Movies, TV & Music
Screen Education

Screen Education No. 82

Screen Education is essential reading for those with an interest in media literacy. Produced by educators, scholars and critics, the magazines content is tailored to the primary and secondary classroom, as well as some tertiary-level material, offering a unique and engaging perspective on screen education.

Australian Teachers of Media Incorporated
Read More
$10.89(Incl. tax)
$39.60(Incl. tax)
4 Issues

in this issue

2 min.
hit productions return exclusively to cinemas

One Man, Two Guvnors Featuring a Tony Award-winning performance from host of the The Late Late Show, James Corden, the uproarious One Man, Two Guvnors was a runaway hit both in London’s West End and on Broadway. Fired from his skiffle band, Francis Henshall becomes minder to Roscoe Crabbe, a small time East End hood, now in Brighton to collect £6,000 from his fiancée’s dad. But Roscoe is really his sister Rachel posing as her own dead brother, who’s been killed by her boyfriend Stanley Stubbers. Holed up at The Cricketers’ Arms, the permanently ravenous Francis spots the chance of an extra meal ticket and takes a second job with one Stanley Stubbers, who is hiding from the police and waiting to be re-united with Rachel. To prevent discovery, Francis must keep…

17 min.
matters of consequence growing up with the little prince

Despite its simple language and straightforward (albeit magic-realist) storyline, Antoine de Saint-Exupéry’s The Little Prince isn’t really a book just for children. As the novella’s narrator reminds us, adults often convince themselves that they are preoccupied with ‘matters of consequence’: jobs, status, success, money. But, in reality, these people – who gravitate towards the ‘useful’ and the ‘sensible’ – don’t, in fact, tend to possess ‘true understanding’ As Indiewire blogger Oliver Lyttelton has pointed out, ‘the strange, semi-allegorical nature of the book means that a truly satisfying screen translation has never been made’ Indeed, Kung Fu Panda (2008) co-director Mark Osborne – who helmed the 2015 adaptation of Saint-Exupéry’s text – has himself admitted that, prior to coming aboard the production, he ‘believed that there was no way you could do…

17 min.
a vote of one’s own suffragette and women’s rights

In Sarah Gavron’s Suffragette (2015), radical instances of activism are transformed into an engaging narrative about a British working-class woman and her growing political consciousness. Through the film’s main character, Maud Watts (Carey Mulligan), we see that the battle for human rights – in this case, the rights of women to be treated equally to men, and to vote – is complex and demands great sacrifices from those who challenge the status quo. We also see what not having the right to vote (and thus not having access to power and to legislative representation) means, and how being denied this democratic right directly contributes to abuse, degradation and intergenerational poverty. THE HISTORICAL BACKGROUND Suffragette presents a specifically British version of the Votes for Women movement. From 1912, British suffragettes used militancy as…

15 min.
sound and fury ambition, absence and anger in justin kurzel’s macbeth

Crafting an adaption of a classic text that feels both wedded to the source material and distinctive to the director’s vision is a difficult task and a rare feat. For centuries, stage directors have endeavoured to work their magic on William Shakespeare’s plays – and for the last century, filmmakers as well – but the gap between merely acting out the text and truly bringing it to life has remained substantial. Perhaps that’s why the latest high-profile film version of Macbeth (Justin Kurzel, 2015) to reach cinema screens feels like a fresh take not only on the narrative at hand, but on movie translations of the Bard’s prose. As helmed by Kurzel and written by Jacob Koskoff, Todd Louiso and Michael Lesslie, the feature both hews closely to the original…

17 min.
it’s the end of the world and we love it investigating the popularity of post-apocalyptic cinema

In his 2003 film Los Angeles Plays Itself – a feature-length video essay investigating the depictions of its titular city across decades of film – writer/director Thom Andersen seems fascinated by the enduring appeal of Ridley Scott’s sci-fi classic Blade Runner (1982). ‘Perhaps it expresses a nostalgia for a dystopian vision of the future that has become outdated,’ muses narrator Encke King. How things change. Within a few years, the idea of a dystopian future seeming outdated would become, itself, outdated; over a decade later, popular speculative storytelling across almost every mode – from cinema to television, video games to graphic novels – has become dominated by futures teetering on the brink of destruction or, just as often, desecrated societies cobbled together in the wake of apocalyptic devastation. Cinema, in…

16 min.
confronting the zombie-pocalypse deconstructing conflict in the walking dead

The beginning of this new millennium has heralded a golden age of dramatic television production. No longer the ugly stepsister of Hollywood films, television has introduced us to complex characters operating in often dystopic and otherworldly environments. We invited monsters into our homes where previously we’d only glimpsed them in the shadows of sitcoms. The Soprano family served us betrayal, intrigue and extreme violence with notes of introspection and a side dish of postmodern struggles with masculinity. The inmates of Oz allowed us to serve time in a landscape filled with horrors that we could never imagine behind our picket fences; shankings, dastardly dealings and the cruelties of minds left to rot made for stomach-churning viewing. Miniseries like the acclaimed Band of Brothers provided new perspectives on war and its…