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Showing all Screen Education education news
AIDC feed, SPA events, QAGOMA, ACMI, MCA in capital classics, and a pile of awards.
MIFF Accelerator, the film director professional development program held during the Melbourne International Film Festival (MIFF), has concluded its13th edition by welcoming into its glittering alumni some 29 new directors – with more than 50% of them female.
The VCA Film and TV School has celebrated its fiftieth anniversary with a funky day and a red hot go at archiving itself.
Christina Alvarez is recruited by AFTRS, bringing her impeccable community sector mojo to a much larger organisation with apparently different objectives.
Premium cinemas are pulling healthy audiences, and we ain't seen nothing yet - according to the prophets of the next cinema technologies.
Against the odds, many local cinemas continue to prosper. The key is community, and this is how they make it happen.
The true experts in information gathering about audiences live in the screen sector. Like it or love it, the data they gather is very, very useful.
Iconoclastic US showrunner and writer talks his favourite series, Latino culture, magic realism, superheroes, comics and diversity as an evolutionary strategy. And laughs a lot.
The production story of Sherpa is a thrilling yarn in itself, with some important messages about planning, treatments and sheer tenacity.
In a lovely moment, thirteen Australian docs go to Hot Docs this year as part of a special focus. But there is one very odd thing about the selection...
Developers from tiny markets like Australia are not necessarily disadvantaged when making games go global - a marked contrast to the film industry.
No art form connects with its audience more viscerally than gaming: it's time everyone else paid attention.
Indie-friendly VOD is alive, kicking and even easy, if you don't get cynical on the way.
While so much true life large scale filmmaking wallows in exploitation, Magnus Temple makes tender series about ordinary people and their deep virtues. Here’s a glimpse of his approach.
What happens when Independent documentary filmmaking collides with investigative journalism? Experience the joy, the obsessiveness and perhaps the pain behind The Jinx.
Despite an interesting premise and solid performances, Tomorrow's Parties dystopic visions limit the emotional pull.
Bryan Elsley, who ran the Deadlock emerging writers scheme in Byron Bay, has some fascinating ideas about development, authenticity, new approaches to globalism and the strength of young Australian creators.
New audiences, new stories - how can we find a development process to match them and a new generation of creators? Deadlock is anything but stuck.
New micro-accounting production accounting services are targeting the needs of low budget filmmakers and digital creatives.
Natural history films have a special place in all our hearts, but filmmakers and broadcasters must face the grim fact that this ecology is imploding, like the natural world itself.
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