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탐색내 라이브러리
 / 영화, TV 및 음악
Metro

Metro No. 198

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.

국가:
Australia
언어:
English
출판사:
Australian Teachers of Media Incorporated
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이번 호 내용

10
a neoliberal spin management and masculinity in stephen mccallum’s 1%

‘You look good – way bigger,’ Hayley (Simone Kessell) reassures her husband, Knuck (Matt Nable), shortly before he’s released from prison. Knuck, the violent leader of elite bikie gang The Copperheads Motorcycle Club, does indeed look big. Presumably, in jail, he’s been working out. He’s also been raping other inmates. The drift away from Hayley that follows suggests that incarceration has had a major sexual impact: no longer interested in his wife, Knuck begins ‘grooming’ a young male recruit. He’s also set to resume his place as head of the Copperheads, temporarily under the leadership of club vice-president Paddo (Ryan Corr); unsurprisingly, Paddo isn’t so sure that handing things back to Knuck is a great idea. Analysis shouldn’t approach a text by focusing on what it’s not. But the title of…

12
‘ permission to operate independently ’ upgrade and the body-machines of action cinema

A former US marine arrives home to find an intruder hiding there. He begins to fight off the burglar and swiftly gets the upper hand, pinning the man down and choking him. ‘Help!’ gasps the burglar. We hear a calm, disembodied voice: ‘I need your permission to operate independently.’ ‘Permission granted!’ the intruder splutters. ‘Thank you,’ the voice says mildly. Then the camera tilts like a carnival ride on rails as the burglar explodes into kinetic retaliation. He throws the ex-marine against the wall and swings smoothly to his feet. He dodges or parries his opponent’s punches with brisk economy, as if anticipating each one. Their fight moves into the kitchen, where the resident tries to defend himself using various household objects. The intruder turns them all against him. This could be any fight…

11
fraternity test

We need to talk about Kenny (2006). At least, that seems to be the memo going out to critics reviewing Clayton Jacobson’s follow-up feature some twelve years later, Brothers’ Nest (2018). The Guardian’s review mentions Kenny four times, positing, ‘The Jacobsons have given us another comedy classic, far stranger than the last.’ ‘This ain’t Kenny,’ warns FilmInk. ‘Anyone expecting a redux of that amiable toilet-themed flick is in for the shock of their lives.’ ‘Brothers’ Nest is as far removed from the Jacobsons’ toilet-fixing mockumentary as you can get,’ according to Concrete Playground. From Triple J: ‘radically different from what you’d expect’. Variety: ‘a very different kind of vehicle’. The Sydney Morning Herald: ‘there’s none of [Kenny’s] genial view of the world’. You get the idea. Now, I don’t mean to disparage these critics for going to…

10
landing success

Australian independent filmmaker Luke Sparke cut his directorial teeth with Queensland-shot creature feature Red Billabong (2016), about two brothers and their friends battling against an ancient urban legend. His second feature, Occupation (2018), is a different beast altogether: the film is an alien-invasion sci-fi thriller, which boasts a starrier cast, high-octane action sequences and superior production values. It even has a sequel already green-lit. I speak to Sparke – who took on screenwriting duties alongside directing – and producers Carly and Carmel Imrie about learning curves, building creative confidence and the importance of collaboration in an independent production. Oliver Pfeiffer: With its big action sequences and international ensemble cast, Occupation is quite a step up from your film-making debut. What gave you the confidence to up your game this time around? Luke Sparke:…

11
getting a second opinion

Is there such a thing as objective truth, or is it all a matter of perspective? This question permeates every fibre of The Second (Mairi Cameron, 2018), interrogated through both the film’s storyline and the particular way it unfolds and unravels before the audience’s eyes. While the trio of characters on screen pull and trap one another in deeper and deeper lies, ultimately, the greatest trick is that which Cameron plays on viewers. This isn’t one film; it’s three – and which, if any, of these depicts the ‘truth’ is debatable. THE THRILLER RED FLAGS START MOUNTING RAPIDLY. THERE’S THE ALTERCATION WITH A MYSTERIOUS TRUCK-DRIVING STRANGER, COUPLED WITH THE LONG STRETCHES OF AUSTRALIAN COUNTRY ROAD THAT ARE IMPOSSIBLE TO MENTALLY SEPARATE FROM HORROR SCENARIOS. THERE’S THE DUSTY PROPERTY LITTERED WITH REMINDERS OF…

10
once upon a time in the west suburbia and identity in jason raftopoulos’ west of sunshine

On the surface, Jason Raftopoulos’ debut feature, West of Sunshine (2017), is a domestic drama about a day in the life of a man doing what he has to to survive with his son by his side. In another place and time, one could see the story transposed, more or less intact, to Ken Loach’s social-realist renditions of the streets of England. The film’s press material even compares it to Bicycle Thieves (Vittorio De Sica, 1948) and The Wrestler (Darren Aronofsky, 2008), although doing so doesn’t necessarily help this intimate independent film, given there is already an entire local history that it nicely fits into. Premiering in the 2017 Venice Film Festival’s Orizzonti sidebar, with its first Australian screening at the 2018 Sydney Film Festival, West of Sunshine is based on…