Victorian College of the Arts - Research Publications

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    Another Planet a program of Australian video, The Video Data Bank Conversations at the Edge series, media makers, critics, scholars and theorists in dialogue around the most provocative and daring works being produced in media today
    Dr Macarow, K (https://www.realtime.org.au/taking-the-gritty-backlash-to-the-usa/, 2003)
    Another Planet, Martine Corompt, Philip Brophy, Amanda Morgan, sue k, John Billan and Jennifer Sochackyj, Justine Cooper and Joey Stein, a program of Australian video at The Video Data Bank was as part of their Conversations at the Edge series media makers, critics, scholars and theorists in dialogue around the most provocative and daring works being produced in media today. Australian work from 1999 to 2002 was included, presenting a bastardised, glitched, self-reflexive and neo-materialist digital practice which countered the notion of the seminal, and was at odds with the generic and cyberish polish invested in much ‘new’ media art. The emerging gritty backlash to over purposed, under developed, high-end digital art.
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    Bibliomania
    Osman, R (The University of Melbourne, 2007)
    Bibliomania examines hoarding and the pathological compulsion to collect books.
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    Just death is true
    Sylvester, D (various, 2006)
    In 'Just Death Is True' a young woman lies with a blue face pack on, cradling an old fashioned phone against one ear, the thickly applied mask revealing lines in the young woman’s skin. The glazed eyes of the woman and her inability or unwillingness to speak into the phone emphasise the general feeling of entropy in this image, that speaks of youth, time and inevitable mortality.
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    All You Need To Know You Knew Early
    Sylvester, D (Various, 2007)
    'All You Need To Know You Knew Early', is part aphorism and morality tale in a photograph of an interviewer, cameraman, subject and us as viewers. Illustrating that on camera one may adopt gestures while looking into a lens as a subject and proposes that the instant of capture is itself a performance. The camera serves as a silent choreographer, dictating movements.
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    Australia on display: Tracing an Australian identity through the evolving costume design for The Australian Ballet’s production The Display
    Collett, E ; Alsop, R (Intellect, 2007-06-01)
    Abstract The topic of costume for performance as a marker of national identity is in its infancy within the context of theatre studies. As the means by which an audience relates to character and narrative, costume is central to our understanding of identity. Here, we consider costume for performance, specifically for dance, in Australia as an indicator of the developing national identity, using the 1964, 1983 and 2012 Australian Ballet productions of The Display as a case study. The original 1964 costumes were credited to expatriate artist Sidney Nolan, the 1983 version was designed by Sydney fashion designer Adele Weiss and the 2012 remount utilized photographs, written documentation and memories to recreate the original 1964 costumes. By examining the three sets of costumes, we aim to demonstrate how a study of the costumed body offers insights into Australia’s evolving national character.
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    Mike Parr and the discursive rupture: the condemned and punished body as a political strategy in "Close the Concentration Camps"
    AUSTIN, S (Double Dialogues, 2005)
    This paper looks at the historical spectacle of the condemned and punished body and argues that the performance work of Australian artist Mike Parr, entitled Close the Concentration Camps, employs a strategic relationship with this historical image of injured corporeality.
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    The Postman
    Hensler, D ; Bostock, A (The University of Melbourne, Victorian College of the Arts, Film and Television, 2006)
    An elderly postman lives alone and lonely following the death of his wife. An act of kindness towards a young boy opens up his life again through the game of chess. But when the boy moves away, the post takes on a new significance for the postman.
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    Just Desserts
    Hensler, D ; Barlett, G ; Karikari, N (Velvet Films, 2009)
    Just Desserts' is a short film which plays as a darkly comedic thriller. Set in a remote truck stop cafe in Australia's rural hinterland it tells the story of two middle aged sisters and their struggle to overcome the ghosts of their past. The film stars Colette Mann, Wendy Hughes and Stephen Leeder. Collette recieved a Best actress Award at Young At Heart Film Festival for her role as Frances. The film was funded by Film Victoria, Velvet films and Thirdrow films and was written by Gillian Bartlett, produced by Donna Lyon for Velvet Films and directed by Nigel Karikari. 'Just Desserts' has screened widely at international festivals including Interfilm Berlin, Rhode Island, Hollyshorts, Flickerfest and was selected as the supporting short for Bruce Beresford's epic biopic 'Mao's Last Dancer' at the 2011 London Australian Film Festival.
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    SLEE, S (Margaret Lawrence Gallery VCA, 2002)