DÉCOUVRIRBIBLIOTHÈQUE
searchclose
shopping_cart_outlined
exit_to_app
category_outlined / Film, Télé et Musique
Screen EducationScreen Education

Screen Education

No. 94

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.

Pays:
Australia
Langue:
English
Éditeur:
Australian Teachers of Media Incorporated
Lire pluskeyboard_arrow_down
Offre spéciale : Get 40% off with your subscription!
J'ACHÈTE CE NUMÉRO
6,50 €(TVA Incluse)
JE M'ABONNE
23,63 €14,17 €(TVA Incluse)
4 Numéros

DANS CE NUMÉRO

access_time1 min.
screen education

SCREEN EDUCATION MANAGING EDITOR Peter Tapp editor@atom.org.au EDITOR David Heslin screen_ed@atom.org.au SUBEDITOR Adolfo Aranjuez EDITORIAL COMMITTEE Lee Burton (Vic.) Anne Cloonan (Primary Consultant) Christine Evely (Vic.) Michael Dezuanni (Qld) ART DIRECTOR Heidi McKinnon SALES & ONLINE SERVICES MANAGER Zak Hamer COLLECTIONS MANAGER Tracy Chen ONLINE SERVICES ASSISTANTS Angie Chan Anneliz Erese PRINTING Shenzhen Tian Hong Printing ADVERTISING Peter Tapp +61 (412) 473 116 editor@atom.org.au ATOM BOARD CHAIR Roger Dunscombe DEPUTY CHAIR Jenna Grace EDUCATION EXECUTIVE OFFICER Robert Young PUBLICATIONS & AWARDS MANAGER Peter Tapp COMMITTEE MEMBERS Victoria Giummarra Emma McCulloch Laura Newman Kevin Tibaldi Lisa Worthy EDUCATION OFFICER Scarlet Barnett ASSOCIATE EDITORS FOR REFEREED ARTICLES Felicity Collins Associate Professor, Department of Cinema Studies, La Trobe University Michael Dezuanni Associate Professor, Film and Media Studies, Queensland University of Technology Anna Dzenis Lecturer, Department of Cinema Studies, La Trobe University Beryl Exley Professor, School of Education & Professional Studies, Griffith University Trish Fitzsimons Associate Professor, Griffith Film School, Griffith University Ben Goldsmith Senior Lecturer, Screen and Media, University of the Sunshine Coast Olivia Khoo Associate Professor, School of Media, Film…

access_time14 min.
letting the old ways die gender and characterisation in a star is born

Bradley Cooper’s 2018 adaption of A Star Is Born is frequently concerned with questions surrounding past and present, old fashions and new trends – fitting for a movie based on three previous ones.1 ‘Tell me somethin’, girl: are you happy in this modern world? Or do you need more?’ Jackson Maine (Bradley Cooper) sings to Ally (Lady Gaga) at the beginning of their romance. The lyric suggests that he considers her old-fashioned, romantically so – someone who will appreciate his chivalry and gravelly voiced charm. Yet, at the start of the film, and then repeatedly throughout, Jackson sings that ‘maybe it’s time to let the old ways die’. Is A Star Is Born nostalgic for the past, or discarding it in favour of the future? Is Ally an old soul,…

access_time1 min.
endnotes

1 Four, arguably, if you include the 1932 Cukor film What Price Hollywood?, which, although not sharing the title, has the same basic plot outline, and, arguably, was a strong influence on Wellman’s A Star Is Born. 2 Terri White, ‘We’re Far from the Backlash Now’, Empire (Australasia), 3 December 2018, p. 24. 3 See, for example, Anea Bogue, ‘Why Beyoncé’s “Mrs. Carter Tour” Is Bad for Women’, HuffPost, 8 March 2013, <https:// www.huffingtonpost.ca/anea-bogue/why-beyonces-mrs-carter -tour_b_2839509.html>, accessed 24 January 2019. 4 In the 1937 film, his real name is Albert Henkel, while in the 1954 film it is Ernest Gubbins. 5 Ryan Gilbey, ‘Lady Gaga Shines in A Star Is Born, but the Script Doesn’t Care About Her Character’, New Statesman, 3 October 2018, <https://www.newstatesman.com/culture/ film/2018/10/lady-gaga-shines-star-born-script-doesn-t-care-about-her-character>, accessed 24 January 2019.…

access_time15 min.
american horror genre and the post-racial myth in get out

'Do they know I’m black?’ That’s what Chris (Daniel Kaluuya) asks his girlfriend, Rose (Allison Williams), early on in the first act of Jordan Peele’s hugely successful debut film, Get Out (2017). He’s black, she’s white, and they’re about to embark on that classic new-relationship milestone: meeting the parents. This narrative set-up isn’t new – think of the landmark 1967 film Guess Who’s Coming to Dinner (Stanley Kramer) – but Peele takes a familiar story to unfamiliar places, his film a slow-burn horror movie interrogating race and racism in contemporary America. It’s a film, says Peele, where ‘society is the monster’.1 Though it was released – and, eventually, won an Oscar for Best Original Screenplay – in Donald Trump’s America, Peele penned Get Out as a response to Barack Obama’s presidential…

access_time4 min.
endnotes

1 Jordan Peele, quoted in Max Weinstein, ‘“Society Is the Monster”: Jordan Peele on Racism as Horror, Writers’ Block and More at 2017 Film Independent Forum’, MovieMaker, 31 October 2017, <https://www.moviemaker.com/archives/ moviemaking/directing/society-is-the-monster-film-independent-forum-2017-jordan-peele/>, accessed 29 March 2019. 2 ibid. 3 Jordan Peele, quoted in ‘Jordan Peele on Exploring the “Deep Horror of Racism” in Get Out’, CBS News, 15 November 2017, <https://www.cbsnews.com/news/jordan-peele-get-out-movie/>,accessed 29 March 2019. 4 Jordan Peele, quoted in Mike Fleming Jr, ‘Get Out Director Jordan Peele: Scaring Up Racial Dialogue by Fusing Genre with Polemic’, Deadline Hollywood, 17 November 2017, <https:// deadline.com/2017/11/get-out-jordan-peele-oscars-interview-news-1202208902/>, accessed 29 March 2019. 5 Jordan Peele, quoted in Cara Buckley, ‘“I’d Never Seen My Fears as an African-American Man Onscreen”’, The New York Times, 6 December 2017, <https://www.nytimes.com/2017/12/ 06/movies/jordan-peele-get-out-african-american-biracial.html>, accessed 29 March 2019. 6 Jordan Peele, quoted in Jada Yuan &…

access_time11 min.
inner dread psychology and fate in hereditary

Hereditary (2018) – the debut feature from American screenwriter and director Ari Aster – isn’t just a horror film. It’s a psychological family drama, in which grief, anger, fear and deeply troubled personal relationships play out through supernatu-: , , , blurring of the real with the imaginary and, ultimately, demonic possession. As the name suggests, the film is a dark exploration of the ties that bind us, both natural and nurtured: to what extent do we have control over our own lives, as opposed to being inevitably influenced from beyond the grave? At the film’s heart are the Graham family, who live in a large, isolated house in Utah surrounded by forest. The protagonist, Annie (Toni Collette), is an artist, obsessed with creating figurative miniature sculptures that replicate her life…

help