Issue 60 | October 2011
Knife in the Head: German Social Realism Meets Cinema Verité
Neurologist and cinephile, Robert Stowe, looks at Reinhard Hauff’s 1979 political drama about a man recovering from brain trauma.
Objects of Memory in Contemporary Catalan Documentaries: Materiality and Mortality
Abigail Loxham discusses the documentary work of José Luis Guerín, Albert Solé and Carla Subirana in the light of Catalan history
No Country for Old Men, Visual Regime, Mental Image and Narrative Slowness
Taking his cue from a number of Deleuzian concepts, Thierry Jutel casts a fresh look at the Coen brothers film
The Filmmaker as Adaptor: Fred Schepisi Takes on Patrick White in The Eye of the Storm
It needs real nerve to come out of a film based on a famous novel and declare unreservedly that you enjoyed the film much more
Shooting Dialogue as Action: An Interview with Fred Schepisi
Fred Schepisi has been writing, directing and producing films in Australia, America and Britain since the 1970s. Along with Peter Weir, Gillian Armstrong, and Bruce
Schepisi’s Celluloid Australia
Fred Schepisi has been labeled as a “major force in the Australian film industry” (1). Two of the three features he has made in Australia
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.
It Runs in the Family: Sons, Sins and Structural Complexity in Fred Schepisi’s Six Degrees of Separation
Six Degrees of Separation (1993) sits precisely mid-career in Fred Schepisi’s filmography. The third in a series of stage adaptations the filmmaker undertook in this
People Make Papers
People Make Papers (1965 Australia 16 mins) Source: ACMI Collections Prod Co: Cinesound Productions Dir: Fred Schepisi Phot: Peter Purvis Ed: Brian Kavanagh The very
ReViewing Jimmie: The Critical Reception of The Chant of Jimmie Blacksmith
The inclusion of Pauline Kael’s 1980 New Yorker review of The Chant of Jimmie Blacksmith in An Australian Film Reader (1) has been credited with