Film

Words and Images is a valuable contribution to the rapidly growing body of work on Australian film culture and a welcome addition to the relatively small collection of volumes dealing with the film-literature connection. As McFarlane notes there is not, as yet, a ‘definitive work’ on the art of adaptation, though George Bluestone’s Novels into Film (1957) established a fairly solid base for others working in this area. McFarlane’s acknowledged indebtedness to Bluestone is most evident in the method he adopts in order to examine individual adaptations. Essentially it is one of determining and exploring changes to texts, that is, the major alterations and manipulations which take place in the process of adapting a narrative from one medium to another.

In his long poem The Bridge (1930), Hart Crane balances the breadth of his epic vision against a compressive energy, a ballistic sort of expression: ‘So the 20th Century – so / whizzed the Limited – roared by and left.’ Since Crane worked in an American tradition of poet–prophets that includes Walt Whitman and the undersung H.D. (Hilda Doolittle), it is tempting to grant him that. The twentieth century did roar by and go. And the 20th Century Limited, the luxurious passenger train connecting New York to Chicago, furnished it (and him) with an expression of the century’s quarrelsome momentum, its loud, emblematic modernity.

What I’ve come to expect of a new Mike Leigh film is, above all, the unexpected. His first feature, Bleak Moments (1971), of which there were quite a few in that contemporary study of urban, lower-middle class life, made him a potent force in British film. Think of Naked (1993) and Secrets & Lies (1996) ...

History is written by the Oscar winners in our time, which makes the responsibilities of serious historical scholarship never more important. Despite its realist pretensions – it looks as real as life – film is a dreamy, poetic medium, too often prone to simplicity, conspiracy theory, sucking up to the Zeitgeist ...

We invited some writers, film critics, and film professionals to nominate their favourite film – not The Greatest Film Ever Sold, but one that matters to them personally.

One of my favourite podcasts at the moment is called The Rewatchables. It deconstructs movies (mainly from the 1990s and 2000s) and offers an enjoyable mix of amusement, nostalgia, and insight. It also speaks to the desire, particularly strong in the internet age, to hear what other people think about content already ...

In 1971, Australian filmmaker Joan Long wrote the script for a film about gentrification in the Sydney suburb of Paddington. At a screening in London, it was introduced by director Peter Weir. When asked who the scriptwriter was, Weir replied that she was a housewife, according to a friend of Long’s ...

David Thomson has been an essential writer on film for around half a century, but in certain circles his reputation has long been in decline. The reasons are obvious enough. He writes too much, and sometimes carelessly; he lets his feelings run away with him; an Englishman who followed his dream to the United States ...

I don’t remember how old I was when I first saw the film version of . As a young girl growing up in north-east Scotland, I didn’t know that it had been adapted from a 1961 novel of the same name by a writer known for her keen observational skills and biting wit called Muriel Spark, or that the story had first appeared, almost ...

With the Harvey Weinstein scandal and the #MeToo movement reminding us all too vividly of flesh and blood Hollywood, David Bordwell’s cerebral Reinventing Hollywood: How 1940s filmmakers changed movie storytelling seems to come from another planet. But Bordwell, who is the Jacques Ledoux Professor of ...