Pioneering Australian Women Filmmakers: Introduction Eloise Ross July 2017 Pioneering Australian Women “I just close my eyes and a sing, and I feel like I’m above the crowd.” - Jo Kennedy as Jackie Mullens, Starstruck (Gillian Armstrong, 1982) Made i...
“Film is the Art Form of Today”: An Interview with Nadia Tass Isabella McNeill July 2017 Pioneering Australian Women There are only a handful of filmmakers in Australia whose careers share the longevity of director Nadia Tass. In collaboration with her writer-produce...
Girls on Film: Growing Up with Cinema Papers Alexandra Heller-Nicholas July 2017 Pioneering Australian Women The first dedicated film magazine I ever bought was in March 1988, Issue #68 of the Australian publication Cinema Papers. Nick Cave was on the cover t...
Claudia Karvan: The Girl Most Likely Alexandra Heller-Nicholas July 2017 Pioneering Australian Women Across her 34-year career, actor Claudia Karvan has become one of the most familiar faces on Australian screens, winning numerous awards and becoming ...
Questioning the “Strong Female Character”: Gillian Armstrong’s High Tide (1987) Blythe Worthy July 2017 Pioneering Australian Women In the late ‘70s and early ‘80s, when the Australian Film and Television School (AFTRS) program was in full swing and the Sydney Women's Film Group wa...
High Spirits: Jo Kennedy in Starstruck (Gillian Armstrong, 1982) and Tender Hooks (Mary Callaghan, 1989) Eloise Ross July 2017 Pioneering Australian Women Before Baz Luhrmann presented Sydney’s Coca Cola sign as a glittering icon and made it as famous as the city’s Harbour Bridge, other filmmakers had al...
Floating Life: The Heaviness of Moving Stephen Teo July 2017 Pioneering Australian Women Another meditation on migration, but this time also sketching a possible Asian-Australian cinema.
Girlhood Wild and Queer: Ana Kokkinos’s Only The Brave (1994) Whitney Monaghan July 2017 Pioneering Australian Women Ana Kokkinos’ short feature film Only The Brave (1994) opens in darkness with an expressive soundscape composed of soft, breathy murmurs and indetermi...
“Gentle, Tender, Rough, Kind and Cruel”: An Interview with director Mary Callaghan on Tender Hooks (1989) the editors July 2017 Pioneering Australian Women The following is an excerpt from the official press kit for the late Mary Callaghan’s Tender Hooks (1989). Courtesy Ronin Films. DVDs available from R...
Trust Your Instinct: An Interview with Ann Turner Craig Martin July 2017 Pioneering Australian Women Set in the Melbourne suburb of Surrey Hills during the summer of 1958, Ann Turner’s remarkable 1988 debut feature Celia follows eponymous nine-year ol...
Monsters, Masks and Murgatroyd: The Horror of Ann Turner’s Celia Craig Martin July 2017 Pioneering Australian Women Abstract >> In a recent interview with Ann Turner, she shared with me her journey from disappointment to cordial acceptance of the promotion ...
The Spectre at the Window: Tracey Moffatt’s beDevil (1993) Kate Robertson July 2017 Pioneering Australian Women Tracey Moffatt is one of Australia’s most successful artists, and has been producing ground-breaking film, photography and video work for almost thirt...
Into the Light: Hope, Despair and Haunted Doubles in Laurie McInnes’s Broken Highway (1993) Josh Nelson and Alexandra Heller-Nicholas July 2017 Pioneering Australian Women Laurie McInnes’s 1993 film Broken Highway is Australian Gothic at its simultaneously most brutal and beautiful; it is a Nick Cave song come to life. T...
Adventure Time: On Guard (Susan Lambert, 1984) Alexandra Heller-Nicholas July 2017 Pioneering Australian Women The slightest spirit of ye olde timey explorer boils within when one ‘discovers’ a movie with little online imprint. Susan Lambert’s 1984 feminist ter...
