The Doof Warrior in Mad Max: Fury Road is a red-jumpsuited, masked guitarist, bungee-strapped to the front of the Doof Wagon, a massive, mobile speaker stack, replete with on-board drummers. What’s not to love?
Articles on Cinema
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The producers of a creationist doc took advantage of Screen Australia’s tax offsets. Were they exploiting a loophole? Hardly – and there’s good reason why producers of all films should enjoy such benefits.
In a recent study, of the 53 films watched that had at least one anthropologist as a character, just under half belonged to the horror genre. Why should that be the case? And how were indigenous peoples in those films portrayed?
There are metal spikes, sadistic implements of torture galore, massive machine guns mounted on the top of buggies, jeeps, motorcycles, and more leather than a Judas Priest concert. But does it work?
George Miller’s Mad Max films have aged remarkably well – perhaps because they have had such a profound influence on the films that followed them.
Showing the “impact” of arts and cultural events is ever more important. But defining and measuring that impact requires long-term tracking and customised tools.
Once upon a time heroes were solitary creatures but in Age of Ultron the Avengers jostle for space on the screen. Equipped with all manner of weapons and special powers, they are odd advocates for tranquility.
Star Wars is not a complete picture of human life, but is a way of pointing us to contemplate and live life more authentically.
Avengers: Age of Ultron, released this week, is one of many superhero films destined for the multiplex in the coming months and years. What’s behind this trend? And what kind of villain would be powerful enough to stop it in its tracks?
We know the transformation of global media technologies pose particular challenges to local filmmakers – and that the rewards are still slim. But there are good reasons to be optimistic about the future of the industry.
The curators of queer film festivals undertake a challenging task, assembling as best as possible a cinematic selection that reflects what is a very diverse community. Too often, lesbians are left out.
The film, widely championed for raising awareness about the disease, misses some key elements.
Manipulating the obstructions between the audience and what they know is coming is key to an effective cliffhanger.
Speaking with: David Tiley on funding Australian films
CC BY-ND23.2 MB (download)
Vincent O’Donnell speaks with David Tiley, editor of ScreenHub magazine, about financing film production in Australia and looking beyond box office numbers to measure a film's success.
What are we really looking at when we watch a screen? There’s more to it than Gogglebox. Advances in eye-tracking technology are transforming how we understand film and TV spectatorship.
Indies to the rescue, the quiet power of foreign language films, Gen-X’s crowning moment. All – and more – are covered by our experts, who weigh in on this year’s Oscars.
Many are decrying the film as merely conservative propaganda. But American Sniper – as with many of Eastwood’s films – has a more nuanced approach that addresses modern anxieties.
Last month President Obama welcomed the film Selma into the White House – a first-family showing that, as it happens, occurred a century after the first-ever screening of a movie inside the White House…
Television broadcasts in 3D promised to give people an extra dimension in viewing movies, sport and other entertainment but take up of the technology has not been that great. This is not the first time…
Gabe Polsky’s documentary Red Army opens with the film’s main subject – former NHL and Soviet hockey great Viacheslav (Slava) Fetisov – giving the finger to Polsky while checking his phone. At the film’s…
Top contributors
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor, Film Studies, University of Sydney
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Associate Professor of French Studies, Adelaide University
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Senior Lecturer in Screen Studies, Adelaide University
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Professor of Film Studies, Bangor University
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Jury Professor of English and Language and Literature, Adelaide University
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Canada 150 Research Chair in Gender and Cultural Informatics, University of Alberta
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Professor of Cinema, RMIT University
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Senior Lecturer in American Literature and Film, Loughborough University
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Lecturer, Department of Film and Television Studies, University of Warwick
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Senior Lecturer in Creative Industries & Chief Investigator at QUT Digital Media Research Centre (DMRC), Queensland University of Technology
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Professor of Media Studies, Penn State
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Lecturer in Creative Production and Performance, Western Sydney University
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Executive Director, Compton School
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Professor of Film and Television, Goldsmiths, University of London