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AbstractHistoryArchive Description
A documentary-style portrait of an 'ordinary' woman, the film seeks to raise questions about the relationship between truth, perception, and identity. In paying homage to the small moment, the snapshot, the ordinary, the film develops images of memory and mortality.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Living Ghosts at the Melbourne International Film Festival
2022
single work
criticism
— Appears in: Senses of Cinema , October no. 103 2022;'It was rather poetic that my first IRL interaction with the festival, on the Sunday of the first weekend, was a much-anticipated, rarest-of-rare screening of The Afterlight (2021). Charlie Shackleton’s film was described in the program as something ephemeral, whose very existence as a single 35mm print only, is entwined with its deterioration. Introducing the film before its first screening, guest of the festival Shackleton noted that the film’s Australian distributors, Conor Bateman and Felix Hubble of Static Vision, had not even yet seen it. Starting with something that explicitly engaged with the ephemerality of cinema, and the cinematic experience, was apt. The Melbourne International Film Festival had been stalled by Covid restrictions not once but twice, thanks to Australia (in particular the festival’s home state, Victoria) having some of the most extensive periods of lockdown across the globe. This was impacted, particularly, by a snap lockdown in August 2021 that led to the cancellation of the entire in-person festival and its replacement in the lacklustre form of an online slate, made severely disappointing, at least for me, by an inadequate and often broken digital viewing platform that had not improved since 2020. With this being MIFF’s first return to an in-person festival with screenings, talks, events, and all other accoutrements since August 2019, my varied experience of it was, as with any other year, enriched by a memorable web of thematic connections between films and to life.' (Introduction)
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Denise Scott : An Extraordinary Woman
2016
single work
biography
— Appears in: Players : Australian Actors on Stage, Television and Film 2016; 'Denise Scott is a storyteller. She tells funny stories about her family and herself. When she talks her large and pretty oval-shaped face lights up, her big blue eyes flashing. Her face is soft, fleshy and friendly, and her stature is small and generously rounded. Scott tells stories about ordinary life and makes them extraordinary. She is obsessed with the idea of ordinariness and its opposite. For more than 30 years she has entertained audiences as a clown, in a comedy troupe, as a stand up comedian, as a radio presenter, game show personality on television and as an actor in several television series. Scott is a gifted physical performer whose energy on stage is radiant. In 2014 Scott presented a full-length show in the theatre called Mother Bare, in which she regaled the audience with stories about her own life. Scott won the prestigious Barry Award for this extravagant one-woman show.' (Introduction)
-
Denise Scott : An Extraordinary Woman
2016
single work
biography
— Appears in: Players : Australian Actors on Stage, Television and Film 2016; 'Denise Scott is a storyteller. She tells funny stories about her family and herself. When she talks her large and pretty oval-shaped face lights up, her big blue eyes flashing. Her face is soft, fleshy and friendly, and her stature is small and generously rounded. Scott tells stories about ordinary life and makes them extraordinary. She is obsessed with the idea of ordinariness and its opposite. For more than 30 years she has entertained audiences as a clown, in a comedy troupe, as a stand up comedian, as a radio presenter, game show personality on television and as an actor in several television series. Scott is a gifted physical performer whose energy on stage is radiant. In 2014 Scott presented a full-length show in the theatre called Mother Bare, in which she regaled the audience with stories about her own life. Scott won the prestigious Barry Award for this extravagant one-woman show.' (Introduction) -
Living Ghosts at the Melbourne International Film Festival
2022
single work
criticism
— Appears in: Senses of Cinema , October no. 103 2022;'It was rather poetic that my first IRL interaction with the festival, on the Sunday of the first weekend, was a much-anticipated, rarest-of-rare screening of The Afterlight (2021). Charlie Shackleton’s film was described in the program as something ephemeral, whose very existence as a single 35mm print only, is entwined with its deterioration. Introducing the film before its first screening, guest of the festival Shackleton noted that the film’s Australian distributors, Conor Bateman and Felix Hubble of Static Vision, had not even yet seen it. Starting with something that explicitly engaged with the ephemerality of cinema, and the cinematic experience, was apt. The Melbourne International Film Festival had been stalled by Covid restrictions not once but twice, thanks to Australia (in particular the festival’s home state, Victoria) having some of the most extensive periods of lockdown across the globe. This was impacted, particularly, by a snap lockdown in August 2021 that led to the cancellation of the entire in-person festival and its replacement in the lacklustre form of an online slate, made severely disappointing, at least for me, by an inadequate and often broken digital viewing platform that had not improved since 2020. With this being MIFF’s first return to an in-person festival with screenings, talks, events, and all other accoutrements since August 2019, my varied experience of it was, as with any other year, enriched by a memorable web of thematic connections between films and to life.' (Introduction)
