Issue No. 200
May 2019
In the Beginning, There Was Film Appreciation
Metro in the 1970s
A Brief History of Metro
The Bridge
Letter from the Editors
Indigenous Representations on Screen and in Print
Classic Takes: The NFSA Essays
The Changing Face of Genre
Old Journal, New Media
Sydney and the Small Screen
Penning with Pride
Advocacy Meets Analysis: Metro and Documentary
Three Paths to Asian Cinema
Melbourne Plays Itself
The Reel South: Adelaide and Metro
Enabling a Screen Ecology
Terror, Tragedy, Truth: Anthony Maras’ Hotel Mumbai
Breaching Bounds: The Confronting Body in Miranda Nation’s Undertow
Bird’s-eye View: Childhood, Grief and Community in Emu Runner
Tearing Out a New Leaf: Book Week and the Unlikeable Protagonist
In the Crease: Self-referential Storytelling in Ted Wilson’s Under the Cover of Cloud
The Parochial Fantastic: Australian Television Fantasy in Bloom and Tidelands
Crooked Histories: Underbelly and Australian Self-mythologisation
Quiet Rage: The Fire and Finesse of Lee Chang-dong’s Cinema
Darkness in the Spotlight: Binaries and Brutality in Zhang Yimou’s Shadow
Film à la Mode: Juxtaposing East and West in Yellow Is Forbidden
The Cost of Country: Capital and Ownership in Undermined: Tales from the Kimberley
Home on the Rocks: Blue Lucine on Displacement and The Eviction
Age of Acceptance: Community and Inclusion in Sue Thomson’s The Coming Back Out Ball Movie
Rhetoric and Reminiscence: Graham Freudenberg, Political Memory and The Scribe
Greener Pastures: Tradition and Modernity in Grace McKenzie’s In the Land of the Wolves
Cinema for Claustrophiles: Virtual Reality at the Adelaide Film Festival and Beyond
Other Voices: Grace, Who Waits Alone and New Australian Underground Cinema
