Issue Details: First known date: 2024... 2024 From MUFS to the Melbourne Cinémathèque : Our Evolving Journey Through Cinema Part I
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AbstractHistoryArchive Description

'In the early 1970s, major Hollywood films were generally released within a relatively short worldwide window, while many non-English language and arthouse films could take years to get to Australia. There was no streaming, no DVDs or videos, no cable television. Occasionally there were one-off screenings, usually matinees on weekends, and, of course, films screened regularly on TV. The premiere television screenings were usually on a Sunday night, and there were midday movies every day. Some film societies screened monthly (I joined one such organisation, the Mordialloc Film Society aged 16, with my friend Peter Nagels), and the Melbourne Film Festival (MFF) screened for two weeks around the Queen’s Birthday weekend. MFF screened two feature films a night, with a few more titles showing on the weekend. There were no other film festivals in Victoria at this time. MFF had a copyright on the name and no one else was permitted to use the film festival moniker.' (Introduction) 

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Senses of Cinema no. 111 November 2024 29289701 2024 periodical issue

    'Dear Readers: welcome to Issue 111 of Senses of Cinema, a journal in which the serious and eclectic discussion of moving images past, present, and future never dies, no matter the historical ruptures all around us.

    'We open with a special 13-text dossier that is sure to become a touchstone for researchers, students, cinephiles, and enthusiasts of all sorts in the future. Guest edited by Adrian Danks and Olympia Szilagyi with editorial assistance from Digby Houghton, “‘A very open-ended canon’: The Many Histories of the Melbourne Cinémathèque” pays tribute to (and diligently historicizes) the eponymous film society, a pivotal institution in Melbourne and Australian cinemagoing culture. As Danks notes in his succinct introduction, the dossier offers “only a partial and proudly parochial account of this history,” leaving vast amounts of the Cinémathèque’s 75-year life untouched. Yet the reader – Melbourne-based or not – is left with the distinct and deep impression of the inexhaustible vibrancy of an organisation dependent not just on films, but especially on people: the members without which cinema is just a dark room full of dusty seats.' (Production summary) 

    2024
Last amended 5 Dec 2024 11:07:45
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