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AbstractHistoryArchive Description
Notes
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World premiere at the Sydney Film Festival 8-19 June 2011.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films
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.
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Chasing the Dragon's Tail : Sino-Australian Film Co-productions
2016
single work
criticism
— Appears in: Media International Australia , vol. 159 no. 1 2016; (p. 73-82)'Sino-Australian film co-production was founded on a treaty signed in 2007 and implemented in 2008. This article looks at the impetus for Australian and Chinese film-makers to work together and analyses the challenges of Sino-Australia treaty co-production. It addresses the question of why only a few low-profile films have been made after several years. The rewards from the Chinese market remains elusive, but valuable lessons have been learnt. The two case studies examined by this article illustrate Australia’s junior partnership with China.'
Source: Sage Publications.
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Strong Selection for Second AACTA Awards
2012
single work
column
— Appears in: The Australian , 29 August 2012; (p. 15) -
Special Delivery
2011
single work
biography
— Appears in: The Weekend Australian , 29 - 30 October 2011; (p. 14) 'Pauline Chan had more on her mind than trifling medical issues after taking a heavy fall down a staircase. As the director of 33 Postcards recovered in July from her New York tumble, she fretted about how she would make it to Australia two weeks later. Her film, the first SinoAustralian joint production to win distribution in this country after the 2007 signing of a bilateral treaty of co-operation, was to have its premiere at the Melbourne International Film Festival' (14). -
Thinking Big
2011
single work
review
— Appears in: The Weekend Australian , 20 - 21 August 2011; (p. 14-15)
— Review of 33 Postcards 2011 single work film/TV
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Thinking Big
2011
single work
review
— Appears in: The Weekend Australian , 20 - 21 August 2011; (p. 14-15)
— Review of 33 Postcards 2011 single work film/TV -
Filmmakers Say Hello to Chinawood
2011
single work
column
— Appears in: The Sydney Morning Herald , 8 June 2011; (p. 18) -
Special Delivery
2011
single work
biography
— Appears in: The Weekend Australian , 29 - 30 October 2011; (p. 14) 'Pauline Chan had more on her mind than trifling medical issues after taking a heavy fall down a staircase. As the director of 33 Postcards recovered in July from her New York tumble, she fretted about how she would make it to Australia two weeks later. Her film, the first SinoAustralian joint production to win distribution in this country after the 2007 signing of a bilateral treaty of co-operation, was to have its premiere at the Melbourne International Film Festival' (14). -
Strong Selection for Second AACTA Awards
2012
single work
column
— Appears in: The Australian , 29 August 2012; (p. 15) -
Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films
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.
-
Chasing the Dragon's Tail : Sino-Australian Film Co-productions
2016
single work
criticism
— Appears in: Media International Australia , vol. 159 no. 1 2016; (p. 73-82)'Sino-Australian film co-production was founded on a treaty signed in 2007 and implemented in 2008. This article looks at the impetus for Australian and Chinese film-makers to work together and analyses the challenges of Sino-Australia treaty co-production. It addresses the question of why only a few low-profile films have been made after several years. The rewards from the Chinese market remains elusive, but valuable lessons have been learnt. The two case studies examined by this article illustrate Australia’s junior partnership with China.'
Source: Sage Publications.