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Issue No. 196

May 2018

Welcome to Ugly Country: Nostalgia and Nationalism in Stephan Elliott’s Swinging Safari

Words Dave Crewe

Australian and New Zealand Cinema

Musical Chairs: Perspective and ‘Heavy’ Humour in Ben Elton’s Three Summers

Words Elizabeth Flux

Australian and New Zealand Cinema

Ties That Bind: Kriv Stenders’ Australia Day and the Problems of Patriotism

Words Zoë Wallin

Australian and New Zealand Cinema

Sense and Serendipity: David Wenham’s Ellipsis

Words Tara Judah

Australian and New Zealand Cinema

Stealing Time: Fatherhood, the ‘Third Space’ and Sam Voutas’ King of Peking

Words Leah Jing

Australian and New Zealand Cinema

The Pain of Purity: Abuse and Collusion in Vivian Qu’s Angels Wear White

Words Simran Hans

Focus on Asia and the Middle East

Salt of the Earth: Virtue and Vengeance in Mohammad Rasoulof’s A Man of Integrity

Words Anthony Carew

Focus on Asia and the Middle East

Turning the Lens: Looking and Reliving in Hong Sang-soo’s Claire’s Camera

Words Dave Crewe

Focus on Asia and the Middle East

States of Loneliness: Proximity and Distance in On the Beach at Night Alone

Words David Heslin

Focus on Asia and the Middle East

Cutting Through the Chanbara Film: Takashi Miike’s Blade of the Immortal

Words James Robert Douglas

Focus on Asia and the Middle East

Singing One’s Story: Keeping Custom and Country in Westwind: Djalu’s Legacy

Words Lauren Carroll Harris

Documentary

‘Don’t Do It Again’: Hearing, Seeing and Deep Listening in After the Apology

Words Aimee Knight

Documentary

Changing Tides: Karina Holden’s Blue, the Enviro-doc and Conservationism

Words Glenn Dunks

Documentary

High Price Tag: Art and Absolution in Have You Seen the Listers?

Words Anthony Carew

Documentary

Too Far North: The Self-serving Cinema Vérité of Atlantis, Iceland

Words Kylie Maslen

Documentary

Living in America: Expression, Representation and Kate Hickey’s Roller Dreams

Words Sarah Ward

Documentary

The Art of Meta-morphosis: Julian Rosefeldt’s Manifesto

Words Gabrielle O'Brien

Critical Views

Room to Move: Amiel Courtin-Wilson’s The Silent Eye

Words Nicholas Godfrey

Critical Views

Making Waves in a Man’s World: Jane Campion’s Women in The Piano and Top of the Lake: China Girl

Words Sam van Zweden

Critical Views

Against the Grain: The Documentary Sensibility of Sue Brooks’ Fiction Filmmaking

Words Steve Thomas

Industry Perspectives

Zero Tolerance for Screen Industry Sexual Harassment

Words Rochelle Siemienowicz

Scope: Screen Industry Views

Meta Essays: Critics’ Choice IV at the International Film Festival Rotterdam 2018

Words Tara Judah

Scope: Screen Industry Views

Love Is in the Airwaves – and It’s Not Always Pretty

Words Liz Giuffre

Scope: Screen Industry Views

Game of Throwns: Government Inaction on the Senate Inquiry

Words Dan Golding

Scope: Screen Industry Views

Contents

    Australian and New Zealand Cinema

  • Welcome to Ugly Country: Nostalgia and Nationalism in Stephan Elliott’s Swinging Safari
  • Musical Chairs: Perspective and ‘Heavy’ Humour in Ben Elton’s Three Summers
  • Ties That Bind: Kriv Stenders’ Australia Day and the Problems of Patriotism
  • Sense and Serendipity: David Wenham’s Ellipsis
  • Stealing Time: Fatherhood, the ‘Third Space’ and Sam Voutas’ King of Peking
  • Focus on Asia and the Middle East

  • The Pain of Purity: Abuse and Collusion in Vivian Qu’s Angels Wear White
  • Salt of the Earth: Virtue and Vengeance in Mohammad Rasoulof’s A Man of Integrity
  • Turning the Lens: Looking and Reliving in Hong Sang-soo’s Claire’s Camera
  • States of Loneliness: Proximity and Distance in On the Beach at Night Alone
  • Cutting Through the Chanbara Film: Takashi Miike’s Blade of the Immortal
  • Documentary

  • Singing One’s Story: Keeping Custom and Country in Westwind: Djalu’s Legacy
  • ‘Don’t Do It Again’: Hearing, Seeing and Deep Listening in After the Apology
  • Changing Tides: Karina Holden’s Blue, the Enviro-doc and Conservationism
  • High Price Tag: Art and Absolution in Have You Seen the Listers?
  • Too Far North: The Self-serving Cinema Vérité of Atlantis, Iceland
  • Living in America: Expression, Representation and Kate Hickey’s Roller Dreams
  • Critical Views

  • The Art of Meta-morphosis: Julian Rosefeldt’s Manifesto
  • Room to Move: Amiel Courtin-Wilson’s The Silent Eye
  • Making Waves in a Man’s World: Jane Campion’s Women in The Piano and Top of the Lake: China Girl
  • Industry Perspectives

  • Against the Grain: The Documentary Sensibility of Sue Brooks’ Fiction Filmmaking
  • Scope: Screen Industry Views

  • Zero Tolerance for Screen Industry Sexual Harassment
  • Meta Essays: Critics’ Choice IV at the International Film Festival Rotterdam 2018
  • Love Is in the Airwaves – and It’s Not Always Pretty
  • Game of Throwns: Government Inaction on the Senate Inquiry

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