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Held in New York, the first Women in Screen Workshop brought eight aspiring Australian and US filmmakers together to learn from experienced professionals on how to make their mark in [...]

Looking into the life and career of controversial cartoonist Michael Leunig, this documentary is, as its title suggests, an incomplete picture--one somewhat captive to the whims and selective participation of [...]

Over just four features and one TV series, Japanese anime auteur Satoshi Kon left a lasting legacy on world cinema, 2D and live-action alike, Ten years on from the filmmaker's [...]

THE FINAL WORK OF FAMED SENEGALESE AUTEUR OUSMANE SEMBENE, THIS DRAMATISATION OF WOMEN'S RESISTANCE AGAINST THE PRACTICE OF FEMALE GENITAL MUTILATION EVADES FAMILIAR WESTERN DICHOTOMIES REGARDING TRADITION AND PROGRESS. RATHER. [...]

Andrei Tarkovsky is one of the most renowned filmmakers of all time, albeit with a daunting reputation for being a master of slow cinema and the formidably esoteric. When describing [...]

The first black women filmmakers frequently remain unacknowledged for their contributions to the early years of black cinema. This essay examines the life and career of Alice Russell Micheaux (wife to black filmmaker Oscar Micheaux) who worked for the Micheaux Film Company between 1926 and 1948, where she served in a variety of capacities. Given her contributions, this essay argues that she deserves recognition among other early black women filmmakers in her own right as a significant film pioneer whose involvement propelled the development of this emergent cinema. I consider her formative years as the daughter of black newspaper editor and publisher Robert Russell, explore her adult years in Montclair, New Jersey, and critique the services she provided to the Micheaux Film Company KEYWORDS: Alice Russell Micheaux, Oscar Micheaux, black women film makers, Robert Russell, North Carolina newspapers, black film history, To elevate Alice Micheaux, African American film producer, actress, and screenwriter, to her rightful place in film history, it is necessary to examine her contributions to the cinema industry and [...]

ON JULY 27, 1966, THE RENOWNED Turkish film director Halit Refig angrily left a panel discussion on Turkish cinema. Organized by the film writers' association Sinematek, the panel was titled [...]

IN MAY 2019, a group of illustrators, filmmakers, photographers, book artists, and folk artists from West Wales exhibited their work at the Monongalia Arts Center in Morgantown, West Virginia. The [...]

Claire Denis may well be the greatest female filmmaker in the history of cinema - but what's for sure is that she hates that label. 'When you say 'female director' [...]

An outsider's take on a quintessentially American genre, this revisionist western juxtaposes explorations of character and familial relationships with the expected vast landscapes, unsettled scores and violent confrontations. Speaking to [...]

SOME OF WORLD CINEMA'S MOST CELEBRATED FILMMAKERS HAVE TUMULTUOUS TIES WITH THEIR HOMELANDS, AND ISRAEL'S NADAV LAPID --WHO HAS MADE THREE FEATURES TO DATE, INCLUDING 2019 GOLDEN BEAR WINNER SYNONYMS--IS [...]

OSTENSIBLY A FILM ABOUT A MISSING FEMALE POET, SLAM UNFOLDS INTO A SAGA ABOUT DUTY, GRIEF AND THE NEED TO STAND UP FOR ONE'S CULTURE, RELIGION AND SENSE OF SELF. [...]

A RICH RETELLING OF THE LONG-BELOVED--AND LITERALLY SLAPSTICK--PUPPET SHOW, JUDY & PUNCH CAPTURES THE SMALL-MINDED HOSTILITY AND DOMESTIC ACRIMONY KINDLED BY PAROCHIALISM AND THE PATRIARCHAL SUBJUGATION OF WOMEN. IN CONVERSATION [...]

After four decades of obscurity, American singer-songwriter Van Duren is finally receiving the attention he deserves thanks to the commitment of two Australian fans-turned-filmmakers. Barnaby Smith recounts the pair's mission [...]

Virtual reality offers significant opportunities for expansive world-building, particularly in counterpoint to cinema's adherence to the single perspective of the filmmaker. As these VR works by Lynette Wallworth and Joan [...]

Following her experience of the Virginia Tech campus shooting in 2007, filmmaker and librarian Ashley Maynor set out to explore the phenomenon of temporary memorials and so-called 'grief archives' using both documentary filmmaking and other qualitative research methods. She subsequently published her findings about Virginia Tech, Sandy Hook, and other public tragedies as Response to the Unthinkable: Collecting & Archiving Condolence & Temporary Memorial Materials Following Public Tragedies, to help fill a large gap in LIS literature about the best practices for libraries in responding to crises in their communities. In the years since, her opinions and perspectives on archiving the aftermath have been both reinforced and profoundly changed by subsequent tragedies and their influence on our culture and our archival practice. In this work of autoethnography, Maynor weaves her personal experience and methodological research into an essay that argues for more flexibility and less rigidity about any role or responsibility of an archive, library, or individual when a tragedy takes place in their community. Keywords: libraries, archives, disaster studies, tragedy response, active shooter, rapid response, crisis management, curation, emotional labor, autoethnography, Introduction: Our Stories Archives are about being saved. The physical objects that come to live there are the rare ones--a chosen minority that are spared the dumpster, incinerator, or paper [...]