Metro

PETER TAPP editor@atom.org.au ADOLFO ARANJUEZ metro@atom.org.au DAVID HESLIN LIZ GIUFFRE DAN GOLDING ROCHELLE SIEMIENOWICZ PASCALE VAN BREUGEL ZAK HAMER online@atom.org.au ANNE VAN DER SANDEN TRACY CHEN ANGIE CHAN ANNELIZ ERESE SHENZHEN TIAN HONG PRI

I could talk about Metro. Except I’ve commissioned seventeen stellar contributors to do just that, so, instead, let me tell you about the person currently responsible for putting it together. One of the first things I did when I landed the Metro edit

I was offered the job of editing and running Metro in late 1988, originally for just two to three days a week. At the time, I was working at Cinema Papers as joint editor with Philippa Hawker. Prior to that, I had edited and published Filmviews magaz

Our beloved teaching association didn’t really take off until the Association of Teachers of Film Appreciation (ATFA), founded in 1963, became the Association of Teachers of Film and Video (ATFAV) in 1974 and Metro in its current form was born. ATOM

This excerpt has been reprinted from Metro’s 100th issue (Summer 1995) with minor adjustments. In memory of Wayne Levy (1944–2003). Little did a small group of educators / film enthusiasts sitting around drinking coffee in Ed Schefferle’s office at

‘Whitlam!’ That’s the one word that best captures Metro’s journey in the 1970s. When I first met Metro in 1973 – before it was even officially known as Metro – it was a roneoed newsletter created by a handful of passionate teachers who shared overlap

Reaching deeply into both academia and industry, Metro has been a bridge between the two for more than fifty years. It provides a unique and extremely important cultural record that, since 1963, has authoritatively documented the shifts and changes i

Metro has long held an esteemed place in the Australian screen industries, as it is one of the only publications that devotes significant attention to local releases at every level. Less obvious, but just as important, is the contribution Metro makes

The original aim of the essays in Metro’s National Film and Sound Archive of Australia (NFSA) series was to provide definitive accounts of Australian films that were important during the ‘revival’ of the 1970s and 1980s, but it has now gone well beyo

As highlighted throughout Mark Hartley’s entertaining, exhaustive documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008; M158), Australian genre films faced substantial prejudice during their rise in the 1970s and 1980s. Afte

One of the things I love, as a Sydney-based screen fan and analyst, is seeing how the negotiation between place, media form and content has played out over the time Metro has been in existence. Sydney has at times been a leader, at other times a foll

As I work my way through each new edition of Metro, I see the contents grouped first into articles on Australian cinema and then into a focus on Asia. This suggests some sort of intellectual urgency or specificity of interest for Australians – a clai

The past achievements of the South Australian film industry have long burdened, and threatened to occlude, its present. Writing in Metro in 2006 of 1970s premier Don Dunstan’s ‘Medici-like inspiration’ in establishing the South Australian Film Corpor

For much of Australia’s screen history, genre fare has been ghettoised. On the big screen, horror, science fiction, action and the odd pure fantasy have been largely relegated to the ‘Ozploitation’ rubric – see: Razorback (Russell Mulcahy, 1984), Mad

‘It was a film that everybody was telling me to stop making, the whole time I was making it,’ says director Blue Lucine, referring to her documentary The Eviction, which premiered at the 2018 Antenna Documentary Film Festival. ‘People would say, “No-

After a life lived fighting for queer and women’s liberation as well as championing other marginalised voices, including those of Australia’s Indigenous peoples, 78-year-old Pink Floyd fan and former police officer Nance Peck refuses to be disappeare

‘Friends and flukes have been the making of me.’ So says storied Australian Labor Party (ALP) speechwriter Graham Freudenberg in Ruth Cullen’s The Scribe (2018). Cullen’s documentary is a portrait of the man and his musings on the role that rhetoric