While MasterChef might teach us a lot about food and food trends, it also glosses over some of the harsher realities of the industry that produces this food. What’s the secret to its sudden ratings boost?
Articles on Screen
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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.
The producers of this series are doing what public service media are tasked to do – making the marginal visible, including the excluded, putting poverty on the public agenda.
Juliette Binoche and Kristen Stewart star in French director Olivier Assayas’ latest film, an elliptical address to the cruelties of the star system.
Game of Thrones never even approaches the slippery and surprising world of gender manipulation and redefinition that existed in medieval spirituality.
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.
With four episodes leaked before the launch of the current Game of Thrones season, illegal downloaders face a quandary: binge now, or hang on and enjoy the weekly water-cooler chats at work.
Narrative power is produced through sophisticated storytelling, as evidenced by Breaking Bad, House of Cards, The Wire, Mad Men and many others.
Brisbane’s Gallery of Modern Art is hosting the exhibition, David Lynch: Between Two Worlds, until June 7. It’s an opportunity to explore the connections between all the elements of Lynch’s artistic output.
The government has announced its latest method to stop the boats: a telemovie with storylines about asylum seekers dying at sea. Is it really the role of government to fund propaganda pieces like this?
The arrival of subscription video on demand services Netflix, Stan and Presto have implications for what we call “television” in Australia – and much of the policy detail remains to be hammered out.
Many successful shows spawn sequels. In Better Call Saul, writer Vince Gilligan has created a prequel to his phenomenally successful series Breaking Bad. And it works. So how has he done it?
AMC’s zombie hit The Walking Dead has garnered a huge global audience. As the finale of the series’ fifth season screens, we should pay attention not to the zombies – but to the survivors.
Andrey Zvyagintsev’s film Leviathan explores the ‘symphonia’ of church and state in Vladimir Putin’s Russia. In doing so it taps into a tradition in Soviet and post-Soviet cinema.
Top contributors
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Lecturer in Communications and Media, University of Notre Dame Australia
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Senior Lecturer in Screen Studies, Adelaide University
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Senior Lecturer in English and Cultural Studies, University of Canterbury
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Associate Professor, Film Screen & Animation, Queensland University of Technology
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Lecturer, Digital Communication, RMIT University
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Associate Professor of French Studies, Adelaide University
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Lecturer in Creative Production and Performance, Western Sydney University
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Associate Professor in Media, University of Technology Sydney
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Lecturer in English, University of Canterbury
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PhD Candidate in Film Studies, Deakin University
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Professor of English Literature, University of Southern Queensland
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Professor & Dean, School of Media and Communication, RMIT University
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Associate Professor and Cinema and Screen Studies Discipline Leader, Swinburne University of Technology
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Senior Lecturer, Discipline of English and Writing, University of Sydney
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Associate Professor in Cinema Studies, RMIT University