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Change can be irresistible but it is never inevitable, unless it can be anchored by institutions. Hence the Screen Diversity and Inclusion Network.
From pesky foreigner to cultural hero, Bernard Bories has followed his heart and honoured the Australian screen sector. Now the love is official.
How do you grow an international audience for two larrikins and their daggy backyard humour? Valleyarm MD Mark Ashbridge talks channel management, IP protection and monetisation as we take notes.
Static mainstream as Shoplifters arrives to delight the tragics and One Cut of the Dead opens the Japanese Film Fest in Melbourne and Sydney.
Elena Ferrante's lush literary adaptation, an Australian documentary streaming service and some deep-digging true crime podcasts. Another eclectic selection from our headquarters.
Surely hi-schmick animation can be done much more quickly and much cheaper! Here is the breaking wave of change, via the Deakin Motion.Lab parked at Screen Forever.
Screen Forever adds a strand to the program about creative duos which focuses (gasp!) on the human stuff behind the puff.
Screen composer and Guild President Caitlin Yeo and filmmaker Robert Connelly honour the mysteries of their linked emotional journeys.
Moving away from the frenzied 'all or nothing' crowdfunding model, the Australian platform introduces ongoing subscriptions for podcasters, writers and gamers.
Graeme Mason has Screen Australia for another five years.
The sessions at Screen Forever are pretty enticing. Here's a bunch that might make a difference to the Australian approach to satisfying an audience.
Open marriage, irreverent comedy and some local film-loving podcasts are our top picks this week.
Beyond the tentpoles Peter Jackson's film about WW1 will honour the Armistice this weekend, while Boy Erased does Joel Edgerton proud.
End of legal stoush creates fascinating mystery.
Australian audiences take to Queen like it was waving at them from a black Rolls-Royce.
Two indy comedies out in 2018 - what do they tell us about the State of the Form? Does it really belong on television?
Sound designer Liam Egan gives a uniquely sonic perspective on working with Warwick Thornton and Freda and Erica Glynn in this contribution to a book of essays devoted to the talented family.
Netflix’s local content level has fallen from 2-2.5% to 1.6% (82 Australian titles out of 4,959) since 2017.
Australian children’s television consistently punches above its weight on the international stage, but remains in a policy limbo.
A year in, ArtsHub speaks with the National Sound and Film Archive’s new CEO on how exhibitions and digitisation are necessary to grow a living, accessible collection.
A short documentary by filmmaker, Vonne Patiag, explores the experiences of actors of colour and how they feel about their physical representation on screen.
Carriageworks Director, Lisa Havilah says that building long-term relationships with artists, and ensuring they have a purpose, is key to the sustainability of an institution.
As much a space movie as a psychological drama, this Neil Armstrong biopic combines the visceral and the thoughtful.
Australian action hero Errol Flynn gets a swashbuckling but wearily cartoonish biopic based on his pre-fame days.
Despite a stellar cast, this film adaptation of Chekhov’s classic play merely hits the expected notes.
Kevin Hart’s latest odd-couple comedy proves generic, messy and flat, with the strained result failing to earn a passing grade.
A body horror comic book origin story that’s also a buddy comedy about a guy and the creature overtaking his being.
Particle/Wave, set at the Planetarium in Scienceworks, is a love letter, a poem to what has been discovered in our universe, and more pointedly, what has yet to be discovered.
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