y separately published work icon Senses of Cinema periodical issue   peer reviewed assertion
Issue Details: First known date: 2017... no. 83 June 2017 of Senses of Cinema est. 1999 Senses of Cinema
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Contents

* Contents derived from the , 2017 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Pioneering Australian Women Filmmakers : Introduction, Eloise Ross , single work essay
"Film is the Art Form of Today" : An Interview With Nadia Tass, Isabella McNeill (interviewer), single work interview
Girls on Film : Growing Up With Cinema Papers, Alexandra Heller-Nicholas , single work essay
Claudia Karven : The Girl Most Likely, Alexandra Heller-Nicholas , single work essay
Questioning the "Strong Female Character" : Gillian Armstrong's High Tide (1987), Blythe Worthy , single work essay
High Spirits : Jo Kennedy in Starstruck (Gillian Armstrong, 1982) and Tender Hooks (Mary Callaghan, 1989), Eloise Ross , single work essay
Floating Life : The Heaviness of Moving, Stephen Teo , single work review
— Review of Floating Life Clara Law , Eddie Fong Ling-Ching , 1996 single work film/TV ;
Girlhood Wild and Queer : Ana Kokkinos's Only the Brave (1994), Whitney Monaghan , single work essay
“Gentle, Tender, Rough, Kind and Cruel” : An Interview with director Mary Callaghan on Tender Hooks (1989), single work interview

The following is an excerpt from the official press kit for the late Mary Callaghan’s Tender Hooks (1989).

Trust Your Instinct : An Interview with Ann Turner, Craig Martin (interviewer), single work interview
Monsters, Masks and Murgatroyd : The Horror of Ann Turner’s Celia, Craig Martin , single work criticism

'Ann Turner’s 1989 debut film Celia has often been classified as horror, due in large part to the presence of the monstrous Hobyahs that haunt Celia’s dreams. While Celia is not a horror film per se, this is complicated by the film’s application of horror tropes. Film scholars acknowledge the family as a common site of the horror film and for the character of Celia, who lives in an oppressive home environment, the Hobyahs clearly signify one of horror’s key concerns: the return of the repressed. In addition, Celia shares numerous narrative similarities with Mervyn LeRoy’s 1956 monster child film The Bad Seed, leading some commentators to compare the two films. Like Rhoda in The Bad Seed, Celia and her spiteful cousin Stephanie, can both be read as monster children. Through close analysis of key scenes in Turner’s film and a reconsideration of genre, this essay concludes that the close relationship Celia shares with the horror genre justifies its reception by some audiences as horror.'

Source: Abstract.

The Spectre at the Window : Tracey Moffatt's beDevil (1993), Kate Robertson , single work criticism
Into the Light : Hope, Despair and Haunted Doubles in Laurie McInnes's Broken Highway (1993), Josh Nelson , Alexandra Heller-Nicholas , single work essay
Adventure Time : On Guard (Susan Lambert, 1984), Alexandra Heller-Nicholas , single work essay
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