A Fetching Achievement

The Past Is a Foreign Country

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