Do the constraints placed upon artists by small format media platforms allow creativity to flourish or fail? This is the question I attempted to answer in the latest Buzz Track podcast along with co-host Harrison Murray and guest Adrian Ortega. But, as always, the conversation meandered amongst a range of interesting topics. In this episode you
Film festivals often claim to be motivated by a desire to put a spotlight on emerging talent but restrictive entry requirements can mean that entering is a big gamble for the very independent films they wish to exhibit. Are film festivals really encouraging new talent or could it be a marketing ploy?
New Australian film The Dream Children tackles topics of same-sex marriage and adoption rights. Now showing at the Melbourne Queer Film Festival, the film had its world premiere recently and was well received. However, underlying the celebration was the sombre realisation that in the six years between shooting and the launch, not much has changed in
That’s right, baby, I’ve hit the big time! Channel 31. Okay, okay, I’m being facetious. For those of you outside Australia, Channel 31 is a community-run television station. Anyone can make their own show for this channel, but that doesn’t make me any less proud to have been invited on Harmony in Diversity. The show
The web series: it’s a relatively new format of film-making born from the rise of digital technology. Around since the 1990s (remember the bizarreness of early flash animation web series like Pork Chops?), the web series is only just starting to gain recognition. In the past few years a number of festivals have sprouted up
The following is a long-form academic essay that looks at the commonalities and differences between the films Django Unchained and Boss Nigger. Whenever I can find the time I just love delving deep into the world of film theory and analysis: stripping a film right back to its bare bones to see if I can