeon Do-yeon)’s car has broken-down outside of Miryang (which literally translates, supposedly, as “secret sunshine”), the
“People are waiting”: Elia Kazan and America America
Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s
Across the Borderline
Barbarosa (1982) was the first feature to be made in America by any of the key figures of the Australian film “renaissance” of the 1970s.