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Showing all Film news in Opinions & Analysis
Danger Close raises provocative questions about the construction of a modern war film. Here's military scholar Tom Sears from the Australian Defence Forces Academy.
Opinions & Analysis
The recent release of yet another extended cut of Apocalypse Now puts the vexed idea of the director's cut back onto the cultural agenda.
Artists with disability believe it is their right to be reviewed in the same way as abled artists; that the narrative should come from the quality of their work, not their disability.
It's a good week to rewrite history, with 'Once Upon a Time in Hollywood' and 'Mission Mangal' scoring big crowds.
MIFF 2019 opens with The Australian Dream, the documentary centred around Adam Goodes which was the perfect film for our times.
Indigenous professionals discuss what First Nations leadership looks like, and why it might offer a more viable model for bringing authority to an Indigenous-led centre.
How do critically successful foreign films do in the US? The question is highlighted by Bong Joon-ho, who has made five films released in North America.
In a quiet festival, the US film press looks for evidence for the decline of Cannes.
A recent Parliamentary Inquiry into Canberra’s national institutions made 20 recommendations. What were they, and were they warranted?
Minister Harwin outlines his party's wins for the arts during their time in government, and presents his plan for the future if re-elected as NSW Arts Minister.
Coinciding with a national call out for greater artistic courage, NAVA also responds to continued political interference in arts decisions as the NSW election approaches.
First Nations artists and arts workers offer advice on how to embrace the International Year of Indigenous Languages.
Our language tells us a lot about who we are: our confidence, our embrace of trends, our professionalism and our priorities. So what did 2018 say?
Evidence suggests that the dramatic portrayal of suicide can impact on vulnerable audiences, including contributing to increases in copy-cat incidents and a reduction in help-seeking behaviour.
Esther Anatolitis offers a fiery response to a missed opportunity, saying the Arts2025 summit spiralled to a point where all focus was lost.
If #MeToo has taught us anything, it’s that telling better women’s stories hasn’t really changed the lived experience of women, because it hasn’t really changed men.
We compare several different analyses of recent low(ish) budget film success. Should we be doing anything different? Can we do anything different?
If we want good arts journalism it may just be up to us as content consumers, not because of cuts and a devaluing by the media giants.
With the recent release of two feature films about Australian artists, we take a look at the hidden agendas and the broader context.
Victoria’s Shadow Minister for the Arts and Culture responds to the first year of the Creative State policy and the recent State Budget.
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