y separately published work icon Senses of Cinema periodical issue   peer reviewed assertion
Issue Details: First known date: 2013... no. 69 December 2013 of Senses of Cinema est. 1999 Senses of Cinema
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Notes

  • Contents indexed selectively.

Contents

* Contents derived from the 2013 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Rachel Perkins : Creating Change Through Blackfella Films, Felicity Collins , single work criticism
This essay is a detailed analysis of Rachel Perkins' film-making career.
Section: Contemporary Australian Filmmakers Dossier
Ana Kokkinos, Lisa French , single work
This essay provides a detailed analysis of Ana Kokkinos contribution to international cinema.
Section: Contemporary Australian Filmmakers Dossier
Note: still images
Disrespectful Indigenisation : The Films of Robert Connolly, Matthew Campora , single work criticism
'In this article, I will examine the work of contemporary Australian filmmaker Robert Connolly (b. 1967), a director who could be considered amongst the most successful contemporary filmmakers working in Australia today. While many of his colleagues have struggled to make their second (or even first) feature film, Connolly, in his various roles, has made a feature roughly every other year since graduating from the Australian Film Television and Radio School in the late 1990s. To date, he has written and directed four feature films, produced nearly a dozen others, worked on such quality television series as The Slap (2011), written and directed a made-for-television-movie, and produced the epic film adaptation of Tim Winton’s short story collection The Turning (2013). His track record in the contemporary industry makes him a significant case study, and as a means of introducing this analysis, I want to briefly consider Graeme Turner’s 1994 article “Whatever Happened to National Identity? Film and Nation in the 1990s” to help situate Connolly’s work in the context of Australian cinema and the narrative trends of recent decades.' (Author's Introduction)
Section: Contemporary Australian Filmmakers Dossier
Note: still images
Gregor Jordan, single work criticism
This essay provides a detailed analysis of Gregor Jordan's film-making career.
Section: Contemporary Australian Filmmakers Dossier
Paratexts and the Commercial Promotion of Film Authorship : James Wan and Saw, Tyson Wils , single work criticism
'This article discusses one way Malaysian-Australian James Wan (b. 1977-) (1) can be considered or constructed as an author. Wan is best known for the film Saw (2004), which he co-wrote with Leigh Whannell (2). Saw was made for around $US1.2 million but grossed just over $US103 million worldwide at the box office (3). Saw also turned out to be the first instalment in a seven-part series. Wan and Whannell have both claimed that they did not make Saw with the intention of producing a sequel, even though at the end of the film the criminal mastermind John Kramer (aka Jigsaw, played by Tobin Bell) escapes leaving one of his victims, Adam Stanheight (Leigh Whannell), locked in an industrial bathroom. In what would become an iconic moment for the film series Kramer turns off the lights and closes the room’s large sliding door saying to Stanheight “Game Over” (not only is this scene directly referenced at the end of Saw: The Final Chapter [2010], but the idea of playing a “game” is developed in various ways across the series)...' (From Author's introduction)
Section: Contemporary Australian Filmmakers Dossier
Note: still images
'Screen Worship' : The 2013 Adelaide Film Festival, Kath Dooley , single work essay
Note: still images

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 30 Jan 2017 14:30:21
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