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James Robert Douglas James Robert Douglas i(7883109 works by)
Gender: Male
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Works By

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1 Lake Mungo : Has Australia Completely Forgotten about Its Best and Scariest Home-grown Film? James Robert Douglas , 2021 single work column
— Appears in: The Guardian Australia , 27 July 2021;

'Little trace is left of this 2008 indie movie in its home country, despite it developing a cult following overseas for being truly terrifying.' (Introduction)
1 Leaving Home : Kennedy Miller in Melbourne James Robert Douglas , 2017 single work essay
— Appears in: Senses of Cinema , December no. 85 2017;

Kennedy Miller has been located in Sydney since the early 1980s, when its reputation as Australia’s most successful production house was established. But its origins and trajectory as a company are intimately tied to Melbourne. Drawing on textual, historical, and archival sources, I argue that Melbourne’s screen culture and industry at the time of the Australian film revival played a fundamental key role in shaping the abilities and sensibilities of the company’s founders, George Miller and Byron Kennedy.
1 Three Summers Review – Ben Elton's Folk Music Festival Comedy Misses a Few Notes James Robert Douglas , 2017 single work essay
— Appears in: The Guardian Australia , 15 August 2017;

'A roll call of Australian talent fills out this slight and sunny love story but while the jokes arrive at a steady pace, more than a few fall short of their mark. '
1 Spin Out First-look Review : Tim Ferguson Dials up the Ocker in Sweet but Parochial Feature Debut James Robert Douglas , 2016 single work review
— Appears in: The Guardian Australia , 29 August 2016;
— Review of Spin Out Tim Ferguson , Edwina Exton , 2016 single work film/TV 'Gags come thick and fast and the young cast slip easily into sturdy character types in a slick rom com set at a ute muster and a bachelor and spinster ball.'
1 Gillian Armstrong : I Used to Think, 'I Did It, Why Can't All the Other Women?' James Robert Douglas , 2016 single work column
— Appears in: The Guardian Australia , 30 August 2016; 'The director has been given CinefestOz’s Screen Legend award – the first woman to feature in its walk of fame'
1 Jasper Jones First Look Review – Spielberg Meets Stranger Things in Australian Coming-of-Age Tale James Robert Douglas , 2016 single work review
— Appears in: The Guardian Australia , 25 August 2016;
— Review of Jasper Jones Shaun Grant , 2016 single work film/TV
1 Everywhere I Look by Helen Garner Review – Elegant Reflections on Life, Writing and Russell Crowe James Robert Douglas , 2016 single work review
— Appears in: The Guardian Australia , 22 March 2016;
— Review of Everywhere I Look Helen Garner , 2016 selected work essay
1 An Interview with Christine Kenneally James Robert Douglas (interviewer), 2015 single work interview
— Appears in: The Lifted Brow , June no. 26 2015; (p. 69-72) 'Christine Kenneally is a journalist. After completing a Bachelor's Degree in Linguistics in Melbourne, Kenneally pursued a PhD at the Universiš of Cambridge, and subsequently moved to the United States and turned to journalism. While living in New York, she produced pieces for the New York Times, New Scientist, Slate, and Time. Her account of the Black Saturday bushfires, wri€en for thŠe New Yorker, was collected in ŠBest Australian Essays 2010. Since moving back to Melbourne she has published in Šthe Monthly, and now holds the title of contributing editor at BuzzFeed News. In 2007 she published her first book, ŠThe First Word, an account of developments in the field of linguistics that have lead to recent research on the origins of language. Her second book, ŠThe Invisible History of the Human Race, was published in 2014, and offers what might be thought of as an introduction to modern studies of inheritance, in which Kenneally describes how innovations in genetic research have expanded popular and personal understandings of ‘what gets passed down’. It was shortlisted for the Stella Prize. Kenneally’s prose is uncommonly lucid both in its unpacking of thorny scientific concepts, as well as in its account of the significance of these concepts to our culture at large. Thickly larded with anecdote—both personal and historical—her writing offers an exemplary union of science and storytelling. This interview took place at Ms. Kenneally’s studio in Melbourne.' (Introduction)
1 An Excerpt from an Interview with Amiel Courtin-Wilson James Robert Douglas (interviewer), 2014 single work interview
— Appears in: The Lifted Brow , September/October no. 24 2014; (p. 76-77) ' Amiel Courtin-Wilson is an Australian artist and filmmaker. He is the director of five features, and over twenty shorts. His first film, Chasing Buddha (2000), a documentary portrait of his Buddhist nun aunt, was produced at the age of nineteen and premiered at the Sundance Film Festival. Since then, he has made Bastardy (2008), a documentary about troubled indigenous actor Jack Charles, and Hail (2011), a fictional feature inspired by the life of its star, Daniel P. Jones, which premiered at the Venice Film Festival. Courtin-Wilson’s work—in both documentary and fiction forms—is characterised by its combination of realist drama with trance-like poetical interludes, as well as a clear-eyed and empathetic authorial interest in lives lived on the edge. Hail begins as a kind of straightforward narrative about the difficulties of postprison life, but it eventually dissolves into a violent swirl of impressionistic imagery and harsh soundscapes. Its centerpiece image is a mordantly beautiful shot of a dead horse hurtling through the atmosphere toward the earth’s surface. His latest film, Ruin (2013), co-directed with Michael Cody, is a fictional narrative about two lovers on the run, set and filmed in Cambodia. The interview took place in the wine bar Tasman Quartermasters in Hobart, with the assistance of the Dark Mofo festival. ' (Introduction)
1 An Excerpt from an Interview with Romy Ash James Robert Douglas , 2014 extract interview
— Appears in: The Lifted Brow , April no. 22 2014; (p. 72)
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