(Love that Kevin-actor, in Lord of the Rings his pure unflawed righteous Frodo is too rediciously played (Right, Ilin?!). While Neorealism and New Wave (as well as Dogme 95) would reject the institutional system of Hollywood giving no artistic freedom, the digital mastering of film can exist also outside of Hollywood as tools and remixing culture is getting more widespread.īy the way, still waiting for Sin City 2 after enjoying Sin City, another great film/animation:
(Almost relevant: For everybody: Google SketchUp and jumpcut offering film editing online)Įven Russian Ark, this one and a half hour long dreamy shot of a movie ends in a digitally created image, the films great metaphor: on board a floating ark. However, the shift to digital media affects not just Hollywood, but filmmaking as a whole.” “Until recently, Hollywood studios where the only ones who had the money to pay for digital tools and for the labor involved in producing digital effects. Is it truth in front of the camera? Lie! Where is my special effects? Lev continues: Neorealism and New Wave, go home with your everydayness and auteur-eyes and take your pastiche of dogme 95 with you! It is no longer an indexical media technology but, rather, a subgenre of painting.” (pp295) What the digital age offers cinema is that it “no longer can be clearly distinguished from animation. The digital cinema is in a way a return to the early days of cinema, when backgrounds where handpainted walls. This project was assisted through Arts Tasmania by the Minister for the Arts, and presented as part of the Tasmanian International Arts Festival.Lev Manovich provides good reflections on the film making process in his The Language of New Media. Salamanca Arts Centre acknowledges the support of The City of Hobart and Contemporary Art Tasmania’s Exhibition Development Fund.
Special sections on queer TV the pandemic and pedagogy media activism India and Pakistan film for a pandemic media historicity confrontation. Pioneers since 1974, analyzing media in relation to class, race, and gender. This project was assisted through Arts Tasmania by the Minister for the Arts and presented as part of the Tasmanian International Arts Festival. Looking at media in its social and political context. Maitland Regional Gallery (NSW) 6 May – 23 July 2017īenalla Art Gallery (VIC) 12 August – 15 October 2017īurnie Regional Art Gallery (TAS) 10 November- 17 December 2017 Western Plains Cultural Centre, Dubbo (NSW) 4 February – 26 March 2017 Mildura Arts Centre (VIC) 8 September – 6 November 2016 The Tour will be coordinated by Contemporary Art Tasmania Touring.Ĭhristian Thompson (SA/Australia/currently UK)Įxhibition opened by Her Excellency Professor the Honourable Kate Warner AMĪfter its debut in Hobart, the exhibition will tour regional galleries across Australia and Tasmania in 2017-2018, coordinated by Contemporary Art Tasmania (CAT). The exhibition includes new commissioned works by Julie Gough and James Newitt, and is available to tour to regional and metropolitan galleries across Australia. Sarah Thomas has held the positions of Curator of Prints, the University of Melbourne and Curator of Australian Art, Art Gallery of South Australia. The curatorial focus of the exhibition extends upon the research interests of curator Sarah Thomas, her PhD research and her research role at Tate Britain.
The Tasmanian artists are Julie Gough, James Newitt, Yvonne Rees-Pagh and Geoff Parr. Ultimately, it will raise larger questions around the nature of post-colonial identity in an increasingly globalised and globalising world. While the artists are all finely attuned to the histories and politics of their own region, the exhibition will reveal profound and sometimes surprising confluences. Others are keenly attuned to the nuances and contemporary resonance of the colonial archive- Julie Gough (Australia), Daniel Boyd (Australia) and Lisa Reihana (New Zealand)-while Yvonne Rees-Pagh (Tasmania) examines some of the deep wounds of ‘empire’, as manifested in racist stereotyping and modern forms of frontier violence. Several of the artists explore multiple identities through performance and photography, including Fiona Foley (Australia), Christian Thompson (Australia), Charles Campbell (Jamaica), Kent Monkman (Canada), and Ewan Atkinson (Barbados). It incorporates a diversity of views ranging from melancholic eulogies to passionate and sometimes scathing commentaries on the complex legacies of British occupation. This exhibition considers a range of contemporary responses to British colonisation from indigenous and diasporic artists living in Australia, New Zealand, Jamaica, Barbados, Britain and Canada. And part of the Tasmanian International Arts Festival ( Ten Days on the Island) 2015