It takes fifteen minutes of screen time before Karen (Shai Pittman), the young Aboriginal heroine of Beck Cole’s Here I Am, finds a room of her own. Before this, we have seen her riding away from prison in a taxi, blissfully feeling the wind on her face; walking through dark Adelaide streets, clutching a box of treasured possessions; and prostituting hers ...
The temerities of film music
The Sound of Pictures: Listening to the Movies, From Hitchcock to High Fidelity
by Andrew Ford
Black I ...
Anyone who remembers Julie Taymor’s 1999 version of Titus Andronicus, Shakespeare’s first published play, will not be expecting a reverential treatment of what is reputedly his last, but Taymor’s new film does move more or less inexorably to the play’s final wisdom: ‘The rarer action is / In virtue than in vengeance.’ The Tempest is a d ...
Ina Bertrand reviews 'Australian Documentary: History, Practices, Genres' by Trish FitzSimons, Pat Laughren, and Dugald Williamson
The concept of ‘documentary’ is a slippery customer. It may start with John Grierson’s ‘creative treatment of actuality’, but, like holding water in your hand, it bleeds across media from film into television and digital media, and across modes in one direction into news reporting and in the other into docudrama ...... (read more)
Wake in Fright
by Tina Kaufman
Currency Press, $16.95 pb, 72 pp, 9780868198644
Eight years after its launch, the Australian Screen Classics series of monographs represents a valuable, ongoing contribution to l ...
Directed by John Boulting in 1947, the original film version of Graham Greene’s thriller Brighton Rock is as honourable an adaptation as anyone could want. The plot may be simplified, but the essentials are all there (Greene himself co-wro ...
The most consistently useful American film critic
Goodbye Cinema, Hello Cinephilia: Film Culture in Transition
by Jonathan Rosenbaum
University of Chicago Press (Footprint Books), $41.95 pb, 368 pp, 9780226726656
As his title suggests, ...