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Metro No. 199

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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Australian Teachers of Media Incorporated
€ 6,65(Incl. btw)
€ 24,16(Incl. btw)
4 Edities

in deze editie

28 min

This wasn’t the distant nightmare scenario experienced by Jodie Foster’s Sarah Tobias in The Accused (Jonathan Kaplan, 1988) or the faraway feminist fantasy of Geena Davis’ and Susan Sarandon’s titular characters in Thelma & Louise (Ridley Scott, 1991); the women in Shame had the same accents we did, the same clothes, and had the same groceries and magazines in their houses. Many of them we knew from locally produced kids television shows and sitcoms that we watched, zonked out after school. We’d grown up with a lot of these people. They felt like family. On this front, revisiting Shame now – at a cultural moment when critical and mainstream discourse surrounding sexual violence and harassment have been transformed by the #MeToo movement1 – is a shattering experience when considering the centrality…

10 min
keeping country alive dreaming, decolonisation and the karrabing film collective

Karrabing is not a clan, not a language group, not a nation. It is an aspiration.1 There is just one fixed protagonist in the installations and short films of the Karrabing Film Collective: the Australian landscape features prominently in each of its works. However, the reality of life in the Northern Territory’s Indigenous Belyuen community makes such continuity difficult for the human cast and crew. Such factors as economic and health status, legal interventions and premature death rates make this grassroots collective a somewhat-unstable group. In fact, it isn’t unusual for a character to be played by one performer, only to be inexplicably taken over by another later in the film. The reason? Incarceration. ‘[P]art and parcel of the politics and aesthetics of Karrabing films are the constant disturbances that compose their…

12 min
the pelican brief the shallow reflections of shawn seet’s storm boy

Colin Thiele’s 1963 novella Storm Boy was meant for children first and foremost, and the same can be said about Henri Safran’s beloved 1976 film adaptation, scripted primarily by Sonia Borg. But the story told in both is part of the larger body of white Australia’s mythology. Unlike many such myths, this one concerns a hero at home in the landscape – specifically, the landscape of the Coorong, the long stretch of saltwater lagoons running parallel to the coastline in the eastern part of South Australia. In a shack between the Coorong and the sea lives an eccentric beachcomber nicknamed Hide-Away Tom (played by character actor Peter Cummins in Safran’s film), who has retreated from civilisation following the death of his wife. But the real escape is accomplished by his young…

12 min
trauma tourism the complicated comedy of hannah gadsby’s nanette

I came out as trans to my grandma about a year before she died. My mother was against it, insisting it was unfair to ask someone of her advanced age to contend with such new, complex ideas. I gave my grandma more credit than that. In a recent interview, Karamo Brown – one of the presenters of the recent Queer Eye reboot – reflects on how he doesn’t like using the term ‘coming out’, instead preferring ‘inviting someone in’: ‘For me, “coming out” gives the power to the other person to accept or deny you,’ he explains. ‘When you’re “inviting them in,” you have the power.’1 I wanted to invite my grandma into my life. I didn’t expect her to understand, but I wanted to give her the opportunity to try. Her name…

11 min
on song navigating the past in ben hackworth’s celeste

Memories of happiness lost haunt the script of Brisbane-based writer/director Ben Hackworth’s sophomore feature, Celeste (2018) – both on the page and between the lines during its writing process. Radha Mitchell stars as the eponymous opera singer, who gave it all up for love just as her career was reaching its high notes. Retiring to a crumbling but fecund and fanciful retreat in Far North Queensland, she finds herself, years later, all but alone after her husband’s death a decade earlier, hitting the bottle hard and dreaming of a comeback. This unfortunate event is clouded in half-glimpsed mystery, teased out in flashback and connected to her estranged stepson Jack, played by Kai Lewins as a teen and by In Like Flynn (Russell Mulcahy, 2018) lead Thomas Cocquerel as an adult. With…

17 min
scope screen industry views

SCREEN FOREVER CRECHE IS A GAME CHANGER Cameron Williams For the first time ever in its history, the Screen Forever conference has offered a free creche to delegates. The service – a joint initiative between the South Australian Film Corporation (SAFC), Create NSW, Screen Producers Australia and Women in Film and Television (WIFT) – was situated on site at the 2018 event’s Crown Conference Centre location and was managed by childcare provider Crechendo. The creche accommodated up to twenty children. Returning to work after becoming a parent can be tough – less sleep, zero time to yourself and the stress of balancing the demands of employment. While a lot of workplaces have begun to offer flexible arrangements to working parents, they don’t tend to account for or extend these to networking opportunities and…