Author Anne Marsh

Anne Marsh

Anne Marsh is Professorial Research Fellow at the Victorian College of the Arts, The University of Melbourne. Anne is author of Performance Ritual Document (Macmillan 2014), LOOK: Contemporary Australian Photography since 1980 (Macmillan 2010), Pat Brassington: This is Not a Photograph (Quintus/University of Tasmania, 2006), The Darkroom: Photography and the Theatre of Desire (Macmillan, 2003) and Body and Self: Performance Art in Australian, 1969-1992 (Oxford University Press,1993) which was recently revised and published as a kindle edition. Anne has published hundreds of essays, journal articles, exhibition catalogues and reviews. She was the Herald Sun art critic 1994-1997 and she has been the Melbourne contributing editor for Eyeline: Contemporary Visual Arts since 1997.

Body-Time: Rethinking the Radical Edge in Video Performance by Australian Women Artists

Anne Marsh

December 2016

Feature Articles

Issue 81

In this paper I want to look at a few case studies from recent Australian performance art, to examine the ways in which video performance is being presented and to look at several genres inside the medium. The...

The lecturer’s legacy: In memory of Professor Peter Wollen

American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project

Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy

Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image

Start Spreading the News: Summer of Sam (Spike Lee, 1999) and the ‘70s White Working Class

Korean Cinema in the Shadow of Parasite: The 24th Busan International Film Festival

Dispatch from Reykjavík: Hot Films at a Cool Festival

StopTrik from Head to Toe and the Eisenstein International Network

About the Cliché in Films, or the Opportunity for a New Consciousness at a German Film Festival: A Report on the FilmFest Hamburg

Wellman, Wajda and Restored Italian Divas: The 28th Cinema Ritrovato Festival

This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

From April! April! to Imitation of Life: The Films of Douglas Sirk, by Tom Ryan

“Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli

Political Gestures: Cinema/Politics/Philosophy, by Nico Baumbach

Iron Roses: Lost Girls: The Phantasmagorgical Cinema of Jean Rollin, ed. Samm Deighan

Death in an Italian Garden: The Garden of the Finzi-Continis (Vittorio De Sica, 1970)

Resisting War and Patriarchy: Two Women (Vittorio De Sica, 1960)

The Flipside of Neorealism: Miracle in Milan (Vittorio De Sica, 1951)

The Tribulations of the Working Class: Bicycle Thieves (Vittorio De Sica, 1948)

Cantata (Miklós Jancsó, 1963)

Fei Mu

Huston, John

Stone, Oliver

Klapisch, Cédric

Haneke, Michael

Author Anne Marsh

Anne Marsh

Body-Time: Rethinking the Radical Edge in Video Performance by Australian Women Artists