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Metro No. 194

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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3 мин.
creativity grows from adversity

Final Portrait In 1964, while on a short trip to Paris, the American writer and art-lover James Lord (Armie Hammer) is asked by his friend, the world-renowned artist Alberto Giacometti (Geoffrey Rush), to sit for a portrait. The process, Giacometti assures Lord, will take only a few days. But that’s not taking into account Giacometti’s capricious pursuit of perfection. Directed by Stanley Tucci, FINAL PORTRAIT is a bewitching portrait of a genius, and of a friendship between two men who are utterly different, yet increasingly bonded through a single, ever-evolving act of creativity. It is not only the story of a touching and offbeat friendship, but, seen through the eyes of Lord, a uniquely revealing insight into the beauty, frustration, profundity and, at times, downright chaos of the artistic process. (M) “A…

14 мин.
not so wedded to tradition ali’s wedding , the ‘ethnic rom-com’ and realistic representation

We in the Lebanese community are particularly fixated on seeing ourselves in the spotlight. While we will settle for any representation at all, our chests puff up with pride when someone who is famous and well loved shares our ethnic background. Talk to nearly any Lebanese person about famous people from our community and they’ll start animatedly reciting a list of celebrities: Shakira, Salma Hayek, Carlos Slim, Amal Clooney, Ralph Nader, Wentworth Miller, Tony Shalhoub, Vince Vaughn, Zoe Saldana. The fact that, for many years, we’ve also laid claim to Keanu Reeves, even though his only tie to Lebanon is that he was born in Beirut, tells you everything you need to know about our desire for representation. There’s something powerful about seeing people who look like you on the silver…

11 мин.
the complexities of confinement gender, abuse and cate shortland’s berlin syndrome

Why didn’t she just leave? they might ask. Didn’t she know better? We all like to imagine that, if we found ourselves in the sorts of physically or emotionally violent situations that we hear about on the news and see in the movies, we would be strong enough to extricate ourselves. That we are smart enough to not be hoodwinked in the first place, or have the strength to leave, or have the power to escape. But, as we saw in this year’s much-talked-about HBO miniseries Big Little Lies, which courted media attention and controversy for its depiction of domestic violence, it is rarely that simple. In these situations, there are often dozens of unknowable answers to unaskable questions. To interrogate why somebody, say, doesn’t just walk away from an abusive…

11 мин.
silent scars seeking restitution in tori garrett’s don’t tell

Has any other matter received such persistent and disturbing attention in media reportage these days as the sexual abuse of children in schools, most commonly boarding schools? Two equally repulsive aspects of this phenomenon are the lasting emotional and psychological scarring that seems to become the lot of the victims as well as the urge of the institutions at fault to cover up offences in order to preserve their public image. Now we have an admirable Australian film that takes on this difficult subject. Based on a real-life case, Tori Garrett’s feature debut, Don’t Tell (2017), takes a serious theme and treats it with impressive intelligence and fair-mindedness. This is a film that deserves much more attention than it seems to have received. And I don’t want to make this…

14 мин.
live performance acting and adaptation in alison maclean’s the rehearsal

‘All the world’s a stage’ is one of Shakespeare’s most famous lines, even more relevant in social-media-mediated twenty-first century life than it was when he wrote it in 1599. Yet, if that maxim has been so often repeated as to seem hackneyed, New Zealand writer Eleanor Catton audaciously reclaimed its resonance with her debut novel, 2008’s The Rehearsal. Written, as her Master’s thesis, when she was just twenty-one, it’s about students at a drama school who are put through their paces, and contains ‘post-structuralist ideas’ that she sought to apply to the adolescent female experience. What resulted was a work in which chronology is jumbled; plotlines bleed into one another; and ‘performance’ and ‘reality’ are deliberately confused, stage directions and theatrical effects employed even when stories aren’t playing out in…

11 мин.
raising the barre dance academy on the small and silver screen

Dance Academy, which ran for three seasons on the ABC from 2010 to 2013, is one of Australia’s most successful cultural exports in recent years. The television series, produced by Werner Film Productions, has aired in around 180 territories, attracted a substantial fan base worldwide, and received both local and international critical acclaim. Thanks to this success, Dance Academy has made the rare leap onto the big screen: released in Australia in April this year, Dance Academy: The Movie (Jeffrey Walker) stands as the storyline’s epic conclusion, tying up the loose ends left by the series. The feature is also a test of the show’s enduring global appeal, as well as of its lasting impact on Australia’s screen industries. The series follows ambitious young dancer Tara Webster (Xenia Goodwin) after she…