Wendy Haslem Wendy Haslem i(9487268 works by)
Gender: Female
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1 ‘Defiant Access’ and ‘Cultural Revenge’ : Australia Re-imagined Through Archive Cinema Wendy Haslem , 2023 single work criticism
— Appears in: Senses of Cinema , May no. 105 2023;

'Borrowed, remixed, archival, or appropriated images and sounds that are used to build found footage montages have the potential to create counter narratives that disrupt the illusion of a dominant, homogenous sense of identity proposed by films representative of a nation. The creative process of researching, accessing, watching, selecting, cutting, and copying images from original sources have historically challenged the definitions and limitations of piracy. However, this approach to filmmaking can also be seen as one that is necessarily oppositional and defiant, one that reveals the illusion implicit in national cinema and speaks back to those forces that regulate the circulation of images and sounds under the guise of protecting intellectual property rights. This can be seen acutely in a tendency in post-celluloid filmmaking, particularly in films that draw from the archive with the aim of creatively revising film history and its deep connection to the national imaginary.' (Introduction)

1 MIFF At 70 Wendy Haslem , 2022 single work column
— Appears in: Senses of Cinema , July no. 101 2022;

'Seventy years ago, in January, 1952, The Australian Council of Film Societies presented a program of international films in Olinda, on the outskirts of Melbourne. The following year this event became known as the Melbourne Film Festival. What was initiated in those early days was a festival that was dedicated to screening films that might not otherwise have been seen in Australia. What has emerged, 70 years later, is an international festival with multiple programming strands, initiatives designed to support emerging careers of local filmmakers and an international festival with global influence and an enduring history. MIFF is the largest and longest surviving film festival in the southern hemisphere. Whilst it curates programs of latest releases, it also anticipates, perhaps even influences, the future of film culture.'(Introduction)

1 Traces of the New in the Old : Distribution and Exhibition in Early and Late Film Culture Wendy Haslem , 2016 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 10 no. 1 2016; (p. 100-113)
'Screen Australia's report Beyond the Box Office: Understanding Audiences in a Multi-Screen World (2011) identifies the resilience of established access points for distribution and exhibition despite expanding access to new avenues of engagement with screen content and participation with digital screens. Whilst much research seems to respond to a perceived threat about the open windows and unmapped territories of the digital signalling the demise of celluloid film culture, the broader spectrum of multimedia forms creating deep and broad audience engagement are not specific to the new millennium.' (Publication abstract)
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