With its occult themes, ’70s nostalgia and some AI controversy thrown into the mix, it’s easy to see why the film was a US box-office success.
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New documentary about Nickelodeon, Quiet on Set, highlights how we don’t keep child stars safe. In the age of social media this is an even bigger problem.
The character of Tom Ripley was never meant to be pigeonholed. He is, in many respects, a walking contradiction – much like Highsmith herself.
The new Australian war epic is a young man’s production in more than one sense of the word.
What do popular TV shows say about the modern gentleman – and how can this inform our understanding of (healthy) masculinity?
The Mad Max franchise offers a distinctively Australian take on the action genre. And the fifth film, Furiosa, promises to be yet another extravaganza
The 2020 federal budget allocates an additional A$53 million towards screen funding, but there are strings attached.
Children now spend more time at home and alone with their parents – new research.
Some viewers will object to the reality TV format of How ‘Mad’ Are You, but the show achieves its aim of breaking down stigma.
Only 10% of films have a gender-balanced cast, and getting more women on screens starts with the screenwriters. The solution can be as simple as giving minor characters female names.
Updated guidelines for how much screen time children can have puts most of the onus on the parents to decide.
Bad female characters start with bad writing. We compare male and female character descriptions, which are often used as the starting point for casting calls.
‘I suppose that, as I’m 50, Molly is absolutely my demographic: I was nine when Countdown began and 23 when it ended, and I was a devotee for most of that time – a devotee who was often disgusted …’
England’s green and pleasant land will be beset by a plague of the living dead, corpses will dig their way out of graves … Jane Austen horror is now a distinctive subgenre of Austen adaptations.
It seems to me no coincidence that in Australian popular culture our founding colony is usually the site of major onscreen attacks. Might this speak of cultural guilt and repressed truths?
Quentin Tarantino has secured his place in popular culture by reaching into neglected corners of cinema for genres that are ready for reinvention and rediscovery.
You may have heard about the male gaze, but what is it? And is there such as thing as the female gaze?
It was the year of the grown-up superhero. Dark, witty and complex, superheroes on the big and small screen have – mostly – matured past mindless violence.
The kinds of voices that can be used in a show like ABC’s The Divorce are certainly not typical of those one would hear in Madama Butterfly. But – and let’s be honest for a second – does it matter?
Australia’s defining narratives are apparently, with rare exception, stories by, for and about white cis men. We need more than Screen Australia’s new measures to address gender equity in the film industry.
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 & Dean, School of Media and Communication, RMIT University
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Professor of English Literature, University of Southern Queensland
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Associate Professor and Cinema and Screen Studies Discipline Leader, Swinburne University of Technology
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Associate Professor in Cinema Studies, RMIT University
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Senior Lecturer, Discipline of English and Writing, University of Sydney