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form y separately published work icon 52 Tuesdays single work   film/TV  
Issue Details: First known date: 2014... 2014 52 Tuesdays
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AbstractHistoryArchive Description

'16-year-old Billie's reluctant path to independence is accelerated when her mother reveals plans to gender transition and their time together becomes limited to Tuesday afternoons. Filmed over the course of a year, once a week, every week - only on Tuesdays - these unique filmmaking rules bring a rare authenticity to this emotionally charged exploration of desire, responsibility and transformation.'

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

'It Was the Summer When Everything Changed …' : Coming of Age Queer in Australian Cinema Kelly McWilliam , 2018 single work criticism
— Appears in: Australian Screen in the 2000s 2018; (p. 191-206)
Gender Matters : Gender Policy and the Rewriting of the Mother–Daughter Narrative in Contemporary Australian Women’s Filmmaking Jodi Brooks , 2018 single work criticism
— Appears in: Australian Screen in the 2000s 2018; (p. 143-164)
Examines three recent Australian films by women film-makers, arguing that they reimagine or reinvent Australian cinema 'through the ways in which they rethink linear time and generational succession' (p.144).
Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films Lauren Carroll Harris , 2017 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)

This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.

Proud in the Middleground : How the Creative Industries Allow the Melbourne Queer Film Festival to Bring Queer Content to Audiences Stuart Richards , 2016 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 10 no. 1 2016; (p. 129-142)
'The Melbourne Queer Film Festival's (MQFF) growth makes it a key example of an arts organisation embracing the creative industry. MQFF pursues corporate sponsorship to achieve economic sustainability and, in doing so, functions as an interesting case study for the conceptual shift from a traditional cultural policy framework – emphasising access, equity and grassroots representation – to a creative industries logic. The creative industries support a cultural policy that acknowledges the economic benefits of public participation. This development has seen a commodification of queer culture in order to add value to Melbourne's cultural identity. Queer film festivals are one of the main avenues for the distribution of queer cinema. This article will argue that the success of the festival is an outcome of its evolution and that it now occupies the middleground between community and neoliberal corporate interests. For such an organisation to be successful, financial and social values must be treated with equal importance. The queer film festival is an important and financially viable alternative to mainstream distribution of queer films. Film festivals that cater for a minority community represent a primary means of exhibition for many films that would otherwise struggle for distribution. This is evident in MQFF's support of three recent Australian queer feature films: 52 Tuesdays, Submerge and Monster Pies. MQFF is a socially legitimate avenue for distributing films that would not otherwise reach such a wide audience. MQFF moves underground queer content into a formal, commercial realm.' (Publication abstract)
'I Will Survive!' : Australia's 10 Best LGBT Films Luke Buckmaster , 2016 single work review
— Appears in: The Guardian Australia , 7 April 2016;

— Review of The Getting Of Wisdom Eleanor Witcombe , 1978 single work film/TV ; The Sum of Us David Stevens , 1994 single work film/TV ; 52 Tuesdays Matthew Cormack , Sophie Hyde , 2014 single work film/TV ; The Adventures of Priscilla, Queen of the Desert Stephan Elliott , 1994 single work film/TV ; Head On Andrew Bovell , Ana Kokkinos , Mira Robertson , 1998 single work film/TV ; Love and Other Catastrophes Stavros Kazantzidis , Yael Bergman , 1996 single work film/TV ; Remembering the Man Eleanor Sharpe , Nick Bird , 2015 single work film/TV ; The Suicide Theory Michael J. Kospiah , 2014 single work film/TV
The Real Deal Sandra Hall , 2014 single work review
— Appears in: The Sun-Herald , 27 April 2014; (p. 9)

— Review of 52 Tuesdays Matthew Cormack , Sophie Hyde , 2014 single work film/TV
Hero's Guide to Transformation Evan Williams , 2014 single work review
— Appears in: The Weekend Australian , 26-27 April 2014; (p. 15)

— Review of 52 Tuesdays Matthew Cormack , Sophie Hyde , 2014 single work film/TV
A Tuesday in the Life of Rising Stars Michael Bodey , 2014 single work column
— Appears in: The Australian , 30 April 2014; (p. 15)

— Review of 52 Tuesdays Matthew Cormack , Sophie Hyde , 2014 single work film/TV
Well-Intentioned Transgender Story Falls Flat Transgender Story a Good Idea, Pity About the Execution Jake Wilson , 2014 single work review
— Appears in: The Sydney Morning Herald , 1 May 2014; (p. 30) The Age , 1 May 2014; (p. 31)

— Review of 52 Tuesdays Matthew Cormack , Sophie Hyde , 2014 single work film/TV
A Year in the Life Craig Mathieson , 2014 single work review
— Appears in: The Sydney Morning Herald , 2 May 2014; (p. 8)

— Review of 52 Tuesdays Matthew Cormack , Sophie Hyde , 2014 single work film/TV
2003 Fires a Backdrop to Berlin Film Festival Entry Garry Maddox , 2013 single work column
— Appears in: The Canberra Times , 14 December 2013; (p. 5)
'Screen Worship' : The 2013 Adelaide Film Festival Kath Dooley , 2013 single work essay
— Appears in: Senses of Cinema , December no. 69 2013;
Sundance Directing Award for Australian Ed Gibbs , 2014 single work column
— Appears in: The Sydney Morning Herald , 27 January 2014; (p. 9)
Australian Film Takes First Prize in Teenager's Section of Berlin Festival 2014 single work column
— Appears in: The Canberra Times , 16 February 2014; (p. 12)
De Heer's Story of Country Helps Heal Penelope Debelle , 2014 single work column
— Appears in: The Advertiser , 19 April 2014; (p. 4)
Last amended 11 Mar 2015 09:59:55
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