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Metro

Metro No. 202

Independent, outspoken and often polemical, Metro features writing by some of the region's foremost academics and critics, providing readers with comprehensive coverage of Australian, New Zealand, Asian, and Pacific screen industries. Combining a wide range of topics and disciplines, Metro offers a unique blend of in-depth scholarship and popular writing, perfectly capturing key trends and developments in screen culture.

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Land:
Australia
Taal:
English
Uitgever:
Australian Teachers of Media Incorporated
Frequentie:
Quarterly
€ 6,65(Incl. btw)
€ 24,16(Incl. btw)
4 Edities

in deze editie

22 min
fast and furious filmmaking youtube’s prospects for budding and veteran screen content producers

As ‘traffic cops at the intersection of Art and Commerce’, producers play a crucial role ‘in shaping the creative and commercial dimensions’ of Australia’s screen industries; so say media scholars Allan Cameron, Deb Verhoeven and David Court.1 Traditional producers, however, have been impacted by ramifying digital disruption – what academics Michael Curtin and Kevin Sanson have called a ‘torrent of technological innovation’ driving the rise of new media via satellite, cable, internet and mobile devices.2 Viewerships are fragmenting, with increasingly active audiences, especially from younger age groups, moving away from traditional broadcast programming and towards public and commercial broadcasters’ catch-up services, including ABC iview and SBS on Demand; subscription video-on-demand (SVOD) outlets, such as Stan and Netflix; and Google’s YouTube.3 Two centres of gravity have thus formed for screen content…

12 min
scars of time guilt and forgiveness in wang xiaoshuai’s so long, my son

In So Long, My Son (2019), Wang Xiaoshuai weaves a beautiful tapestry of life in modern China. Spanning four decades – from the 1980s to today – the film eschews epic traditions for an intimate examination of domesticity, hope and guilt against the backdrop of a rapidly changing culture. Wang and A Mei’s screenplay interlaces interconnected narrative filaments across different eras with confident fluidity. That can be confusing; as we thread from one decade to another with an easy jump cut, particulars of the storyline are tangled and obfuscated. Yet Wang’s deft command of his film’s formal qualities ensures that So Long, My Son is defined by an emotional clarity that resonates long after the credits roll. We’re introduced to the story somewhere around its middle, opening on two prepubescent boys…

13 min
soaring with her own wings em baker on marriage, movie-making and i am no bird

Em Baker is no romantic, and far from the kind of woman who spent her youth waiting for Prince Charming to sweep her off her feet. Marriage, to her, is ‘a stodgy, patriarchal, antiquated institution’, and not one that she, as a queer woman, ever felt particularly drawn to or welcome within. She’s an unlikely candidate, then, to spend four years and a considerable amount of her own savings on travelling around the world to immortalise the wedding days of four women. Yet that’s exactly the journey we sit down to speak about following the world premiere of her debut feature documentary, I Am No Bird, at the 2019 Sydney Film Festival (SFF). Filming across such diverse locations proved challenging, especially as Baker was self-funding the project while continuing to work…

13 min
not kidding around australian–asian children’s television co-productions

Australia has consistently produced high-quality screen content for children, with some of the country’s best television series – from Skippy the Bush Kangaroo, which aired from 1968 to 1970, to today’s Bluey1 – having been broadcast, and now streamed, around the world. From a local policy perspective, children (generally referring, in industry terms, to persons under fourteen years of age) have been considered a ‘special audience’, easily influenced by what they see on screen.2 Within the landscape of television, therefore, children’s programming has experienced high levels of regulation since the late 1970s, most saliently in the form of the content quotas enshrined in the Children’s Television Standards (CTS) first introduced in 1979 and updated in 2009.3 But the rigorous scrutiny and regulation that attends to children’s media engagement, along with…

13 min
top dogs the abc’s bluey and australian children’s animation

‘They forgot the spring rolls!’ Lots of kids’ shows are set around a fantastical premise: there are fruit in human clothing, princess knights, and mutant reptiles who are also teenage ninjas. Kids have short attention spans, so TV programming for them often needs to be big, loud and colourful. Yet the ABC’s Bluey focuses on the modest idiosyncrasies of Australian life – like waiting around for Chinese takeaway – and this animated series about a family of blue and red heelers is now the most watched television series in ABC iview history, having been seen 90 million times1 and counting. Disney, a company famous for a mouse, is so enamoured with the pups that it has announced that the show would air not only on its dedicated broadcast channel for children later…

1 min
part 46

Few titles of the Australian film renaissance of the 1970s and early 1980s have fallen into such undeserved obscurity as Gillian Armstrong’s Starstruck. Jaymes Durante’s thoroughly researched and lively evocation of a rare excursion into the musical genre (a variant of the kids-putting-on-a-show category) may well lead to an upsurge of interest in and popularity for the film. It was not what one would have expected from Armstrong, whose previous feature was the coming-of-age period piece My Brilliant Career, and Durante’s essay makes a persuasive case for her versatility in successfully embracing such different material.…