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The community may not care about kids' TV on the FTA channels, but the industry sure does. Can it make a difference?
BBC Worldwide may not be a titan, but it does look like a very, very smart deal for the BBC and UK television.
The commercial FTA channels are now in the open as the stranglers of the Magic Pudding of kids' TV. Will they listen to the alternatives? Not so far...
The epic becomes the intimate in Christopher Nolan's symphonic account of endurance and survival during the Dunkirk evacuation.
From Darwin to Footscray, change is afoot in numerous organisations, including the craft, screen and festival sectors.
The Cairnes brothers approach to horror is simple, assured, and gets to the guts of the matter. We dare you to take the same path.
The Melbourne Documentary Film Festival may be new and small, but it is bound to grow. Here are some winners.
Baby Driver roars out in a high octane push from a modest budget. The arthouse gang is near the end of its run.
There are still some excellent sessions available at ACMI's Series Mania. Including local productions, and comedy.
Pulse arrives but does run screaming around the ward. Then again, the reviews were not kind.
We are not content producers, we are creative entrepreneurs, and The Dressmaker proves the point says Sue Maslin.
Scandi-fest, MIFF overload, Adelaide conference and a pair of lovely indy films - Our Time will Come and It Comes at Night.
Eliminating the delay in access to episodes has made the HBO series part of shared media culture that transcends national boundaries.
Among the Australian films at MIFF 2017, no less than seven low budget features investigate the liberating power of poverty.
Stepping into the world of competitive poultry fanciers, this documentary couldn’t be more sincere and affectionate.
Determined to transform the tough combo of business and arts, David Court and co open their own business school.
Hounds of Love pant into to Brisbane and Adelaide, while we turn out to be more sexist than the US.
Nine pips Seven after its overwhelming tide of carnage driven by hugely muscled gym beasts. Cleverman is looking pretty poorly.
The ABC's production and broadcast figures are in free fall, having gone down for the last four years.
Before cameras even begin to roll, female characters suffer sexism in how they are described on the pages of screenplays. What can we do to improve this?
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