ZINIO logo

Metro No. 208

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.

Australian Teachers of Media Incorporated
Back issues only
€ 6,50(Incl. btw)

in deze editie

1 min
resources for online or classroom learning

ATOM is pleased to launch a key educational resource for teachers, parents and students: the ATOM Study Guide Spreadsheet. The spreadsheet accesses and overviews a selection of ATOM study guides from the vast library on The Education Shop. It also connects study guides to their related streaming video products available at The Education Shop. The guides are linked to the Australian Curriculum across a number of year levels. You can access the ATOM Study Guide Spreadsheet at: https://bit.ly/ATOMSGS…

1 min
more about atom’s study guides

ATOM study guides can be downloaded from The Education Shop for free or for $4.95 each, depending on how long we have been hosting the file. They can be emailed to students or uploaded to the school’s intranet or learning management system. https://theeducationshop.com.au/ Need some help finding streaming content or DVD? ATOM has been creating study guides for students and educators for the past thirty-five years and developed professional relationships with a wide network of filmmakers and producers. If you would like to obtain a program not currently available on The Education Shop, please get in contact directly as we may be able to help you source it on DVD or as streaming content.…

13 min

BRAVE NEW SECTOR: AN INDUSTRY ADAPTS ROCHELLE SIEMIENOWICZ You could say that ‘scrambling to adapt’ was the theme of the thirty-fifth Screen Forever Conference, held online by Screen Producers Australia from 16–18 February 2021. Over three days and forty sessions (featuring a total of 120 speakers), the Australian screen-production tribes gathered – albeit virtually – for their annual gabfest of knowledge sharing, policy analysis, pitching and deal making, with local and international speakers and buyers in attendance. The conference itself had scrambled several times in the lead-up, pivoting and pirouetting as COVID-19 dictated: first, postponed from its traditional November slot; then planned as a mixed live/online event from the Gold Coast (the new home of the event); before finally being entirely streamed in February. It’s hoped another live conference can take place in…

13 min
‘the stars are all strange ’ here

Inspired by the long-overlooked history of the cameleers who journeyed from Afghanistan and beyond to haul supplies across the late-nineteenth-century Australian outback, Roderick MacKay’s debut feature paints a complicated portrait of the country’s colonial past. In its tale of ill-gotten gold, racial animus and displacement, the film is a thematically unique – if, in other respects, somewhat conventional – instalment in a new wave of Australian westerns, writes Jessica Kiang. Over the long and storied history of the movie western, there have been hundreds of night-time campfire scenes. Usually signalling a lull in the linear action of the narrative, these moments are rarely the most emblematic of the films they’re in and – with the possible exception of Blazing Saddles (Mel Brooks, 1974) – rarely the most immediately remembered. And yet…

14 min
dry fidelity

A faithful and efficient adaptation of the popular crime novel by Jane Harper, Robert Connolly’s film was the local cinematic success story of early 2021. But considered in the context of recent Australian genre works that have capably straddled the increasingly blurred divide between big and small screen, the film is disappointingly lacking in some essential cinematic qualities, Mel Campbell argues. Jane Harper’s debut novel The Dry was optioned for the screen before it was even published.1 Set in the fictional drought-stricken rural community of Kiewarra, where the sun beats down relentlessly on buried secrets, the novel tells a gripping mystery story that foregrounds mood and setting in a way that reads like a screen treatment. But would it be a big- or small-screen story? The obvious choice would have been television,…

10 min
bird’s-eye view

Based on the true story of Sam Bloom’s life-changing injury and psychological recovery with the aid of her family’s pet magpie, Penguin Bloom eschews aesthetic or narrative overcomplication in its translation to screen. Speaking with director Glendyn Ivin, Jasmine Crittenden discusses a filmmaking process in which the unpredictability of working with children and animals was embraced – and a film in which personal relationships, be they human or bird, take centre stage. For years before making Penguin Bloom (2020), director Glendyn Ivin had wanted to make a film about animals. ‘When I was a kid, I loved films with animals in them – and it’s stuck with me ever since,’ he says. Storm Boy [Henri Safran, 1976] has always been a touchstone for me. I saw it at the cinema when I…