Tess Van Hemert Tess Van Hemert i(8422942 works by)
Gender: Female
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Works By

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1 Book Review : Sound Citizens : Australian Women Broadcasters Claim Their Voice, 1923-1956 Tess Van Hemert , 2024 single work review
— Appears in: Media International Australia , February vol. 190 no. 1 2024; (p. 175–176)

— Review of Sound Citizens : Australian Women Broadcasters Claim their Voice, 1923-1956 Catherine Fisher , 2021 single work biography

'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)

1 Regional Screen Cultures : the Precarity and Significance of Queensland’s Film Festival Landscape Elizabeth Ellison , Tess Van Hemert , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 2 2020; (p. 95-110)

'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)

1 [Review) The Second Tess Van Hemert , 2019 single work review
— Appears in: The Australasian Journal of Popular Culture , vol. 8 no. 1 2019; (p. 119-122)

— Review of The Second Stephen Lance , 2018 single work film/TV

'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)

1 Musical Review Tess Van Hemert , 2018 single work review
— Appears in: The Australasian Journal of Popular Culture , September vol. 7 no. 2 2018; (p. 327-329)
1 Queensland's Film Culture : the Challenges of Local Film Distribution and Festival Exhibition Tess Van Hemert , Elizabeth Ellison , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , January vol. 9 no. 1 2015; (p. 39-51)
'Queensland's film sector is currently in the midst of significant change. Organisations at the centre of the state's industry, such as Screen Queensland, have undergone substantial and ongoing changes in the last five years. Other organisations funded by Screen Queensland, such as QPIX, Queensland's only film development centre, have recently closed. The Brisbane International Film Festival has been restructured to become the Brisbane Asia Pacific Film Festival as of 2014. In an uncertain industry currently characterised by limited funding and diminishing support structures, local emerging filmmakers require significant initiatives and a sophisticated understanding of how to best utilise fledgling distribution models as part of a tailored strategy for their content. This essay includes interviews with emerging Brisbane filmmakers who have used a combination of traditional and contemporary approaches to exhibition and distribution thus far in their careers. It argues that for these filmmakers, while film festivals do function as crucial platforms for exposure, in the current digital market they cannot be relied upon as the only platform in securing further mainstream or commercial release. They can, however, be incorporated into an alternative distribution model that shows awareness of the contemporary situation in Australia. The research findings are arguably indicative of the challenges faced by filmmakers statewide, and suggest that further support strategies need to be considered to revive Queensland's film culture and provide immediate support for emerging filmmakers.' (Publication abstract)
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