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Showing all news in Features
Parliamentary fun as the government enacts historic changes to deregulate media ownership.
Arriflex turns a hundred and unveils a huge collection of wonderful interviews with cinematographers.
As news of Cris Jones' unexpected death spreads, his colleagues face the reality of the loss.
The key to success is simple - the right budget to match possible returns. Antony I. Ginnane wonders where that gets you.
US ticket sales are the worst in 25 years. There is thunder in the mountains but no agreement on the storm to come.
Backs against the wall as the fight to defend the Austrailan content regulations gets very ugly.
The current media usage stats reveals one really interesting evolution - people over seventy are changing their viewing habits and quickly.
The annual Deloitte review of media consumption is an equal opportunity scarer. This time, the audience is taking revenge.
Gary Hamilton transcends popcorn to feed his own vision of success in China - great scripts and English speaking local heroes.
Have your say on AIDC 2018. Read the evidence about the health of feature docs in Australia. Should we despair?
Palace has rebooted BIFF. What does that mean? What does it tell us about the changing shape of festivals?
Creator Vince Gilligan's story of developing and writing Breaking Bad is a master class in story, character development, and the essence of drama. Oh, and the best writing room in television.
When 47% of video gamers in Australia are female, we must consider why so few women are employed to make the games they play.
We are betting the commercial FTA networks are learning that their assault on kids' TV is a bad mistake. Here is just one example.
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 Cairnes brothers approach to horror is simple, assured, and gets to the guts of the matter. We dare you to take the same path.
We are not content producers, we are creative entrepreneurs, and The Dressmaker proves the point says Sue Maslin.
Eliminating the delay in access to episodes has made the HBO series part of shared media culture that transcends national boundaries.
Determined to transform the tough combo of business and arts, David Court and co open their own business school.
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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