Cirrus@Austlit

'Catherine Fisher's Sound Citizens: Australian Women Broadcasters Claim their Voice, 1923-1956 (2021) examines the history of women's broadcasting from the introduction of radio in 1923 to the introduction of television in 1956. During this time, women broadcasters made a major contribution to women's empowerment, and literally and figuratively gave Australian women a public voice. Fisher utilises textual evidence in the form of radio periodicals, scripts, and institutional and personal correspondence to trace the impact of radio in connecting the private sphere of the home with public and international affairs. Her research presents the experiences of professional women broadcasters, female activists and politicians who used radio as a platform for education, community building and advocacy.' (Introduction)

'This article examines the role of Queensland's film festival network, focusing on how regional festivals are central to the development of the screen industry beyond the metropolitan centres. The research is based on a mapping project of film festivals in Queensland undertaken in 2018, which included interviews with festival organisers and industry professionals. 68 active festivals were identified across Queensland, of which 45% took place in Brisbane. This article investigates both the value of film festivals and the challenges for their economic sustainability in Queensland's screen culture and industry.' (Publication abstract)

'The image of two women with a shotgun, speeding down a barren highway in pursuit of a man on foot, is an uncommon image for an Australian film. For an audience, the unexpected power of this scene is as shocking as it is delightful. As the women steadily close in on their target, it is evident, despite the complex plot line, that the two women have been clear in their intentions from the start. Directed by Mairi Cameron, and written and produced by Stephen Lance, The Second (2018) was funded, developed and produced under the Screen Queensland Originals Fully Funded Features programme, in partnership with the Australian streaming service Stan. The film's hybrid distribution model was the first for an Australian feature, and allowed for screenings in commercial cinemas, national film festivals and an SVOD release on Stan, The film was shot at Jimbour House, a cattle station established in 1841, at Dalby, Queensland, and features music written by Queensland composer Ryan Walsh and performed by the Queensland Symphony Orchestra.' (Introduction)