Each and every year, people line up all over the world so they can hand over billions of their hard-earned dollars, to sit in a dark room together … and dream.
Hollywood, Bollywood and dozens of other movie industries exercise an undeniable influence over our public consciousness. They are the modern myth-makers. Their stories excite our imaginations, shape our aspirations and inform our expectations.
Why do some films soar while others bomb? Which stories are destined to find a home in our hearts – and why? In short, what’s the formula to creating Movie Magic?
Join us at the Edge on 22 June to consider why movies still matter, and why there are only 3 Australian films.
When you register, you may also buy tickets for a special screening of The Case for Christ.
Why movies still matter
Thanks to the Internet, we’ve got thousands of hours of streaming TV at the flick of switch, and millions of miniature stories to follow on our portable devices. But two-hour movies still persist as a major medium.
Despite technological changes, these long-form tales continue to occupy the heights of story-telling. Some succeed; some flop. Others annoy the critics but still do well at the box office.
One thing is for certain: genres may wax and wane, characters enter and exit, but our 150-year fascination with film shows no sign of faltering.
Giles Hardie has an enviable CV: he watches film for a living. He is a regular entertainment reporter and critic for the ABC, as well as the Assistant Showbiz Editor for Daily Mail Australia. His opinions air nationally across ABC radio, are collected in the Culture Wars podcast, and distilled for your reading pleasure in Time Out Sydneyand ABC online.
There are only 3 Australian films
The Australian film industry is a collection of diverse stories that highlight the rich panoply of people, histories and faith-positions that make up our culture – or not.
New, locally produced titles surface at the cinemas with seasonal regularity but, like those seasons, they present strangely familiar themes.
In fact there are only three genres that appear to make it from pitch to popcorn – and they say a great deal about the way we see our world.
Mark Hadley gets paid for telling true stories. As a documentary scriptwriter, he’s worked for all of the big acronyms: the BBC in Britain, PBS in the United States, the ABC and SBS in Australia, as well as all of our home-grown commercial networks. He works all over the world, but lives in Sydney where he writes regular reviews and co-hosts the national radio show, The Big Picture.
Justine Toh is Senior Research Fellow at the Centre for Public Christianity. She worked at Fairfax Digital and Reuters Australia before completing her doctorate in Cultural Studies at Macquarie University. Justine speaks and writes about the way the Christian story renews all of life, and is especially interested in exploring big questions of meaning and purpose through the (seemingly) mundane moments of the everyday.