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Metro No. 203

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
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Metro staff Managing Editor Peter Tapp editor@atom.org.au Editor Adolfo Aranjuez metro@atom.org.au Subeditor David Heslin Contributing Editors Liz Giuffre, Dan Golding, Rochelle Siemienowicz Art Director Pascale van Breugel Sales & Online Services Manager Zak Hamer online@atom.org.au Online Services Assistants Amanda Camp, Angie Chan, Anneliz Erese Advertising Peter Tapp +61 (412) 473 116 editor@atom.org.au Contact Postal address PO Box 2040 St Kilda West VIC 3182 Australia Phone +61 (3) 9525 5302 Web & social media metromagazine.com.au twitter.com/metrofilmfacebook.com/MetroScreenEducation Printing Shenzhen Tian Hong Printing Associate editors for refereed articles Keith Beattie Associate Professor, Faculty of Arts and Education, Deakin University Felicity Collins Associate Professor, Department of Cinema Studies, La Trobe University Greg Dolgopolov Lecturer, School of the Arts and Media, UNSW 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 Lisa French Professor and Dean, School…

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the pen is mightier the than gun justin kurzel’s true history of the kelly gang and punk historiography

As anyone who frequents film festivals of any scale can attest, there’s a near-ritualistic approach to scheduling as one maps out the sequence of movies one hopes to see. Running times, venue locations, care factors – all come together in an often much-laboured final timetable constructed to ensure the optimum festival experience. While it’s hard to think of an exercise more intrinsically bourgeois in the context of the contemporary art world, it is also, to be fair, a lot of fun. These were the thoughts I was having as I sat patiently in a giant cinema in Toronto’s downtown Scotiabank Theatre, about two blocks away from the prestigious heart of the Toronto International Film Festival, the TIFF Bell Lightbox. This was the terrain across which we comrades-in-scheduling trudged back and forth,…

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1 See the Glenrowan Tourist Centre website, <https://www.glenrowantouristcentre.com.au>, accessed 25 October 2019. 2 See ‘The Story of the Kelly Gang (1906)’, Memory of the World, United Nations Educational, Scientific and Cultural Organization website, <http://www.unesco.org/new/en/communication-and-information/memory-of-the-world/register/full-list-of-registered-heritage/registered-heritage-page-8/the-story-of-the-kelly-gang-1906/>, accessed 25 October 2019. 3 Punk Spirit Holdings et al., True History of the Kelly Gang press kit, 2019, p. 2. 4 ibid., p. 5. 5 See Heather Smyth, ‘Mollies Down Under: Cross-dressing and Australian Masculinity in Peter Carey’s True History of the Kelly Gang’, Journal of the History of Sexuality, vol. 18, no. 2, May 2009, pp. 185–214; and Magdalena Ball, ‘Interview with Peter Carey’, Compulsive Reader, 18 March 2003, <http://www.compulsivereader.com/2003/03/18/interview-with -peter-carey/>, accessed 26 October 2019. 6 Historian Ian Jones suggests that this misconception is due to ‘the fact that his right hand was crippled by bullet wounds at Glenrowan…

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lust in space teenage queerness and connection in samuel van grinsven’s sequin in a blue room

In September 2018, a forty-year-old Sydney man allegedly drove to the home of a thirteen-year-old boy and sexually assaulted him on the front lawn. The attacker and victim had reportedly connected on a hook-up app, exchanging photos and personal information before the teenager eventually ceased contact. News coverage suggested that the man, who was charged with sexual intercourse without consent, only stopped when the boy’s mother came running out of the house, having heard his screams.1 By contrast, Australia has also seen incidents in recent years of straight teenagers using gay-dating apps to lure same-sex-attracted older men to public places before robbing, threatening or assaulting them. In more than one instance, the young attackers viewed themselves as vigilantes, motivated by both homophobia and a desire to take action against, in…

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1 See Mark Reddie & Jonathan Hair, ‘Sydney IT Manager Accused of Raping Schoolboy He Met on Grindr Is Granted Bail’, ABC News, 4 October 2018, <https://www.abc.net.au/news/2018-10-04/alleged-grindr-rapist-has-bail-continued/10337620>, accessed 28 October 2019. 2 The quote is cited in Tim Clarke, ‘Perth Man Pleads Guilty to Five Brutal Bashings in Which He Lured Gay Men Through Dating App Grindr’, The West Australian, 17 November 2017, <https://thewest.com.au/news/wa/perth-man-pleads-guilty-to-five-brutal-bashings-in-which-he-lured-gay-men-through -dating-app-grindr-ng-b88661754z>; see also Megan Gorrey, ‘“I’m the Paedophile Hunter”: Canberra Teen Grindr Scammer Avoids More Jail Time’, The Canberra Times, 1 November 2017, <https://www.canberratimes.com.au/story/6026539/im-the-paedophile-hunter-canberra-teen-grindr-scammer -avoids-more-jail-time/>, both accessed 28 October 2019. 3 See Jeffrey Bloomer, ‘What Should We Make of Call Me by Your Name’s Age-gap Relationship?’, Slate, 8 November 2017, <https://slate.com/human-interest/2017/11/the-ethics-of-call-me-by-your-names-age-gap-sexual-relationship -explored.html>, accessed 28 October 2019. 4 Samuel Van Grinsven, ‘Directors Statement’, in Sequin in a Blue Room press…

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dawn of the dad masculinity and maturity in abe forsythe’s little monsters

‘I never set out to make a zombie movie, it kind of just ended up happening,’ Little Monsters (2019) writer/director Abe Forsythe told film website Den of Geek last year, ‘but it happened in a really organic way, because it just fed into this stuff about my son, and his first year of kindergarten, and everything he’s taught me.’1 Forsythe is best known for skewering Australian national myths. He wrote and directed the provocative race-riot satire Down Under (2016) and the buffoonish Ned Kelly spoof Ned (2003). By comparison, Little Monsters is not directly concerned with Australian identity – but it is shot through with Forsythe’s recognisably impertinent humour. As he explained to the website Screen Rant, the film was made independently, with a majority-Australian creative team, but closely followed the…