Who dominates the cultural and political feature film visual syntax signifiers for ‘Australianness’ representation and who is discredited?
A can of sardines was infrequent but a welcome luxury. There came the sleeping rough days, sneaking into office rooms and halls for some near shivering shut-eye. I had gathered film rejection notices from government funding bodies stacked so high that I could build my Earthship. I had studied, been a firsthand witness to the pre-Trumpian wall erected around people of diverse backgrounds in accessing the machinery of production. Exhausted from being an outsider, I discarded the tormenting letters.
