final ASSessment eva !

my BCM325 DA is a short film entitled Chaos Versailles. it is an dark absurdist piece that metaphorically depicts my mental health struggles (especially during covid).

the piece itself has gone through multiple reworkings. originally the plot was supposed to see Chaos being haunted by a shadowy figure. who would consistently be seen hiding in the background. the original script / pitch sought to have Chaos’s narrative depicted within vignette form. with each vignette respectfully being titled as an act, with each signifying Chaos losing control over her intrusive thoughts. which would’ve been illustrated by foreign voices taunting her. the film was set to confuse audiences as to whether it was all in her mind or if there was foul play at hand.

the project almost instantly faced technological issues. and the shadowy figure effect was unable to be utilised. thus, the script went through multiple rewrites. at one point i even emailed Angus to see if i could rework my last DA project into possible footage. the main issue was running time. i didn’t want the project to go over twenty minutes. but i also didn’t want the project to be incredibly reminiscent of previous works. (in the sense that yes this is a series of works, but i don’t want it to just be the same thing over and over again)

the issue was trying to find the balance between working with an absurd genre yet having a plot that could be, at the very least, understood / interpreted. but also, as the first act had been filmed almost instantly. it then became an issue ensuring that the following footage flowed.

[ act i before audio levels were altered ]

the vignette / acts were consistent with every iteration. i decided to go back to my original pitch and rework it, which resulted in the final project we have now. i reworked the original script (act ii) which had the shadow standing behind Chaos while she spoke to Voice. i put it in as an homage to the original idea, but instead cut out her crying when she sees it.

i decided to turn the shadow into a private metaphor. Chaos Versailles is almost a scathing review of my own trauma, so i decided to write / portray Chaos (and the general vibe of the film) as though there was a shadow hanging over. an almost voyeuristic audience interaction. i also then reworked the idea of Chaos’s intrusive thoughts by having Voice be an actual character, rather than just a script notation. i decided to switch the roles around, and break the fourth wall. with Chaos and Voice interacting with each other, no longer questioning what’s reality but rather questioning themselves, the audience and creator.

Chaos was also very, very loosely inspired by the English speaking version of Celestia Ludenburg. i imagined her (had this been a big budget project) as having her aesthetic

[ check out 2:25 – 4:39 ]

this is why anime girls / Celeste were heavily used on the promotional bangel_angel posts / youtube covers ~ ~ ~ ~ twas a cheeky lil homage:

the main purpose of Chaos Versailles in regards to the subject focus was my three focuses on the future:

  • the first being the challenge of mental health depictions in cinema. as i said, Chaos Versailles is an almost scathing review of my mental health, existentialism and intrusive thoughts. the film does not seek to glorify or vilify mental health. but rather depict the raw and honest sensations of one’s stream of consciousness and how it can feel / be absurd but also very thought provoking and intensive. however, my mental health, and my views regarding my mental health, are neither universal nor the default. hence, it was incredibly important to me that i approach this project with sensitivity. as i didn’t want those who did share similar struggles to see this as an attack. and i also didn’t want it to allow neurotypical audiences to assume they could use this material as an attack. which is another reason why Chaos Versailles went through so many rewrites.

thankfully i got so much amazing feedback from my fellow peers! which i helped aid my writing process:

this!

this!

this!

this!

this!

(sorry my wordpress canNOT for the life of her imbed well)

if you’re further interested in other works that inspired Chaos Versailles please, please, please read this extensive blog! it features all the intertextual references / inspirations that inspired my unofficial short film series. as they played a big role in the themes of this film too! and you’ll be able to see how the other works tie into each other! i also incorporated a scene from Possibly In Michigan (1983) in ACT II , check that out below:

[ you’ll notice tho that my Mother’s Crazy Sister Kate audio is more jumpy and glitchy, bc i purposely fucked with the audio to match the glitchy nature of the rest of my film ]

  • secondly, and simply put, i wish to have a future in the film industry. and want Chaos Versailles be apart of my résumé / portfolio

  • and finally the other aspect of the future being how i documented the progression of this film. however, with reflection and absolute honesty. i think i could’ve done much better here. while i think the accommodating art piece of my instagram (bangel_angel) did a good job of interacting with this project / adding to the lore / documenting my progression. i wish i had been able to do a bit more, especially with proper blogs. but as i said, i went through so many script reworks it was hard to find creative ways (or truthfully, effort) to highlight the changes. as having to rework the script so much felt like developmental hell and was at times very disheartening. but i am proud of the work i created on bangel_angel to promote Chaos Versailles as i think the art piece is really cool. and helped add to the creepiness / fourth wall break of the project.

finally, a massive challenge that i think is universal to BCM students is struggling to obtain interactions and audiences. as i discussed in my blog comments part 2: often times so much work goes into our DAs and rarely do we ever get interactions from fellow peers or outside audiences.

and it’s honestly no one’s fault. It’s hard to keep track of each other, and what does blow up is often pure algorithmic luck. i honestly think so many of my peers will agree with that being the general consensus. however, i’m not too pressed with the lack of interaction during session.

i actually think my audience interactions are going to start now. because when i made and released It’s Rude To Write In Red Pen my friends and (especially) family shared it around. currently it has 139 views. which i honestly think is pretty insane / incredible for just a humble university project. so i honestly think the same could happen with this project.

Weakly Tweets ~ ~ Part 2 ~ ~ Stream Butter

The Matrix

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Alita

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REFLECTION:

i don’t honestly have a lot to add / contribute since last time. i feel like the process has been much the same. i’ve thoroughly the enjoyed the experience of live tweeting this semester. and i think we’re all really lucky to be in such an awesome class. because everyone just has so many amazing views and interesting takes. plus a lot of the girls in this class got to bond over feminism, and i think we had some great discussions regarding misogyny and the male gaze in film. plus our class also had to deal with the Alita fans finding us + who could forget our ‘cleaning robot sex dolls discourse’ truly a bonding experience for us all.

as i maintained last reflection: “this experience has been really great because i would like to have a job in the film industry, so it’s been a really modern and interesting experience watching these films while having to live tweet. and probably beneficial for future skills in the industry. so i think this has been a great exercise in critically self-reflecting on how we engage with film and media.

and i feel like that sentiment still rings true at the end of semester. i still went into these films blind in order to really have a sincere tweeting experience and i truly think my interactions reflect the benefit of this tweeting style.

besides humour and genuine reactions. i still think my strengths this semester was feminist discourse, i think i helped generate viewpoints many people wouldn’t have even considered or thought about. there were some people adamant about defending films that made the women in this class feel uncomfortable. i think it’s important that when watching these movies, we understand that we can still like things that perhaps haven’t aged the best. we just need to be critical of the fact that going onwards into the future, we allow women (in all genres) the cinematic respect they deserve.

Bronte’s Weekly Round Up of Tweets She Thought Were Her Personal Best + Some of Her Favourites From Her Peers™

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Ye Olde Fav Tweets of Da Week

BCM331 Final Assessment – In Depth Character Analysis + Info Leonardo DiCaprio Casting

if ur stumbling on this blog being like dude wtf r u talking about. mind ya business, this is for an assessment where i’m pitching a fake film. so if you didn’t see my presentation in class this ain’t 5 u!

CHARACTER PROFILES OF CHARACTERS WHO ARE NOT THE MAIN PEEPS I MENTIONED IN CLASS:

Rebecca Indenbirken:

Rebecca is the 37-year-old wife of Wil. She is native American and works in teaching. Rebecca isn’t as spirituality lost as Wil or disillusioned with her life. But she can’t shake the feeling that something is wrong. She loves Wil very much but feels that the passion has left their relationship. And is aware that their relationship has been dull for a while. Which she mistakes as a phase due to Wil being in a rut. She is incredibly cheerful and loving. But is unsure of what she really wants in life because she’s always lived her life by the guidelines set for her in her youth.

Jasper Williams:

Jasper is 23 years old and one of Heather’s best friends. He is Aboriginal. Jasper is very protective and nurturing of Heather because he worries that she is spiralling due to self-made / family pressure to figure out her life. Unbeknownst to Heather, Jasper has purposely taken all the same classes as Heather not because they were per his degree. But rather so he can ensure Heather has someone she can depend on when the workload gets too overwhelming. As such he is also in Wil’s class, but Heather keeps her affair with Wil a secret from him. Jasper truly believes the two are just friends, and that Wil is helping Heather find solace. Jasper is dating Rosé. His family owns a successful mechanic business, they are very supportive of Jasper having a degree / career in the arts. Jasper likes the idea of being able to do both.

Hannah Pešelj:

Hannah is Heather’s cousin on her Mum’s side. She is of Croatian descent and like Heather is second generation Australian. She suspects that Heather and Wil may be having an affair but chooses to say nothing, because she doesn’t want everything to blow up. She is a high school English teacher in her first year and is twenty-three-years old. She enjoys going out for drinks on the weekend with the friendship group and insists that they try and catch up in person once per week. She is the only one in the friendship group who didn’t study some variation of arts. And is self-conscious that she doesn’t fit in and is only a part of the group because she’s Heather’s cousin.

Rosé Wook:

Rosé is one of Heather’s best friends and Jasper’s girlfriend. She is first generation Australian and of Korean descent. Like Heather’s other friends, Rosé is in the same degree as Heather. However, she, Jasper and Nanami are the only ones in Wil’s class. Rosé is the only person who knows about Heather and Wil’s affair. She keeps it a secret from Jasper which eventually causes conflict. But she doesn’t believe it’s anyone’s business but Heather and Wil. Much like Jasper she is incredibly protective of Heather. However, she is actually pro her relationship with Wil. And actually pushes Wil to leave Rebecca or threatens she’ll sabotage his relationship with Heather. Rosé is an incredibly talented writer and wishes to be an author.

Courtney Lei:

Courtney is one of Heather’s best friends and is twenty-one. She is also first generation Australian and is of Chinese descent. Courtney is a feisty fashionista who studies multimedia.

Nanami Zucchetto:

Nanami Zucchetto is one of Heather’s best friends, she is twenty-two years old and is biracial and trans. She is of Italian and Japanese descent. She is in Wil’s class and doesn’t mistakes Heather and Wil’s relationship as chemistry. She thinks it’s a shame that Wil is married, but merely believes Heather has a crush and that Wil finds Heather attractive. Nanami is obsessed with aesthetics and always dresses very formal. She wants to be an author when she graduates. She is also openly bisexual.

George Malek:

George is one of Heather’s best friends and the boyfriend of her cousin Lucas. He is twenty-six of Egyptian descent and is Muslim. His parents are incredibly accepting of his sexuality and equally loving of Lucas and his family. The gang often go to George’s house for dinner.

Lucas O’Hara:

Heather’s 24-year-old cousin on her dad’s side. He is Aboriginal. He is George’s boyfriend and Drew’s brother. He is incredibly close to Heather’s maternal side, even though he bears no blood relations. And considers Hannah not only his cousin but one of his best friends. Like Heather and her family, he is Catholic. However, he is very active in the Church. Although lately he’s been struggling because his family are so liberal with their religion and accepting. However, members of the community are starting to make crude comments about the fact that he’s gay and that his boyfriend is Muslim.

Drew O’Hara:

Heather’s 22-year-old cousin on her dad’s side. She is Aboriginal. Like her brother Lucas she is incredibly close to Heather’s maternal side of the family. Especially Hannah. She is very close to George and his family, especially his sister Faith.

Faith Malek:

George’s 16-year-old sister.

MASSIVE THINGO I WROTE ABOUT LOML LEONARDO DiCAPRIO THAT GOES WAAAAAY OVER BC I’M A DELUSIONAL FANGIRL WHO KNOWS TOO MUCH:

Now I know that seems incredibly scary, us wanting to cast Leonardo DiCaprio in an Australian role. Especially when DiCaprio is the highest paid actor to have never starred in a sequel, plus has a net worth of $250 million dollars. But! We are very confident in this casting choice. Because it is especially important to note that DiCaprio, although worth $250 million in the Hollywood film industry, does not have a set wage. Throughout his career DiCaprio has been incredibly selective with his roles and incredibly vocal about not choosing projects based off box office promise or possible paycheques. As such if you look at DiCaprio’s roles throughout his career, even very recently with Once Upon in Hollywood, you’ll see consistently differing payments due to him agreeing to take a significant pay cut.

Before we get into why we think casting DiCaprio is an incredibly smart finical decision in the long run (and one we think could help open doors for Australian films internationally) to really ensure that Screen Australia is aware of our research we want to highlight a significant choice in DiCaprio’s career.

Which is the film Inception. Now although we know this film to be a classic, studios originally did not have the same hope. And as such DiCaprio was told he could either pass on the movie or be paid significantly less than what he was worth. DiCaprio thoroughly believed in the film and Christopher Nolan’s vision and took what was considered a gambled deal. In which he agreed to a significantly smaller salary but chose to have shares in all back-end points off worldwide gross + DVD sales and pay-T.V. revenue.

Now that DiCaprio has his own production company, we know that in addition to what we’re asking of Screen Australia. Appian Way will also contribute. However, we still know that this modest Australian film will not be remotely on par with perhaps an American indie. Thus, would be offering DiCaprio a similar deal. To ensure that he is earning back on his Appian Way contributions and also to make up for a much smaller salary.

We’re also very confident DiCaprio will take this role because it deals with themes very close to his heart. By Australian standards, DiCaprio is a wog. His mother is a German immigrant, and his father is third generation American. DiCaprio originally could not get roles in his youth due to his name being too ethnic. And at one point he was told by an agent to change his name to Lenny Williams to sound more American. So, we believe that DiCaprio will be drawn to the film because of its celebration of ethnicity. DiCaprio is also an active supporter of Indigenous representation worldwide and has called upon the film industry to do more to cast Indigenous actors in main roles. And because Swollen Sky will have multiple Indigenous Australians in lead roles as well as a Native American supporting actress, we believe DiCaprio will be incredibly passionate about the messages and castings of this film.

In regards to why we think DiCaprio is a smart financial move. In a little bit we’ll discuss in depth our distribution decisions. But it is important to note DiCaprio’s impact on the box office. He is one of the most notable film stars and has a wide range of fans. Critics adore and watch his films, which helps generate attention. Paparazzi and media outlets will chronicle his films due to his immense popularity. Plus, he has an equal amount of male and female fans, due to the versatility of his roles. Plus, still has a strong following amongst young female fans who we know are very beneficial because of their loyalty in seeking out projects involving their fandom. So, in our opinion he’s the best choice for a male lead because he has such a wide variety of followers that will all watch his films no matter what he’s in. This is why we have chosen to write Wil’s character as American. Because not only do we believe in DiCaprio’s acting ability, but we also believe that he will help our film gain immense popularity which in turn can help shine a light on the Australian film industry and draw more international audiences. Plus, due to the fact that DiCaprio will be an executive producer on this film, we hope that this will also bring in more production companies eager to finance our films rather than just Americanising our stories and actors.

Bloggeth Posteths Parteths 2…eths

link here bc my wordpress is a cunt and is refusing to embed

Alina’s DA is about exploring the future possibilities of marketing and advertising. Whereby she plans to make seven short-length blogs discussing and analysing major trends and developing technologies that could both potentially shape and disrupt the marketing industry. Alina’s work is a little bit out of my comfort zone as marketing and data is not a strong point of mine. But as my comment stated, I was incredibly inspired by and struck by how she discussed her lack of engagement and traction. Honestly I plan to take what she said on board and utilise both her mindset and course of actions on my own project.

link here bc my wordpress is a cunt and is refusing to embed

Misha is examining how the culture of social media has affected and influenced the film industry. Which she was inspired to investigate from the week seven lecture. I honestly am keen to see where the project goes and the film industry is a passion of mine and I honestly don’t think the discourse regarding the technological advancement and cultural landscape is ever really properly discussed alongside its role in the film industry. Because Misha discussed in her blog post that the topic is a broad one, I decided to offer a few examples that I knew would offer up a wide range or resources, articles and of course social media posts. I thought this would be of better use to Misha because she can decide if any of my points are actually useful to the work she’s already put out / in the middle of creating. And she can find sources that work better for her rather than me just overwhelming her with links.

link here bc my wordpress is a cunt and is refusing to embed

Vanessa’s DA will be focusing on the future of the retail industry, with a focus on fashion. Her project will be exploring the role that technology has on impacting the retail world as from the point of view of both a retailer and consumer perspective. Whether it be in the form of customer facing, online or customer. I think the way she’s setting out this project is really clever. I think choosing to go about her DA with 4×400 word blogs is a really good way to narrow down her research as well as hopefully being able to attract a bigger following.

i can’t believe it isn’t βeta 🧈

for this semester’s digital project i will be creating a short film, which is accompanied by an instagram art piece that serves as both an unofficial narrative tie in / medium to provide vlog updates and blog links.

the short film is based on my mental health, and the way it manifested / coped during covid. the future plays many differing roles in this project. first and foremost, i want this film to both metaphorically and academically comment on the future of mental health depictions in cinema. i also wish to have a future within the film industry, so this project is very much a piece created with the sole intention of insuring i have something to show future employees. but most importantly, the future progression of this project is also being documented within this very blog website in addition to on its instagram account.

As far as the progression of this work has gone, I feel like there’s so much more I could be doing in regards to updating people on the progress of my work. Although I’ve very much been adding to my instragram theme, which is an official artistic tie and component of my work. I feel like I need to start doing more with my blogs, because at the end of the day it’s much more accessible and quicker for people to engage with. It’s just hard when you’re working with a medium that won’t be shown until it’s completion / something that is mainly script work. So it feels disingenuous on my end and slightly daggy to be like “oh hey, here’s my latest update. I reworked the script again”

But I think that’s an anxiety that I need to get past, and something I’m going to start working on more. Because the future and progress of this work is important to document and showcase. And even though my uni Instagram is an art piece that goes hand in hand with this short film, my updates probably needs to more refined and professional.

But working on this short film has been very fun, there’s so many texts I’m using as references and I feel like I’m being very true to the integrity of the work by taking things slow and constantly redrafting. I feel like I’m taking the future of this story hugely into account and insuring I’m creating the best possible DA I can.

Unfortunately similar to my previous BCM206 DA project, i’ve run into technical issues. for context, in my pitch i professed my desire for this film to follow the mind of protagonist Chaos Versailles. The plot of the project was for us as audiences to see her control over her intrusive thoughts crumble. And i really wanted this to be visualised as the narrative progresses, whereby we start to see a shadowy figure consistently in the background following her in addition to foreign voices taunting her.

However, no matter how hard i tried i couldn’t get the shadowy figure to work in the background. and using real life people made the visuals too campy and took the eery and uncomfortable creepiness out of the work. transforming it into a genre that was not appropriate for the themes i was choosing to depict.

thus, i decide to look back at our lectures and my own past works. and i while at first i was worried, taking on board my tutor’s feedback i decided to reuse and re-edit clips from my unfinished BCM206 DA series and add them into this narrative. At first I was really stressed at the prospect of having to do this but upon reflection and feedback, i realised that this is actually very in-line with digital media concepts to remix and rework content.

i feel like this recent vlog post as well is a really good indication of where i’m at and how my work is progressing + some works i’m using as academic references 🙂

if you would like even more info on works that have inspired my creepy series, please read this blog

Blog Post #1 ~oUT oF aN EAsTeR sHOw bRAiN HaZE~

time is an illusion. and i hate her.

how is this project going? uhhhh

it’s…. going?

like i said in my pitch. because i’m working on this all alone, it’s hard to give a precise schedule (or even have a rigid one myself). plus what makes things worse is that i’ve just done a massive week straight working the easter show. so i’ve only just gotten home / some proper sleep.

[ me in Sydney making stable financial choices in between shifts ]

so to be completely honest. not much has been done. but that’s ok! because like i said in my pitch, i’m excited to do this project at my own pace. which means i’m under no obligation to consistently churn out content. which means what i do produce will be authentic / things i’ve worked hard to perfect.

but just a reminder for those following my project! my project is not just this future short movie and these blog updates. but also my university instagram. my uni insta has a theme, which has been continued on with this project. so the art piece of the bangel_angel account so to speak is also an incorporation of this project. so keep an eye out!

but as a run down:

> protagonist has been named! (her name is Chaos Versailles)

> massive piece of script has been written!

> and finally, instagram theme has been updated!

looking forward to spending these next few weeks finishing off my script and doing some filming. (plus updating my insta and you guys {if said guys even exist} on here about how my project is going)

Bloggeth Posteths

link here bc my wordpress is a cunt and is refusing to embed

Jess is creating a digital artefact that will examine the ways by which the short, medium and long-term future of “dead” analogue media and mediums (with focus on film and instant photography) are affected by time. As such the target of her piece is to introduce these formats to Gen Z via Tik Tok. I think it’s evidently clear that Jess has gone above and beyond with her research, hence why I didn’t offer her any further links. As I believe it would have just been made the whole thing convoluted. So I hence offered her to perhaps readjust the way she examined generations, as there is a small percentage within Gen Z who were exposed to analogue media significantly through their youth. Thus, because Jess discussed listening to her audience, responding to comments and surveying them for what they’d want to see next. I suggested that she ready herself / make note of possible nostalgic interactions with her account. And how that could in turn impact the authenticity of her community interaction.

Candace, or Candance according to the technological evil overlord that is my autocorrect, is running all social media accounts for Pottery Box. With her main intent and focus being on gaining a following on Tik Tok. Thus, I recommended that she look at popular brands on Tik Tok to see how they maintain a steady populace, one that audiences enjoy interacting with. Just because branded content can be a tricky thing to navigate, so it’s always helpful to examine how other people maintain balance.

Josephine is using her DA to investigate the representation of women in leadership roles. she will be posting / viewing the reddit forum r/womenleadership for aid. in addition to using her project to predicting and evaluating feminism’s future cultures. i think this project is absolutely phenomenal, and incredibly important. i chose to provide Josephine with links to women in entertainment just because in my humble opinion i believe film to be the most powerful medium on Earth. and as such i believe that many sexist notions could be dispelled via challenging public opinion within the media. when we talk about media control, or men dominating roles of power we never seem to acknowledge Hollywood. if women were granted more prominent roles of leadership behind the camera, perhaps many discrepancies would dwindle as there would be a light shone upon it. i’ve included these article links just for Josephine to perhaps use as readings or considerations. just a differing angle.

Weakly Tweets

hallo! so for context, i’ll be posting my tweets in a lil artsy format. not just for aesthetic / accessible reasons. but bc my uni twitter account was suspended the first two weeks. so this will actually help make it all easier bc two accounts were involved

🤍

scroll down tho! bc after the list form is the actual blog post!

Week Two

Metropolis

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Week Three

2001: A Space Odyssey

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Week Three

West World

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Week Four

Blade Runner

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Week Five

Ghost In The Shell

all OG stand alone tweets

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all quote tweets

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Reflection

i’ve thoroughly enjoyed live tweeting this semester. i’m really lucky to be in such an awesome class with so many people who have such amazing views and takes.

this experience has been really great because i would like to have a job in the film industry, so it’s been a really modern and interesting experience watching these films while having to live tweet. and probably beneficial for future skills in the industry. so i think this has been a great exercise in critically self-reflecting on how we engage with film and media.

i think i’ve done very well for myself. i’m sure whoever is marking this probably thinks that my tweets / job could’ve been bettered had i researched the texts in advance and tweeted out news links. and while i agree on reflection, i also think that because i didn’t, i got better interactions. and the hot takes i had were more genuine and thought provoking.

when it comes to live tweeting a film, i think it’s foolish to set the framework with the notion that you need to go into the film knowing everything about it. (obviously excluding trigger warnings)

that ruins the viewing experience for yourself and others. the whole point about reviewing a film in real time is that you’re reacting to it in real time. especially films that examine the future — does knowing the future of the film before you’ve watched it for the first time not go against the messages these films are trying to convey? food for thought i suppose.

i’m more of an existential thinker myself. and i believe film to be the most powerful medium on Earth. And i think that my tweets are better reflections of what a live tweeting film experience should be than tweet decking, or just googling random articles to make it look like I’ve done extra work than i have. i don’t mean that as an attack. but rather to say my tweets, in my humble opinion, would have been disingenuous had I chosen to navigate them in such a method.

i think though my strengths in this assessment was the way i examined these films through feminist lens. it’s interesting, that thus far, the most feminist film was 1927’s Metropolis. which i can’t work out should be considered shocking or telling. i think upon viewing these films – within the context of this subject – that most audiences would focus solely on the technological aspects of the narrative. and what that means for the technological age of the future. and yet many side plots and scenes within these films casually depict the brutalisation of women. or are heavily intrenched in the male gaze. often with zero repercussions within the plot. and I think it’s incredibly monumental that we examine the fact that all these films, despite their difference in eras, are all consistent in their blatant sexism. which says a lot about not only the future of female representation, but also our current views regarding women’s rights / representations.

and thus, upon my own critical self-reflection of the work i’ve done this semester (thus far). i think the way i’ve centred my tweets and questions around the focus on technological representations of feminism has been my strongest quality during our live tweeting sessions.

i also think I’ve done a good job of stimulating debate and discourse, by adding on to other’s views. in addition to bring some humour and fun to the viewings.

Bronte’s Weekly Round Up of Tweets She Thought Were Her Personal Best + Some of Her Favourites From Her Peers™

Week One

Ye Olde Brontanardo (but for the first two weeks Ye Olde Bronte Is Dying)

Ye Olde Fav Tweets of Da Week

Week Two

Ye Olde Brontanardo (but for the first two weeks Ye Olde Bronte Is Dying)

Ye Olde Fav Tweets of Da Week

Week Three

Ye Olde Brontanardo

Ye Olde Fav Tweets of Da Week

Week Four

Ye Olde Brontanardo

Ye Olde Fav Tweets of Da Week

Week 5

Ye Olde Brontanardo

Ye Olde Fav Tweets of Da Week

C o n c l u s i o n s

i think we’ve all done exceptional work thus far. i think this has been in excellent exercise in challenging the way we critically self examine our relationships and perceptions with technology, the future and film.

Crickey! What’s bloody wrong with Australian film?

For the past month, this class has offered us numerous outlooks regarding the nature and attitudes surrounding Australian cinema. I went into this subject passionate. Indeed, I foolishly believed that so much of Aussie cinema’s failings was attributed solely to the lack of modern and multicultural depictions. And whilst I do still believe this to be an important factor in the shared disillusionment and unenthusiasm of Aussie audiences. I was shocked to realise that this matter is so much more complex than a simple “we refuse to make certain films” but rather “we don’t really have the option to make said films”. Government funding plays such an important role in the Australian film industry. And as such, Australian films are unable to exist without the looming presence and discourse of market failure and ‘public good’.

Australian films simply do not have the same box office impact as their American counterparts. Which boils down to multiple factors, but for the time being I would like to focus on the American financial ramifications. Internationally, America is without a doubt the crown jewel of audiences. Do well in the American market, do well financially. However; Americans are, and to put this lightly, culturally ignorant. Take for example this twitter thread by Australian author Jenna Guillaume. Despite the fact that we speak the same language, Americans refuse to use context clues or engage with foreign idioms. Thus, how can we create genuine Australian art without compromising our Australian identity? I believe this is an excellent example of where public good comes into play. Films such as The Great Gatsby, Happy Feet, Green Card And Moulin Rouge! are some of the highest grossing feature films to ever top the Australian box office. And while each of these said films are technically Australian, even with Australian actors or directors. They cater to American aesthetics and accents

Much of the criticism targeted towards the Australian film industry lies with the fact that they are often market failures. Many times they barely make back their budget, and fail to fill in audience seats. And how can they? Ignoring Australia’s long history with tall poppy syndrome or even the absolute lack of advertisements. When America has not only set the precedent but also the standard. How can Australian films compete against an industry that doesn’t even consider stomaching them? Which then begs the question. Although films such as Great Gatsby and Green Card are arguably brilliant, should Government policy allow them to be the standards of the Aussie market and industry? Solely in the name of making back significant bucks?

This is an interesting thought to ponder. Why don’t Australian films fill in seats? Why do we seemingly need America’s financial backing or approval for our films to do well? The argument is consistently made that Australians simply don’t want to watch our own films, hence why our box office is ‘piss poor’. And honestly? I vehemently disagree with the notion.

It’s important to not only understand, but also examine, the shares Australian films earn at the Aussie box office. When we think of films such as Crocodile Dundee, we think of it as an almost Renaissance era of Australian film making. As it not only generated a cultural explosion in our own country, but also of that world-wide. We often look back at this time in our industry with glee, reflecting on what our films used to do and make. However, when Crocodile Dundee was released to cinemas in 1986 Australian films earned a 23.55% share of the Australian box office. Which compared to Australian films distributed in 2016 was only 5.3%.

The Australian film industry is constantly being shifted and re-moulded in a bid to find a system that works to the Government’s liking. A system where the arts can flourish and exist, but also make enough money back to be deemed worthy. But this is where I think the Australian film industry has suffered and inadvertently sabotaged itself. Because it had every opportunity to reinvent its market success and do well after the cinematic debut Looking For Alibrandi in 2000.

Based on the 1992 novel, that instantly earned the reputation of “Australia’s most stolen library book” this young adult coming of age story was an incredible catalyst in Australian storytelling. From its very inception it was lauded for its authenticity and sincerity, but also for the fact that it accurately depicted multiculturalism. Especially for those who identified as or were labelled ‘wogs’.

Australia is one of the most multicultural countries in the world, and yet our film and television industry embarrassingly doesn’t showcase this. As a nation we have so much to answer for. And yet there seems to be this racist rhetoric that Australian films showcasing ethnicity don’t do well. And yet; Looking For Alibrandi, which was written, directed and produced by three women on their first feature film no less, was not only a critical hit but also a commercial smash. It even won best film, best actress, best supporting actress, best adapted screenplay and best editing at the AACTAs.

Indeed director Kate Woods initially warned lead actress Pia Miranda not to get her hopes up because: “You know, it’s an Australian film. It will be off in a week.” However, the pair were intrigued to see the public’s reaction to the film, and snuck into a local cinema near Sydney University. Woods described the scene as:

“…we could barely get a seat – we had to sit right down the front. Pia was trying to hide because a couple of people had started to recognise her by then. She was watching and [her face] was too big and too close to her, and I was kind of watching what was happening behind [us], when everybody laughed and cried and was quiet in all the right places … I don’t think I’ve ever had an experience like that ever again in my life. It actually touched people in the way the story touched us … I’ll never forget it, ever.”

It’s almost insane to hear of a reaction like this towards an Australian film. And it’s incredibly harrowing to know that an Australian film showcasing such strong women and ethnic voices was celebrated and welcomed so intensely by Aussie audiences. And yet similar films were not greenlit. It’s heartbreaking to see article after article. Statement after statement, discussing the fact that Australians don’t want to see Aussie films.

But we do. The films currently being produced, funded and financed are not indicative of the Australian experience or identity. I think Melania Marchetta the author and screenwriter of Looking For Alibrandi said it best:

 “I certainly believe that there is not enough cultural diversity in our films. I’ve said so many times that my greatest pride was that Josie Alibrandi was the first teenage character of Australian film in the 21st century. I just think that it should have said this is the direction we’re going with our storytelling, and I don’t think we have. I think that we’re probably starting now, but what makes me so sad is it seems as if there’s a big chunk of our cultural identity that hasn’t been told.”

REFRENCES:

JennaGuillaume, 2021 ‘My books being published in the US after they’re out in Australia really reinforces some cultural differences that I find interesting. Like, I don’t get any criticisms about swearing, drinking or sexual references until my books hit the US (not that there’s much of any of this!)’, 19 March 2021, Twitter post, Available at: https://twitter.com/JennaGuillaume/status/1372719120374931459

Screen Australia. 2021. TOP 100 AUSTRALIAN FEATURE FILMS OF ALL TIME. [ONLINE] Available at: https://www.screenaustralia.gov.au/fact-finders/cinema/australian-films/top-films-at-the-box-office.

Scott McConnell. 2019. Why are Australian films now so unpopular?. [ONLINE] Available at: https://www.spectator.com.au/2019/10/why-are-australian-films-now-so-unpopular/.

Trimboli, I., 2020. The making of Looking for Alibrandi: ‘If we didn’t get it right, we’d be crucified’. The Guardian, [Online]. 52, 4. Available at: https://www.theguardian.com/film/2020/may/16/the-making-of-looking-for-alibrandi-if-we-didnt-get-it-right-wed-be-crucified

i’m a bad pitch, you can’t kill me

Brief Overview:

For my digital artefact I will be creating a short horror film inspired by my mental health. Over the past two years I have been dabbling in short horror pieces, often with absurdist ties in a bid to explore unique storytelling. In addition to challenging traditional approaches to film making. In the future I wish to have a career in the film industry, thus these projects have been collections to show future employees. In regards to what this artefact has to do with future cultures; I am hoping that within my film itself, you will see the exploration of my protagonist’s future. Which I hope, in itself will depict and challenge the future of Hollywood’s portrayal of mental health.

Methodology:

Due to the fact that I will be making an entire standalone film. This project will be more than just my movie, it will also include my university Instagram and WordPress blog as documentations of this piece’s future. I will aim to weekly share my plans for this film as well as exclusive behind the scenes. Including scripts, snippets, teasers, effects, research and photographs. I will also be using my blog to detail my future plans for this movie: how I hope it will turn out, views I hope it receives, as well as hypothetical futures such as distribution were it a seriously funded short film.

Further Clarification:

For further context. This movie will be in vignette form, each respectfully titled as an act. The piece will follow the mind of a protagonist (yet to be named) as we see her control over her intrusive thoughts crumble. As the plot progresses, we will start to see a shadowy figure consistently in the background following her in addition to foreign voices taunting her. I want there to be confusion as to whether this is all in the protagonists mind or if there is foul play at hand.

Production Timeline:

Because I’m working with film having a rigid and concise timeline is unrealistic. And I mean this in the sense of because I’m working on this piece alone; I have to do pre-production, the actual production, scripting, filming, editing and postproduction all by myself. So if I’m forcing myself to consistently churn out footage out of obligation, my piece will lose its sincerity and the quality will be diminished. This is why I’m super keen to be able explore this subject matter within my blogs and instagram, because I can be honest with where I’m at and what I’m doing. I can do things at my own pace and share my journey, all whilst getting feedback on things that I’m actually doing in the moment. That being said. I can’t just improvise this whole thing, so here is a loose schedule of what I’m planning to do: