Skip to content
1981

f End Matter

image of End Matter
Preview this chapter:
Loading full text...

Full text loading...

/deliver/fulltext/9781835951163/9781835951187-bm01.html?itemId=/content/books/9781835951163.bm01&mimeType=html&fmt=ahah
/content/books/9781835951163.bm01
Loading

Data & Media loading...

References

  1. The 13th Letter (1951), Otto Preminger (dir.), Howard Koch (wr.) and Louis Chavance (wr.), United States: Twentieth Century Fox.
  2. Amour (2012), Michael Haneke (dir./wr.), Austria, France and Germany: Les Films du Losange, X-Filme Creative Pool, Wega Film.
  3. Anacondas: The Hunt for the Blood Orchid (2004), Dwight H. Little (dir.), Hans Bauer (wr.), Jim Cash (wr.), Jack Epps Jr. (wr.), John Claflin (wr.), Daniel Zelman (wr.), Michael Miner (wr.) and Edward Neumier (wr.), United States and Australia: Screen Gems, Middle Fork Productions.
  4. Anchorman: The Legend of Ron Burgundy (2004), Adam McKay (dir./wr.) and Will Ferrell (wr.), United States: Dreamworks Pictures, Apatow Productions, Herzog-Cowen Entertainment.
  5. Australia (2008), Baz Luhrmann (dir./wr.), Stuart Beattie (wr.), Ronald Harwood (wr.) and Richard Flanagan (wr.), United Kingdom, Australia and United States: Twentieth Century Fox, Bazmark Films, ScreenWest, Dune Entertainment III, Ingenious Film Partners.
  6. Because of Winn-Dixie (2005), Wayne Wang (dir.), Kate DiCamillo (wr.) and Joan Singleton (wr.), United States: Twentieth Century Fox, Walden Media.
  7. Becoming Jane (2007), Julian Jarrold (dir.), Jane Austen (wr.), Kevin Hood (wr.) and Sarah Williams (wr.), United Kingdom and Ireland: Hanway Films, UK FIlm Council, The Irish Film Board, Ecosse Films.
  8. Beyond the Valley of the Dolls (1970), Russ Meyer (dir./wr.), Roger Ebert (wr.), Kevin Hood (wr.) and Sarah Williams (wr.), United States: Twentieth Century Fox.
  9. Birdman or (The Unexpected Virtue of Ignorance) (2014), Alejandro G. Iñárritu, (dir./wr), Nicolás Giacobone (wr.) and Alexander Dinelaris (wr.), United States: New Regency Productions, M Productions, Grisbi Productions, TSG Entertainment, Worldview Entertainment.
  10. Blessed (2009), Ana Kokkinos (dir.), Andrew Bovell (wr.), Melissa Reeves (wr.), Patricia Cornelius (wr.), Christos Tsiolkas (wr.) and Irene Vela (wr.), Australia: Blessed Film Productions, Film Victoria, Head Gear Films, Melbourne International Film Festival, Metrol Technology, Screen Australia, Wildheart Zizani.
  11. Blind Company (2009), Alkinos Tsilimidos (dir./wr.) and Austin Pendleton (wr.), Australia: Valarc Films, Rescued Films, Maker Films, Scarab Studio.
  12. The Boat That Rocked (2009), Richard Curtis (dir./wr.), United Kingdom, France, Germany and United States: Universal Pictures, Working Title Films.
  13. The Book of Revelation (2006), Ana Kokkinos (dir./wr.), Rupert Thomson (wr.) and Andrew Bovell (wr.), Australia: Screen Australia, Wildheart Zizani.
  14. The Box (2009), Richard Kelly (dir./wr.) and Richard Matheson (wr.), United States: Warner Bros., Darko Entertainment, Lin Pictures.
  15. Break of Day (1976), Ken Hannam (dir.) and Cliff Green (wr.), Australia: Clare Beach Films, Greater Union, Nine Network.
  16. The Bridge on the River Kwai (1957), David Lean (dir.), Pierre Boulle (wr.), Carl Foreman (wr.) and Michael Wilson (wr.), United Kingdom and United States: Horizon Pictures.
  17. Brokeback Mountain (2005), Ang Lee (dir.), Annie Proulx (wr.), Larry McMurtry (wr.) and Diana Ossana (wr.), United States and Canada: Focus Features, River Road Entertainment, Alberta Film Entertainment, Good Machine.
  18. Cars (2006), John Lasseter (dir./wr.), Joe Ranft (co-dir./wr.), Jorgen Klubien (wr.), Dan Fogelman (wr.), Kiel Murray (wr.) and Phil Lorin (wr.), United States: Pixar Animation Studios, Walt Disney Pictures.
  19. Casablanca (1942), Michael Curtiz (dir.), Julius J. Epstein (wr.), Philip G. Epstein (wr.), Howard Koch (wr.), Murray Burnett (wr.) and Joan Alison (wr.), United States: Warner Bros.
  20. Certain Women (1973–1977), Tony Morphett (cr.), Australia: Australian Broadcasting Commission).
  21. Changeling (2008), Clint Eastwood (dir.) and J. Michael Straczynski (wr.), United States: Imagine Entertainment, Malpaso Productions, Relativity Media.
  22. Charlie’s Country (2013), Rolf de Heer (dir./wr.) and David Gulpilil (wr.), Australia: Adelaide Film Festival, Bula’bula Arts Aboriginal, Screen Australia, The South Australian Film Corporation, Vertigo Productions.
  23. The Chronicles of Riddick (2004), David Twohy (dir./wr.), Jim Wheat (wr.) and Ken Wheat (wr.), United States: Universal Pictures, Radar Pictures, One Race Productions, Primal Foe Productions.
  24. Citizen Kane (1941), Orson Welles (dir./wr.), Herman J. Mankiewicz (wr.), John Houseman (wr.), Roger Q. Denny (wr.) and Mollie Kent (wr.), United States: RKO Radio Pictures.
  25. Closing the Ring (2007), Richard Attenborough (dir.) and Peter Woodward (wr.), United Kingdom, Canada and United States: CTR, Closing The Ring Ltd., Premiere Picture, Prospero Pictures, Scion Films, Spinster.
  26. Le Corbeau (1943), Henri-Georges Clouzot (dir./wr.) and Louis Chavance (wr.), France: Continental Films.
  27. Damsels in Distress (2011), Whit Stilman (dir./wr.), United States: Westerly Films.
  28. Dancer in the Dark (2000), Lars von Trier (dir./wr.) and Sjón Sigurdsson (wr.), Denmark, Germany, Netherlands, Italy, United States, United Kingdom, France, Sweden, Finland, Iceland and Norway: Zentropa Entertainments, Trust Film Svenska, Film i Väst, Liberator Productions, Icelandic Film, Memfis Film, Slot Machine.
  29. The Dark Knight (2008), Christopher Nolan (dir./wr.), Jonathan Nolan (wr.), David S. Goyer (wr.) and Bob Kane (wr.), United States and United Kingdom: Warner Bros., Legendary Entertainment, Syncopy, DC Comics.
  30. David Stratton: A Cinematic Life (2017), Sally Aitken (dir./wr.), Australia: Adelaide Film Festival, Stranger Than Fiction Films.
  31. David Stratton’s Stories of Australian Cinema (2017), Sally Aitken (dir./wr), Australia: Adelaide Film Festival, Stranger Than Fiction Films.
  32. Doctor Zhivago (1965), David Lean (dir.), Boris Pasternak (wr.) and Robert Bolt (wr.), Italy, United Kingdom and United States: Metro-Goldwyn-Mayer, Carlo Ponti Production, Sostar S.A.
  33. The Everlasting Secret Family (1988), Michael Thornhill (dir.) and Frank Moorhouse (wr.), Australia: FGH. Hemdale Film Corporation, International Film Management.
  34. Fahrenheit 9/11 (2004), Michael Moore (dir./wr.), United States: Fellowship Adventure Group, Dog Eat Dog Films, Miramax.
  35. Fast and Furious 6 (2013), Justin Lin (dir.), Chris Morgan (wr.) and Gary Scott Thompson (wr.), United States, Japan, Spain and United Kingdom: Universal Studios, Original Film, One Race Productions, F & F VI Productions A.I.E., Etalon Film.
  36. Fight Club (1999), David Fincher (dir.), Chuck Palahniuk (wr.) and Jim Uhls (wr.), Germany and United States: Fox 2000 Pictures, New Regency Productions, Linson Films, Atman Entertainment, Knickerbocker Films, Taurus Film.
  37. A Film with Me in It (2008), Ian Fitzgibbon (dir.) and Mark Doherty (wr.), Ireland: Parallel Film Productions, The Irish Film Board.
  38. The Fly (1986), David Cronenberg (dir./wr.), George Langelaan (wr.) and Charles Edward Pogue (wr.), United States and Canada: SLM Production Group, Brooksfilms, Province of British Columbia Production Services Tax Credit.
  39. Fly Me to the Moon [A Perfect Plan or Un plan parfait] (2012), Pascal Chaumeil (dir.), Laurent Zeitoun (wr.), Yoann Gromb (wr.), Béatrice Fournera (wr.) and Philippe Mechelen (wr.), France: Quad, TF1 Films Production, Scope Pictures, Les Productions du Ch’timi, Chaocorp Distribution, Yeardawn, Blue Sky Films.
  40. Freddy’s Dead: The Final Nightmare (1991), Rachel Talalay (dir./wr.), Wes Craven (wr.) and Michael De Luca (wr.), United States: New Line Cinema, Nicolas Entertainment.
  41. Frenzy (1972), Alfred Hitchcock (dir.), Arthur La Bern (wr.) and Anthony Shaffer (wr.), United Kingdom: Alfred J. Hitchcock Productions.
  42. Friends with Kids (2011), Jennifer Westfeldt (dir./wr.), United States: Red Granite Pictures, Points West Pictures, Locomotive.
  43. Genova (2008), Michael Winterbottom (dir./wr.) and Laurence Coriat (wr.), United Kingdom, Sweden and Cayman Islands: Revolution Films, Aramid Entertainment Fund, Film4, Moviola Film och Television.
  44. Georgia Rule (2007), Garry Marshall (dir.) and Mark Andrus (wr.), United States: Morgan Creek Entertainment, Trust Me.
  45. Good Night, and Good Luck (2005), George Clooney (dir./wr.) and Grant Heslov (wr.), United States, France, United Kingdom and Japan: Warner Independent Pictures, 2929 Productions, Participant, Section Eight, Metropolitan Talent Agency.
  46. Gran Torino (2008), Clint Eastwood (dir.), Nick Schenk (wr.) and Dave Johannson (wr.), Germany and United States: Matten Productions, Double Nickel Entertainment, Gerber Pictures, Malpaso Productions, Village Roadshow Pictures, WV Films IV, Warner Bros.
  47. Gravity (2013), Alfonso Cuarón (dir./wr.) and Jonás Cuarón (wr.), United Kingdom and United States: Warner Bros., Esperanto Filmoj, Heyday Films.
  48. Great Expectations (1946), David Lean (dir./wr.), Charles Dickens (wr.), Ronald Neame (wr.), Anthony Havelock-Allan (wr.), Kay Walsh (wr.) and Cecil McGivern (wr.), United Kingdom: Cineguild.
  49. Hostel (2005), Eli Roth (dir./wr.), United States and Czechia: Next Entertainment, Raw Nerve, International Production Company, Hostel LLC.
  50. House of Flying Daggers (2004), Yimou Zhang (dir./wr.), Feng Li (wr.) and Bin Wang (wr.), China and Hong Kong: China Film Co-Production Corporation, Edko Films, Elite Group Enterprises, Xin Huamian Film, Zhang Yimou Studio.
  51. How to Lose Friends & Alienate People (2008), Robert B. Weide (dir.), Peter Straughan (wr.) and Toby Young (wr.), United Kingdom: Number 9 Films, Intandem Films.
  52. The Ice Storm (1997), Ang Lee (dir.), James Schamus (wr.) and Rick Moody (wr.), United States: Searchlight Pictures, Good Machine, Canal+ Droits Audiovisuels.
  53. In the Heat of the Night (1967), Norman Jewison (dir.), Stirling Siliphant (wr.), and John Ball (wr.), United States: United Artists.
  54. Inception (2010), Christopher Nolan (dir./wr.), United Kingdom and United States: Warner Bros., Legendary Entertainment, Syncopy.
  55. The Incredible Hulk (2008), Louis Leterrier (dir.), Zak Penn (wr.), Stan Lee (wr.) and Jack Kirby (wr.), United States: Universal Pictures, Marvel Enterprises.
  56. Interview with a Vampire (1994), Neil Jordan (dir.), and Anne Rice (wr.), United States: Geffen Pictures.
  57. The Jammed (2007), Dee McLachlan (dir./wr.), Australia: Jammed Films, The Picture Tank.
  58. Japanese Story (2003), Sue Brooks (dir.) and Alison Tilson (wr.), Australia: Australian Film Finance Corporation, Fortissimo Films, Gecko Films Pty. Ltd.
  59. Johnny Guitar (1954), Nicholas Ray (dir./wr.), Philip Yordan (wr.) and Roy Chanslor (wr.), United States: Republic Pictures.
  60. Joker (2019), Todd Phillips (dir./wr.), Scott Silver (wr.), Bon Kane (wr.), Bill Finger (wr.) and Jerry Robinson (wr.), United States and Canada: Warner Bros.
  61. Ken Park (2002), Larry Clark (dir./wr.), Edward Lachman (dir.), Harmony Korine (wr.), United States, Netherlands, and France: Warner Bros.
  62. Killing Them Softly (2012), Andrew Dominik (dir./wr.) and George V. Higgins (wr.), United States: Plan B Entertainment, Annapurna Pictures, Chockstone Pictures, Inferno Entertainment.
  63. The King (2019), David Michôd (dir./wr.) and Joel Edgerton (wr.), United Kingdom, Hungary, United States and Australia: Netflix, Plan B Entertainment, Porchlight Films, Blue-Tongue Films, Pioneer Stilking Films, Yoki.
  64. King Kong (2005), Peter Jackson (dir./wr.), Fran Walsh (wr.), Philippa Boyens (wr.), Merian C. Cooper (wr.) and Edgar Wallace (wr.), United States, New Zealand and Germany: Universal Pictures, WingNut Films, Big Primate Pictures, MFPV Film.
  65. The Kings of Mykonos (2010), Peter Andrikidis (dir.), Chris Anastassiades (wr.) and Nick Giannopoulos (wr.), Australia and Greece: G.O. Films, See-Saw Films.
  66. The Last Detail (1973), Hal Ashby (dir.), Robert Towne (wr.) and Darryl Ponicsan (wr.), United States: Columbia Pictures, Bright-Persky Associates, Acrobat Productions.
  67. The Last Station (2009), Michael Hoffman (dir./wr.) and Jay Parini (wr.), Germany, United Kingdom and Russia: Egoli Tossell Pictures, Zephyr Films.
  68. Lawless Heart (2001), Tom Hunsinger (dir./wr.) and Neil Hunter (dir./wr.), United Kingdom and France: Overseas Film Group, October Productions, Martin Pope Productions, Isle of Man Film.
  69. Lemon Tree (2008), Eran Riklis (dir./wr.) and Suha Arraf (wr.), Israel, Germany and France: Heimatfilm, MACT Productions, Eran Riklis Productions, Riva Filmproduktion.
  70. The Letter (1940), William Wyler (dir.), W. Somerset Maugham (wr.) and Howard Koch (wr.), United States: Warner Bros.
  71. Letter from an Unknown Woman (1948), Max Ophüls (dir./wr.), Howard Koch (wr.) and Stefan Zweig (wr.), United States: William Dozier Productions, Rampart Productions.
  72. The Lincoln Lawyer (2011), Brad Furman (dir.), John Romano (wr.) and Michael Connelly (wr.), United States: Lionsgate, Lakeshore Entertainment.
  73. Lord of War (2005), Andrew Niccol (dir./wr.), United States and Germany: Entertainment Manufacturing Company, VIP 3 Medienfonds, Ascendant Pictures, Saturn Films, Metro-Goldwyn-Mayer (MGM).
  74. A Lot Like Love (2005), Nigel Cole (dir.) and Colin Patrick Lynch (wr.), United States: Touchstone Pictures, Mile High Productions, Beacon Pictures, Kevin Messick Productions.
  75. Lumumba (2000), Raoul Peck (dir./wr.), Pascal Bonitzer (wr.) and Dan Edelstein (wr.), France, Belgium, Germany and Haiti: JBA Production, Entre Chien et Loup, Essential Filmproduktion GmbH, Velvet S.A., Arte France Cinéma, Radio Télévision Belge Francophone, ZDF/Arte, Canal+, Vlaamse Radio en Televisie, Cofimage 10.
  76. The Man with the Golden Arm (1955), Otto Preminger (dir.), Walter Newman (wr.), Lewis Meltzer (wr.), and Nelson Algren (wr.), United States: Otto Preminger Films.
  77. M*A*S*H (1970), Robert Altman (dir.), Richard Hooker (wr.) and Ring Lardner Jr. (wr.), United States: Aspen Productions, Ingo Preminger Productions.
  78. Man About Town (2006), Mike Binder (dir./wr.), United States: Media 8 Entertainment, Sunlight Productions, Man About Town Films Inc., Greentrees Films, FilmBudget.com.
  79. The Man from Snowy River II (1988), Geoff Burrowes (dir./wr.), John Dixon (wr.) and A.B. ‘Banjo’ Paterson (wr.), Australia: Burrowes Film Group, Hoyts Distribution, Silver Screen Partners II, Walt Disney Pictures.
  80. Man of Steel (2013), Zack Snyder (dir.), David S. Goyer (wr.), Christopher Nolan (wr.), Jerry Siegel (wr.) and Joe Shuster (wr.), United States and United Kingdom: Warner Bros., Legendary Entertainment, Syncopy, DC Comics, DC Entertainment.
  81. Man on a Ledge (2012), Asger Leth (dir.) and Pablo F. Fenjves (wr.), United States: Summit Entertainment, Di Bonaventura Pictures.
  82. Mao’s Last Dancer (2009), Bruce Beresford (dir.), Jan Sardi (wr.) and Cunxin Li (wr.), Australia: Great Scott Productions Pty. Ltd.
  83. Metal Skin (1994), Geoffrey Wright (dir./wr.), Australia: Australian Film Finance Corporation, Southern Star, Film Victoria, Arrow Capital Limited, Daniel Scharf Productions.
  84. Miami Vice (2006), Michael Mann (dir./wr.) and Anthony Yerkovich (wr.), Germany, United States, Uruguay and Paraguay: Universal Pictures, Motion Picture ETA, Produktionsgesellschaft, Forward Pass, Foqus Arte Digital, Metropolis Films, Michael Mann Productions.
  85. Monsters University (2013), Dan Scanlon (dir./wr.), Daniel Gerson (wr.) and Robert L. Baird (wr.), United States and Japan: Walt Disney Pictures, Pixar Animation Studios.
  86. Mulholland Drive (2001), David Lynch (dir./wr.), France and United States: Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc., Canal+.
  87. The Name of the Rose (1986), Jean-Jacques Annaud (dir.), Umberto Eco (wr.), Andrew Birkin (wr.), Gérard Brach (wr.), Howard Franklin (wr.) and Alain Godard (wr.), West Germany, Italy and France: Constantin Film, Cristaldifilm, Les Films Ariane, Zweites Deutsches Fernsehen, Allied Filmmakers, FR 3 Cinéma, RAI Radiotelevisione Italiana.
  88. Next (2007), Lee Tamahori (dir.), Gary Goldman (wr.), Jonathan Hensleigh (wr.), Paul Bernbaum (wr.) and Philip K. Dick (wr.), United States: Paramount Pictures, Revolution Studios, IEG Virtual Studios, Saturn Films, Eyetronics.
  89. The Night of the Hunter (1955), Charles Laughton (dir./wr.), Davis Grubb (wr.) and James Agee (wr.), United States: Paul Gregory Productions.
  90. No Country for Old Men (2007), Ethan Cohen (dir./wr.), Joel Cohen (dir./wr.) and Cormack McCarthy (wr.), United States: Paramount Vantage, Miramax, Scott Rudin Productions, Mike Zoss Productions.
  91. No Sad Songs for Me (1950), Rudolph Maté (dir.), Howard Koch (wr.) and Ruth Southard (wr.), United States: Columbia Pictures.
  92. Oliver Twist (1948), David Lean (dir./wr.), Charles Dickens (wr.), Stanley Haynes (wr.), Eric Ambler (wr.) and Kay Walsh (wr.), United Kingdom: Cineguild.
  93. The Other Woman (2014), Nick Cassavetes (dir.) and Melissa K. Stack (wr.), United States: Twentieth Century Fox, LBI Productions.
  94. The Piano Teacher (2001), Michael Haneke (dir./wr.) and Elfriede Jelinek (wr.), France, Austria and Germany: Wega Film, MK2 Productions, Les Films Alain Sarde, Arte France Cinéma, Österreichischer Rundfunk.
  95. Please Give (2010), Nicole Holofcener (dir./wr.), United States: Sony Pictures Classics, Likely Story, Feelin’ Guilty.
  96. POM Wonderful Presents: The Greatest Movie Ever Sold (2011), Morgan Spurlock (dir./wr.) and Jeremy Chilnick (wr.), United States: Snoot Entertainment, Warrior Poets.
  97. Quantum of Solace (2008), Marc Forster (dir.), Paul Haggis (wr.), Neal Purvis (wr.) and Robert Wade (wr.), United Kingdom and United States: Metro-Goldwyn-Mayer (MGM), Columbia Pictures, Eon Productions, B22, Danjaq, United Artists.
  98. The Queen of Sheba’s Pearls (2004), Colin Nutley (dir./wr.), Sweden and United Kingdom: AKA Pictures, Nordisk Film & TV-Fond, Random Harvest Film Partnership II, Svensk Filmindustri, Svenska Filminstitutet, Sweetwater Filmrights AB, TV4 Sweden.
  99. Rear Window (1954), Alfred Hitchcock (dir.), John Michael Hayes (wr.) and Cornell Woolrich (wr.), United States: Alfred J. Hitchcock Productions.
  100. Rebound (2005), Steve Carr (dir.), Bill Wolff (wr.), Ed Decter (wr.) and John J. Strauss (wr.), United States: Robert Simonds Productions, Runteldat Entertainment.
  101. Red Eye (2005), Wes Craven (dir.), Carl Ellsworth (wr.) and Dan Foos (wr.), United States: Dreamworks Pictures, BenderSpink, Craven-Maddalena Films.
  102. Riddick (2013), David Twohy (dir./wr.), Jim Wheat (wr.) and Ken Wheat (wr.), Canada and United States: Riddick Canada Productions, One Race Productions, Radar Pictures.
  103. Ride Like a Girl (2019), Rachel Griffiths (dir.), Andrew Knight (wr.) and Elise McCredie (wr.), Australia: Magdalene Media, Screen Australia, The Film Company.
  104. Rise of the Guardians (2012), Peter Ramsey (dir.), David Lindsay-Abaire (wr.) and William Joyce (wr.), United States and India: DreamWorks Animation, Polyphony Digital.
  105. Romper Stomper (1992), Geoffrey Wright (dir./wr.), Australia: Film Victoria, Romper Stomper Pty. Ltd., Seon Film Productions, The Australian Film Commission.
  106. Salò, or the 120 Days of Sodom (1975), Pier Paolo Pasolini (dir./wr.), Sergio Citti (wr.), Pupi Avati (wr.) and Marquis de Sade (wr.), Italy and France: Produzioni Europee Associate, Les Productions Artistes Associés.
  107. Samson & Delilah (2009), Warwick Thornton (dir/wr.) and Beck Cole (wr.), Australia: CAAMA Productions, New South Wales Film & Television Office, Scarlett Pictures, Screen Australia.
  108. Sanctum (2011), Alister Grierson (dir.), John Garvin (wr.) and Andrew Wight (wr.), United States and Australia: Universal Pictures, Relativity Media, Wayfare Entertainment, Great Wight Productions/Osford Films, Sanctum Australia, Start Media.
  109. Saw (2004), James Wan (dir./wr.) and Leigh Whannell (wr.), United States: Twisted Pictures, Evolution Entertainment.
  110. A Separation (2011), Asghar Farhadi (dir./wr.), Iran, France and Australia: Asghar Farhadi Productions, Dreamlab Films, Memento Films.
  111. Singin’ in the Rain (1952), Stanley Donen (dir.), Gene Kelly (dir.), Betty Comden (wr.), Adolph Green (Wr.), United States: Loew’s.
  112. Snow Flower and the Secret Fan (2011), Wayne Wang (dir.), Angela Workman (wr.), Ron Bass (wr.), Michael Ray (wr.) and Lisa See (wr.), China and United States: IDG China Media.
  113. Son of Saul (2015), László Nemes (dir./wr.) and Clara Royer (wr.), Hungary: Laokoon Filmgroup, Hungarian National Film Fund.
  114. Special Treatment [Sans queue ni tête] (2010), Jeanne Labrune (dir./wr.) and Richard Debuisne (wr.), France, Luxembourg and Belgium: Artémis Productions, Art-Light Productions.
  115. State of Play (2009), Kevin Macdonald (dir.), Matthew Michael Carnahan (wr.), Tony Gilroy (wr.), Billy Ray (wr.) and Paul Abbott (wr.), United States, United Kingdom and France: Universal Pictures.
  116. Steal (2002), Gérard Pirès (dir./wr.) and Mark Ezra (wr.), France, United Kingdom and Canada: Alliance Atlantis Communications, Fusion International, Future Film Financing, Mandarin Films, Scion Films, Spice Factory, Spice Favoy, Transfilm, Téléfilm Canada.
  117. The Story of O (1975), Just Jaeckin (dir.), Dominique Aury (wr.) and Sébastien Japrisot (wr.), France, West Germany and Canada: A.D. Creation, Somerville House, Terra-Filmkunst, Yang Films.
  118. Subdivision (2009), Sue Brooks (dir.), Ashley Bradnam (wr.), Janice Bradnam (wr.) and Terry McCann (wr.), Australia: Australian Film Finance Corporation, Cane Toad Productions, Freshwater Pictures, Pacific Film & Television Commission, Screen Australia.
  119. Summerfield (1977), Ken Hannam (dir.) and Cliff Green (wr.), Australia: Roadshow Home Video.
  120. Sunshine and Shadows: 70 Years of Australian Cinema (1976), Brian Adams (dir.) and David Stratton (wr.), Australia: Australian Broadcasting Commission.
  121. Swerve (2011), Craig Lahiff (dir./wr.), Australia: Duo Art Productions.
  122. Team America: World Police (2004), Trey Parker (dir./wr.), Matt Stone (wr.) and Pam Brady (wr.), United States and Germany: Paramount Pictures, Scott Rudin Productions, MMDP Munich Movie Development & Production GmbH & Co. Project KG, Stoopid Buddy Stoodios.
  123. The Texas Chainsaw Massacre (2003), Marcus Nispel (dir.), Kim Henkel (wr.), Tobe Hooper (wr.) and Scott Kosar (wr.), United States: New Line Cinema, Focus Features, Platinum Dunes, Next Entertainment, Chainsaw Productions LLC.
  124. To Be or Not to Be (1942), Ernst Lubitsch (dir.), Melchior Lengyel (wr.) and Edwin Justus Mayer (wr.), United States: Romaine Film Corporation.
  125. To Kill a Mockingbird (1962), Robert Mulligan (dir.), Harper Lee (wr.) and Horton Foote (wr.), United States: Pakula-Mulligan, Brentwood Productions.
  126. Transformers: Dark of the Moon (2011), Michael Bay (dir.) and Ehren Kruger (wr.), United States: Paramount Pictures, DreamWorks, Di Bonaventura Pictures, Tom DeSanto/Don Murphy Production, Amblin Entertainment, Platinum Dunes.
  127. Transformers: Revenge of the Fallen (2009), Michael Bay (dir.), Ehren Kruger (wr.), Roberto Orci (wr.) and Alex Kurtzman (wr.), United States: Dreamworks Pictures, Paramount Pictures, Tom DeSanto/Don Murphy Production, Di Bonaventura Pictures, Platinum Dunes.
  128. The Tumbler (2008), Marc Gracie (dir./wr.) and Chris Thompson (wr.), Australia: Mondayitis Productions, ZTudio.
  129. Two on the Aisle (1971–1974), Geoffrey Owen-Taylor (prod.), Australia: Channel 7 (Melbourne).
  130. Two Thousand Weeks (1969), Tim Burstall (dir./wr.) and Patrick Ryan (wr.), Australia: Eltham Film Productions, Senior Films.
  131. Tyrannosaur (2011), Paddy Considine (dir./wr.), United Kingdom: Warp X, Inflammable Films.
  132. Valentine’s Day (2010), Garry Marshall (dir.), Katherine Fugate (wr.), Abby Kohn (wr.) and Marc Silverstein (wr.), United States: New Line Cinema, Rice Films, Karz Entertainment.
  133. Vantage Point (2008), Pete Travis (dir.) and Barry L. Levy (wr.), United States and Mexico: Columbia Pictures.
  134. Vice (2018), Adam McKay (dir./wr.), United States: Annapurna Pictures, Gary Sanchez Productions, Plan B Entertainment.
  135. Victim (1961), Basil Dearden (dir.), Janet Green (wr.), and John McCormick (wr.), United Kingdom: Allied Film Makers (AFM), Parkway Films.
  136. Wall Street: Money Never Sleeps (2010), Oliver Stone (dir./wr.), Allan Loeb (wr.), Stephen Schiff (wr.) and Stanley Weiser (wr.), United States: Twentieth Century Fox, Pressman Film.
  137. Wolf Creek (2005), Greg McLean (dir./wr.), Australia: Australian Film Finance Corporation.
  138. Wolf Creek 2 (2013), Greg McLean (dir./wr.) and Aaron Sterns (wr.), Australia: Screen Australia, The South Australian Film Corporation.
  139. Wreck-It Ralph (2012), Rich Moore (dir./wr.), Phil Johnston (wr.), Jim Reardon (wr.) and Jennifer Lee (wr.), United States and Japan: Walt Disney Animation Studios, Walt Disney Pictures.
  140. xXx: The Next Level (2005), Lee Tamahori (dir.), Rich Wilkes (wr.) and Simon Kinberg (wr.), United States: Columbia Pictures, Revolution Studios.
  141. You and Your Stupid Mate (2005), Marc Gracie (dir.), Dave O’Neil (wr.) and Mark O’Toole (wr.), Australia: Mondayitis Productions, Australian Film Finance Corporation (AFFC), Film Victoria, Macquarie Film Corporation.
  142. A Rational Fear (2014), ‘Leaked: At the Movies “Wolf Creek 2” review’, 27 February, https://www.youtube.com/watch?v=FpwIqv9w9VM. Accessed 13 July 2023.
  143. ACMA (2013), ‘Investigation Report No. 2900 [ACMA Investigation Report – At the Movies broadcast by ABC on 22 August 2012]’, Australian Communication and Media Authority, 23 May, https://webarchive.nla.gov.au/awa/20141216100949/http://www.acma.gov.au/~/media/Broadcasting%20Investigations/Investigation%20reports/TV%20investigations/Word%20Document/ABC%20At%20the%20Movies%20No%202900%20docx.docx. Accessed 6 September 2023.
    [Google Scholar]
  144. ACMI (2011), ‘Let’s agree to disagree’, Australian Centre for the Moving Image blog, 11 August, https://web.archive.org/web/20111101144729/http://blog.acmi.net.au/index.php/2011/08/lets-agree-to-disagree/. Accessed 2 September 2023.
    [Google Scholar]
  145. The Administrator (2017), ‘David Stratton on Romper Stomper’, 24 June, https://www.youtube.com/watch?v=aV9MOwKaaRw. Accessed 24 July 2023.
  146. Anderson, Doug (2011), ‘Television’, The Sydney Morning Herald, 26 October, p. 21.
    [Google Scholar]
  147. Anderson, Megan (2001), ‘Film positive’, The West Australian [the west magazine], pp. 1516.
    [Google Scholar]
  148. Aranjuez, Adolfo (2017), ‘Critical opinion is critical’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 4327.
    [Google Scholar]
  149. Armstrong, Gillian (2017), ‘All is forgiven’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 59.
    [Google Scholar]
  150. Arnold, Matthew (1869), Culture and Anarchy, London: Thomas Nelson & Sons.
  151. Aronson, Linda (2000), Scriptwriting Updated: New and Conventional Ways of Writing for the Screen, Sydney: Australian Film Television & Radio School.
  152. Azlant, Edward (1980), ‘The theory, history, and practice of screenwriting, 1897–1920’, Ph.D. thesis, Madison, WI: University of Wisconsin-Madison.
  153. Azlant, Edward (1997), ‘Screenwriting for the early silent film: Forgotten pioneers, 1897–1911’, Film History, 9:3, pp. 228256.
    [Google Scholar]
  154. Azuela-Flores, José Ignacio, Fernández-Blanco, Víctor and Sanzo-Pérez, María José (2012), ‘The effects of critics reviews on movie demand’, Contaduría y Administración, 57:2, pp. 201222.
    [Google Scholar]
  155. Balanzategui, Jessica (2014), ‘Wolf Creek 2 knifed by intellectual snobbery’, Sydney Morning Herald, 28 February, https://www.smh.com.au/opinion/wolf-creek-2-knifed-by-intellectual-snobbery-20140227-33m72.html. Accessed 3 September 2023.
    [Google Scholar]
  156. Balanzategui, Jessica (2023), ‘10 years of homegrown horror hits: Talk To Me and the golden age of Aussie horror’, The Conversation, 8 August, https://theconversation.com/10-years-of-homegrown-horror-hits-talk-to-me-and-the-golden-age-of-aussie-horror-211031. Accessed 3 September 2023.
    [Google Scholar]
  157. Banks, Miranda J. (2015), The Writers: A History of American Screenwriters and Their Guild, New Brunswick, NJ: Rutgers University Press.
  158. Barber, Lynden (1998), ‘Saviours of the screenplay’, The Australian, 3 April, p. 15.
    [Google Scholar]
  159. Barber, Lynden (1999a), ‘We’re part of the big picture, despite ourselves’, The Australian, 22 January, p. 17.
    [Google Scholar]
  160. Barber, Lynden (1999b), ‘Blood on the floor’, The Weekend Australian, 27 November, p. R16.
    [Google Scholar]
  161. Barber, Lynden (2000), ‘Weeding out the weak and woeful’, The Australian, 16 September, p. R21.
    [Google Scholar]
  162. Barber, Lynden (2008a), ‘Scripts fail to tell the whole story’, The Australian, 2 January, p. 12.
    [Google Scholar]
  163. Barber, Lynden (2008b), ‘Where Australian scripts fall down: Part 1’, Eyes Wired Open, 3 January, https://eyeswiredopen.blogspot.com/2008/01/where-australian-scripts-tend-to-fall.html. Accessed 29 August 2013.
    [Google Scholar]
  164. Barber, Lynden (2008c), ‘Where Australian scripts fall down: Part 2 (Duncan Thompson)’, Eyes Wired Shut, 15 January, https://eyeswiredopen.blogspot.com/2008/01/where-australian-scripts-fall-down-part_14.html. Accessed 29 August 2023.
    [Google Scholar]
  165. Barber, Lynden (2008d), ‘Where Australian scripts fall down: Part 3 (Joan Sauers)’, Eyes Wired Shut, 4 January, https://eyeswiredopen.blogspot.com/2008/01/heres-second-transcript-of-my-three.html. Accessed 29 August 2023.
    [Google Scholar]
  166. Barber, Lynden (2008e), ‘Where Australian scripts fall down: Part 4 (Billy Marshall Stoneking)’, Eyes Wired Shut, 8 January, http://eyeswiredopen.blogspot.com/2008/01/where-australian-scripts-fall-down-part_08.html. Accessed 29 August 2023.
    [Google Scholar]
  167. Barber, Lynden (2008f), ‘Australian scriptwriting issues: The debate continues’, Eyes Wired Shut, 3 May, https://eyeswiredopen.blogspot.com/2008/05/australian-scriptwriting-issues-debate.html. Accessed 29 August 2023.
    [Google Scholar]
  168. Barber, Lynden (2014), ‘David and Margaret: The head and heart of Australian film culture’, The Guardian, 16 September, https://www.theguardian.com/tv-and-radio/australia-culture-blog/2014/sep/16/david-and-margaret-the-head-and-heart-of-australian-film-culture. Accessed 19 August 2023.
    [Google Scholar]
  169. Basuroy, Suman, Chatterjee, Subimal and Ravid, S. Abraham (2003), ‘How critical are critical reviews? The box office effects of film critics, star power, and budgets’, Journal of Marketing, 67:4, pp. 103117.
    [Google Scholar]
  170. Batty, Craig and Waldeback, Zara (2008), Writing for the Screen: Creative and Critical Approaches, Basingstoke: Palgrave Macmillan.
  171. Batty, Craig and Kerrigan, Susan (eds) (2017), Screen Production Research: Creative Practice as a Mode of Enquiry, Basingstoke: Palgrave Macmillan.
  172. Batty, Craig, O’Meara, Radha, Taylor, Staci, Joyce, Hester, Burne, Philippa, Maloney, Noel, Poole, Mark and Tofler, Marilyn (2018), ‘Script development as a “wicked problem”’, Journal of Screenwriting, 9:2, pp. 153174.
    [Google Scholar]
  173. Baumann, Shyon (2007), Hollywood Highbrow: From Entertainment to Art, Princeton, NJ: Princeton University Press.
  174. Beecroft, Kevin Harris (2014), ‘Letters [Critical silent treatment]’, The Sydney Morning Herald, 27 February, p. 19.
    [Google Scholar]
  175. Bennett, Tony, Frow, John, Hage, Ghassan and Noble, Greg (2013), ‘Antipodean fields: Working with Bourdieu’, Journal of Sociology, 49:2, pp. 129150.
    [Google Scholar]
  176. Blank, Grant (2006), Critics, Ratings, and Society: The Sociology of Reviews, Lanham, MD: Rowman & Littlefield.
  177. Blundell, Graeme (2004), ‘Keeping it reel’, Limelight, July, pp. 3638.
    [Google Scholar]
  178. Blundell, Graeme (2011), ‘The David and Margaret show’, The Australian, 15 October, p. 34.
    [Google Scholar]
  179. Boatwright, Peter, Basuroy, Suman and Kamakura, Wagner (2007), ‘Reviewing the reviewers: The impact of individual film critics on box office performance’, Quantitative Marketing and Economics, 5, pp. 401425.
    [Google Scholar]
  180. Bodey, Michael (2000), ‘Homegirl: Interview’, Daily Telegraph, 22 April, p. 37.
    [Google Scholar]
  181. Bodey, Michael (2014), ‘Critical loss’, The Australian, 1 November, p. 12.
    [Google Scholar]
  182. Boland, Michaela (2003), ‘Projecting the future of Australian film’, The Australian Financial Review, 17 October, p. 16.
    [Google Scholar]
  183. Bolt, Andrew (2004), ‘No star for Stratton’, Herald-Sun, 8 December, p. 19.
    [Google Scholar]
  184. Bonner, Frances (2016), Personality Presenters: Television’s Intermediaries with Viewers, London: Routledge.
  185. Boon, Kevin A. (2008), Script Culture and the American Screenplay, Detroit, MI: Wayne State University Press.
  186. Bordwell, David (1979), ‘The art cinema as a mode of film practice’, Film Criticism, 4:1, pp. 5664.
    [Google Scholar]
  187. Bordwell, David (1985), Narration in the Fiction Film, London: Methuen.
  188. Bordwell, David (1989), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Cambridge, MA: Harvard University Press.
  189. Boucaut, Robert and Pugsley, Peter C. (2022), ‘Publics of interest and the death of the critic on Australian TV’, Media International Australia, online first, https://doi.org/10.1177/1329878X221145026. Accessed 20 August 2023.
    [Google Scholar]
  190. Bourdieu, Pierre (1977), Outline of a Theory of Practice, Oxford: Cambridge University Press.
  191. Bourdieu, Pierre (1983), ‘The field of cultural production, or: The economic world reversed’, Poetics, 12:4, pp. 311356.
    [Google Scholar]
  192. Bourdieu, Pierre ([1979] 1984), Distinction: A Social Critique of the Judgement of Taste, Cambridge, MA: Harvard University Press.
  193. Bourdieu, Pierre (1985), ‘The market of symbolic goods’, Poetics, 14:1, pp. 1344.
    [Google Scholar]
  194. Bourdieu, Pierre (1986), ‘The forms of capital’, in John G. Richardson (ed.), Handbook of Theory and Research for the Sociology of Education, New York: Greenwood Press, pp. 241258.
    [Google Scholar]
  195. Bourdieu, Pierre (1990), In Other Words: Essays Towards a Reflexive Sociology, Stanford, CA: Stanford University Press.
  196. Bovell, Andrew (2017), ‘5 stars’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 121126.
    [Google Scholar]
  197. Brady, John (1981), The Craft of the Screenwriter: Interviews with Six Celebrated Screenwriters, New York: Simon & Schuster.
  198. Brown, Trevor (1978), ‘Reviewers on reviewing’, Journalism and Mass Communication Quarterly, 55:1, pp. 3238.
    [Google Scholar]
  199. Buchanan, Dominic (1990), ‘It’s great work: If you can get it’, The Sydney Morning Herald, 4 October, p. 36.
    [Google Scholar]
  200. Buckmaster, Luke (2014), ‘Film reviewing couple bow out but leave us the keys to the kingdom’, Crikey, 17 September, https://www.crikey.com.au/2014/09/17/film-reviewing-royal-couple-bow-out-but-leave-us-the-keys-to-the-kingdom/. Accessed 21 August 2023.
    [Google Scholar]
  201. Buckmaster, Luke (2017), ‘Interview: David Stratton on bad reviews, director tantrums and watching a new film every day’, The Guardian, 23 February, https://www.theguardian.com/film/2017/feb/23/david-stratton-on-bad-reviews-director-tantrums-and-watching-a-new-film-every-day. Accessed 23 February 2024.
    [Google Scholar]
  202. Butler, Judith (1988), ‘Performative acts and gender constitution: An essay in phenomenology and feminist theory’, Theatre Journal, 40:4, pp. 519531.
    [Google Scholar]
  203. Butwell, Murray (2011), ‘He says six, she says 12’, The Examiner Newspaper, 21 August, p. C06.
    [Google Scholar]
  204. Byrne, Jennifer (2004), ‘Margaret Pomeranz and David Stratton’, The Bulletin with Newsweek, 29 June, pp. 4042.
    [Google Scholar]
  205. Caldwell, John T. (2008), Production Culture: Industrial Reflexivity and Critical Practice in Film and Television, Durham, NC: Duke University Press.
  206. Cameron, Deborah (1999), ‘Lights, action: And cancel’, The Sydney Morning Herald, 7 August, p. 13.
    [Google Scholar]
  207. Carbone, Suzanne (2001), ‘Under the green guide grill’, The Age, 14 June, p. 2.
    [Google Scholar]
  208. Carbone, Suzanne (2003), ‘Film board chief on the defensive over banned movie’, The Age, 5 July, p. 12.
    [Google Scholar]
  209. Cartwright, Lexie (2019), ‘Celebrated film critic Margaret Pomeranz reveals worst movie she’s ever seen’, news.com.au, 22 January, https://www.news.com.au/entertainment/movies/box-office/celebrated-film-critic-margaret-pomeranz-reveals-worst-movie-shes-ever-seen/news-story/dc7260759bdcfa68299199e5948b7d9a. Accessed 20 August 2023.
    [Google Scholar]
  210. Castrique, Sue (1997), ‘Add one writer and stir: Recipe or feast?’, Media International Australia, 85:1, pp. 102106.
    [Google Scholar]
  211. Cenere, Philip, Thompson, Peter, Byrnes, Paul, Urban, Andrew and Wilson, Jake (2005), ‘Film criticism … somebody’s got to do it.’, Metro Magazine, 142, pp. 9295.
    [Google Scholar]
  212. Chang, Won H. (1975), ‘A typology study of movie critics’, Journalism Quarterly, 52:5, pp. 721725.
    [Google Scholar]
  213. Chapman, Jan (2017), ‘Giving life’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 117119.
    [Google Scholar]
  214. Chenoweth, Neil (2003), ‘Cut! The Australian film industry loses the plot’, The Australian Financial Review, 13 September, p. 22.
    [Google Scholar]
  215. Choueti, Marc, Smith, Stacy L., Pieper, Katherine and Case, Ariana (2018), Critics Choice? Gender and Race/Ethnicity of Film Reviewers Across 100 Top Films of 2017, Los Angeles, CA: USC Annenberg Inclusion Initiative, https://assets.uscannenberg.org/docs/cricits-choice-2018.pdf. Accessed 20 August 2023.
  216. Christie, Ian (1992), ‘Canon fodder’, Sight and Sound, 2:8, pp. 3133.
    [Google Scholar]
  217. Classification (Publications, Films and Computer Games) Act (1995), https://www.legislation.gov.au/Details/C2017C00267. Accessed 20 August 2023.
  218. Colbert, Mary (1992), ‘Where are the scripts?’, The Sydney Morning Herald, 4 July, p. 41.
    [Google Scholar]
  219. Commonwealth of Australia (n.d.), ‘Australian Classification’, https://www.classification.gov.au/. Accessed 3 September 2023.
  220. Corliss, Richard (1975), Talking Pictures: Screenwriters in the American Cinema, New York: Penguin Books.
  221. Corliss, Richard (1990), ‘All thumbs: Or, is there a future for film criticism?’, Film Comment, 26:2, pp. 1416, 18.
    [Google Scholar]
  222. Crane, Diana (2008), ‘Taste culture’, in Wolfgang Donsbach (ed.), The International Encyclopedia of Communication, Chichester: John Wiley & Sons, Ltd, pp. 49544956.
    [Google Scholar]
  223. Cuthbertson, Debbie (2011), ‘Exhibit marks 25 years of Margaret and David’, ABC News, 18 August, https://www.abc.net.au/news/2011-08-17/margaret-david-exhibition/2842736. Accessed 18 June 2019.
    [Google Scholar]
  224. Daily Review (2014), ‘Phillip Adams on Oz film: Worry about Washington’s trojan horses’, Daily Review, 17 November, https://dailyreview.com.au/phillip-adams-on-oz-film-worry-about-washingtons-trojan-horses/. Accessed 20 August 2023.
    [Google Scholar]
  225. Dalton, Keith (1988), ‘A crisis down under: As profit-motivated entrepreneurs abandon the Australian film industry, production takes a dramatic plunge’, The Globe and Mail, 5 March, p. C3.
    [Google Scholar]
  226. Davies, Brian (2007), ‘The story of Spectrum Films, Australia’s leading postproduction specialist: An epic and corner stone of the Australian film industry, set in place 45 years ago’, http://www.abctvgorehill.com.au/assets/contributions/hans-pomeranz-tribute.htm. Accessed 29 June 2019.
  227. Debenedetti, Stéphane (2006), ‘The role of media critics in the cultural industries’, International Journal of Arts Management, 8:3, pp. 3042.
    [Google Scholar]
  228. Dermody, Susan and Jacka, Elizabeth (1987), The Screening of Australia, vol. 1. Sydney: Currency Press.
  229. Dermody, Susan and Jacka, Elizabeth (1988a), The Screening of Australia, vol. 2: Anatomy of a National Cinema, Sydney: Currency Press.
  230. Dermody, Susan and Jacka, Elizabeth (1988b), The Imaginary Industry: Australian Film’s in the Late ‘80s, North Ryde: AFTRS Publications.
  231. Di Rosso, Jason (2019), ‘Joker offers realistic depiction of violence and alienation that feels relevant and unsettling’, ABC News, 1 October, https://www.abc.net.au/news/2019-10-02/joker-review-joaquin-phoenix-dc-comics-realistic-violence/11564060. Accessed 25 July 2023.
    [Google Scholar]
  232. Divola, Barry (2005), ‘Censors working overtime’, Sun Herald, 25 September, p. 22.
    [Google Scholar]
  233. Dow, Steve (2002), ‘Moulin Rouge tops Australian box office’, The Age, 26 January, p. 14.
    [Google Scholar]
  234. Duthie, Amanda (ed.) (2017), Margaret and David: 5 Stars, Mile End: Wakefield Press.
  235. Ebert, Roger (1990), ‘All stars: Or, is there a cure for criticism of film criticism?’, Film Comment, 26:3, pp. 4557.
    [Google Scholar]
  236. Eliashberg, Jehoshua and Shugan, Steven M. (1997), ‘Film critics: Influencers or predictors?’, Journal of Marketing, 61:2, pp. 6878.
    [Google Scholar]
  237. Enker, Debi (2004), ‘Same spotlight, different stage’, The Age, 24 June, p. 8.
    [Google Scholar]
  238. Episode 1 (1986), The Movie Show, 30 October, Australia: SBS.
    [Google Scholar]
  239. Evershed, Nick (2014), ‘At the Movies: Margaret and David’s most divisive films revealed’, The Guardian, 16 September, https://www.theguardian.com/news/datablog/2014/sep/16/at-the-movies-margaret-and-davids-most-divisive-films-revealed. Accessed 29 August 2023.
    [Google Scholar]
  240. Farouque, Farah (2009), ‘Critic’s view’, The Age, 2 April, p. 40.
    [Google Scholar]
  241. Faughnder, Ryan (2017), ‘How Rotten Tomatoes became Hollywood’s most influential—and feared—website’, Los Angeles Times, 21 July, https://www.latimes.com/business/hollywood/la-fi-ct-rotten-tomatoes-20170721-htmlstory.html. Accessed 20 August 2023.
    [Google Scholar]
  242. Fitzgerald, Ross (2008), ‘Howard’s moral cleansers past their use-by date’, The Australian, 7 January, p. 6.
    [Google Scholar]
  243. Ford, Rebecca (2014), ‘CinemaCon: Film critics still have clout, study finds’, Hollywood Reporter, 24 May, https://www.hollywoodreporter.com/movies/movie-news/cinemacon-film-critics-still-have-690579/. Accessed 19 May 2024.
    [Google Scholar]
  244. Forster, Edward M. (1927), Aspects of the Novel, New York: Harcourt, Brace and Company, Inc.
  245. Foucault, Michel (1977), ‘Nietzsche, genealogy, history’, in Donald F. Bouchard (ed.), Language, Counter-Memory, Practice: Selected Essays and Interviews, Ithaca, NY: Cornell University Press, pp. 139164.
    [Google Scholar]
  246. French, Lisa (2015), ‘The league of men: Why are there so few female critics’, The Conversation, 8 October, https://theconversation.com/the-league-of-men-why-are-there-so-few-female-film-critics-47470. Accessed 13 October 2024.
    [Google Scholar]
  247. Frey, Mattias (2014), The Permanent Crisis of Film Criticism: The Anxiety of Authority, Amsterdam: Amsterdam University Press.
  248. Frey, Mattias (2015), ‘The new democracy? Rotten Tomatoes, Metacritic, Twitter, and IMDb’, in Mattias Frey and Cecilia Sayad (eds), Film Criticism in the Digital Age, Baltimore, MD: Rutgers University Press, pp. 8198.
    [Google Scholar]
  249. Gans, Herbert J. (1974), Popular Culture and High Culture, New York: Basic Books.
  250. Gardner, Geoff, Hodsdon, Barrett and Knox, Jim (2002), ‘A film culture forum’, Screening the Past, 21, July, http://www.sensesofcinema.com/2002/feature-articles/forum/. Accessed 23 May 2024.
    [Google Scholar]
  251. Gemser, Gerda, Van Oostrum, Martine and Leenders, Mark A.A.M. (2007), ‘The impact of film reviews on the box office performance of art house versus mainstream motion pictures’, Journal of Cultural Economics, 31, pp. 4363.
    [Google Scholar]
  252. George, Sandy (2017), ‘Margaret and David, the film business, film diversity and Aussie film’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 77115.
    [Google Scholar]
  253. Gilday, Katherine (1978), ‘Down under new wave’, The Globe and Mail, 23 September, p. 21.
    [Google Scholar]
  254. Ginsborg, Hannah (2022), ‘Kant’s aesthetics and teleology’, in Edward N. Zalta and Uri Nodelman (eds), The Stanford Encyclopedia of Philosophy, Fall ed., https://plato.stanford.edu/archives/fall2022/entries/kant-aesthetics/. Accessed 13 July 2013.
    [Google Scholar]
  255. Goldman, William (1983), Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting, New York: Warner Books.
  256. Gonski, David (1997), Review of Commonwealth Assistance to the Film Industry, Canberra: Department of Communications and the Arts.
  257. Gonzalez, Claude (2015), e-mail to author, 18 March.
  258. Gonzalez, Miguel (2010), ‘Bad box office not the same as bad films’, Mumbrella, 18 November, https://mumbrella.com.au/bad-box-office-not-the-same-as-bad-films-71708. Accessed 25 September 2023.
    [Google Scholar]
  259. Gourlay, Colin and Liddy, Matthew (2014), ‘At the Movies: Data reveals Margaret and David’s likes and dislikes’, ABC News, 11 February, https://www.abc.net.au/news/2014-12-09/at-the-movies-data-reveals-margaret-and-david-likes-and-dislikes/5951130. Accessed 11 June 2019.
    [Google Scholar]
  260. Gray, Paul (2002), ‘Ban the movie backlash’, Herald-Sun, 14 May, p. 19.
    [Google Scholar]
  261. Gray, Paul (2004), ‘The paranoids need to wake up’, Herald-Sun, 26 April, p. 18.
    [Google Scholar]
  262. Groening, Matt (1985), ‘How to be a clever film critic’, 5 September, https://www.tumblr.com/lifeinhellarchives/101277972864/how-to-be-a-clever-film-critic-september-5-1985?source=share. Accessed 1 May 2024.
  263. Grue, Jan (2006), ‘Newspaper film reviews: A critical discourse analysis’, Master’s thesis, Oslo: University of Oslo.
  264. Guillaume, Jenna (2014a), ‘The Margaret and David fan fiction you will never unsee’, Buzzfeed, 22 May, https://www.buzzfeed.com/jennaguillaume/the-margaret-and-david-fan-fiction-you-will-never-unsee. Accessed 18 June 2019.
    [Google Scholar]
  265. Guillaume, Jenna (2014b), ‘Are you a Margaret or a David? Which “At the Movies” host are you?’, Buzzfeed, 16 September, https://www.buzzfeed.com/jennaguillaume/are-you-a-margaret-or-a-david. Accessed 18 June 2019.
    [Google Scholar]
  266. Hambly, Glenda (2021), ‘Cultural difference in script development: The Australian example’, in Craig Batty and Stayci Taylor (eds), Script Development: Critical Approaches, Creative Practices, International Perspectives, Cham: Palgrave Macmillan, pp. 6984.
    [Google Scholar]
  267. Hartley, John (1996), Popular Reality: Journalism, Modernity, Popular Culture, London: Arnold.
  268. Havens, Timothy and Lotz, Amanda D. (2012), Understanding Media Industries, New York: Oxford University Press.
  269. Haywood, Ben (2005), ‘Classified information’, The Age, 5 December, p. 8.
    [Google Scholar]
  270. Heller-Nicholas, Alexandra (2014), ‘Horrors of history: On the politics of Wolf Creek 2’, Overland, 215, winter, pp. 2427, https://overland.org.au/previous-issues/issue-215/feature-alexandra-heller-nicholas/. Accessed 20 August 2023.
    [Google Scholar]
  271. Hennessy, Kate (2023), ‘David Stratton’s closing credits: “I’ve done the best I could”’, 23 December, https://www.theguardian.com/film/2023/dec/23/david-strattons-closing-credits-ive-done-the-best-i-could. Accessed 6 May 2024.
  272. Hodsdon, Barrett (2001), Straight Roads and Crossed Lines: The Quest for Film Culture in Australia from the 1960s? Shenton Park: Bernt Porridge Group.
  273. Holbrook, Morris B. (1999), ‘Popular appeal versus expert judgments of motion pictures’, Journal of Consumer Research, 26:2, pp. 144155.
    [Google Scholar]
  274. Holgate, Ben (1999), ‘Waiting in the wings/good guy bad guy’, The Weekend Australian, 5 June, p. R01.
    [Google Scholar]
  275. Horn, John (2001), ‘The reviewer who wasn’t there’, Newsweek, 1 June, https://www.newsweek.com/reviewer-who-wasnt-there-153387. Accessed 20 August 2023.
    [Google Scholar]
  276. Horne, Donald (1986), The Public Culture: The Triumph of Industrialism, London: Pluto Press.
  277. Hoskin, Dave (2012), ‘Margaret and David: Three and a half stars’, Metro Magazine, 171, summer, p. 139.
    [Google Scholar]
  278. Hsieh, Hsiu-Fang and Shannon, Sarah E. (2005), ‘Three approaches to qualitative content analysis’, Qualitative Health Research, 15:9, pp. 12771288.
    [Google Scholar]
  279. Hsu, Greta (2006), ‘Evaluative schemas and the attention of critics in the US film industry’, Industrial and Corporate Change, 15:3, pp. 467496.
    [Google Scholar]
  280. Idato, Michael (2005), ‘Culture rot’, The Sydney Morning Herald, 5 September, p. 4.
    [Google Scholar]
  281. IMDb (n.d.), ‘Romper Stomper taglines’, https://www.imdb.com/title/tt0105275/taglines/?ref_=tt_stry_tg. Accessed 24 July 2023.
  282. Jenkins, Henry, Ford, Sam and Green, Joshua (2013), Spreadable Media: Creating Value and Meaning in a Networked Culture, New York: New York University Press.
  283. Johnson, Travis (2019), ‘From Texas Chainsaw Massacre 2 to Ken Park: Films that failed the censorship test’, The Guardian, 21 February, https://www.theguardian.com/film/2019/feb/21/from-texas-chainsaw-massacre-2-to-ken-park-films-that-failed-the-censorship-test. Accessed 20 August 2023.
    [Google Scholar]
  284. Jones, Barry (1973), ‘The script problem in Australian films & television’, Film Appreciation Newsletter, 3:5, pp. 206207.
    [Google Scholar]
  285. Joyce, Hester (2015), ‘Cargo cults: Key moments in establishing screenwriting in the New Zealand Film Commission’, Journal of Screenwriting, 6:1, pp. 7187.
    [Google Scholar]
  286. Kant, Immanuel ([1790] 1914), Kant’s Critique of Judgement, London: Macmillan and Co., Ltd.
  287. Kaufman, Tina (1996), ‘The film community under review: The critical link – film culture’, Metro Magazine, 108, pp. 8992.
    [Google Scholar]
  288. Kaufman, Tina (1998), ‘Screen culture data released in time for government review’, Metro Magazine, 116, pp. 57.
    [Google Scholar]
  289. Kaufman, Tina (2000), ‘Missing: Screen culture’, Metro Magazine, 121/122, pp. 1316.
    [Google Scholar]
  290. Kaufman, Tina (2009), ‘Australian screen culture in 2009: Where we are, where we’re going’, Metro Magazine, 160, pp. 102109.
    [Google Scholar]
  291. Keating, Paul John (1991), ‘The Hon. P.J. Keating, press conference, Parliament House, 19 December 1991’, https://pmtranscripts.pmc.gov.au/release/transcript-8367. Accessed 23 May.
  292. Kerner, Aaron Michael (2015), Torture Porn in the Wake of 9/11: Horror, Exploitation, and the Cinema of Sensation, New Brunswick, NJ: Rutgers University Press.
  293. King, Noel, Verevis, Constantine and Williams, Deane (eds) (2013–2018), Australian Film Theory & Criticism, 3 vols, Chicago, IL: University of Chicago Press.
  294. Knox, David (2024), ‘David Stratton makes rare ABC return’, 29 April, https://tvtonight.com.au/2024/04/david-stratton-makes-rare-abc-return.html. Accessed 7 May 2024.
  295. Kornits, Dov (2017), ‘David Stratton returns to reviewing films on the screen’, FilmInk, 31 May, https://www.filmink.com.au/david-stratton-returns-reviewing-films-screen/. Accessed 29 August 2023.
    [Google Scholar]
  296. Kuipers, Richard (2017), ‘Part of the family’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 5363.
    [Google Scholar]
  297. Lake, Gayle (2014), ‘Pomeranz, Margaret’, https://www.womenaustralia.info/leaders/biogs/WLE0197b.htm. Accessed 19 June 2019.
  298. Lamaison, Pierre and Bourdieu, Pierre (1986), ‘From rules to strategies: An interview with Pierre Bourdieu’, Cultural Anthropology, 1:1, pp. 110120.
    [Google Scholar]
  299. Lampel, Joseph and Shamsie, Jamal (2000), ‘Critical push: Strategies for creating momentum in the motion picture industry’, Journal of Management, 26:2, pp. 233257.
    [Google Scholar]
  300. Lapkin, Ted (2004), ‘Triumph of the swill’, The Institute of Public Affairs Review: A Quarterly Review of Politics and Public Affairs, 56:3, pp. 1617.
    [Google Scholar]
  301. Lee, Sandra (1997), ‘Victim of cutting criticism’, Daily Telegraph, 13 September, p. 10.
    [Google Scholar]
  302. Levy, Sandra (2017), ‘Bear witness’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 1720.
    [Google Scholar]
  303. Lewis, Maria (2014), ‘Wolf Creek 2 star John Jarratt takes aim at “elitist” ABC film critics Margaret and David after they reuse to review his new movie on their TV show’, Mail Online, 27 February, https://www.dailymail.co.uk/tvshowbiz/article-2568897/Wolf-Creek-2-star-John-Jarratt-takes-aim-elitist-ABC-film-critics-Margaret-David-refuse-review-new-movie-TV-show.html. Accessed 20 August 2023.
    [Google Scholar]
  304. Liu, Bing (2022), Sentiment Analysis and Opinion Mining, Cham: Springer Nature.
  305. Long, Malcolm (2005), ‘Solving box office blues’, The Australian Financial Review, 24 February, p. 45.
    [Google Scholar]
  306. Lovell, Glenn (1997), ‘Movies and manipulation: How studios punish critics’, Columbia Journalism Review, 35:9, pp. 912.
    [Google Scholar]
  307. Luscri, Chris (2021), ‘Australian autofiction: A filmmaker roundtable’, Screening the Past, 99, July, https://www.sensesofcinema.com/2021/australian-autofiction-2/australian-autofiction-a-filmmaker-roundtable/. Accessed 26 October 2023.
    [Google Scholar]
  308. Macdonald, Ian W. (2013), Screenwriting Poetics and the Screen Idea, Basingstoke: Palgrave Macmillan.
  309. Macdonald, Ian W. (2021), ‘Meeting old friends for the first time: A personal reflection on the development of the Screenwriting Research Network’, Journal of Screenwriting, 12:2, pp. 203226.
    [Google Scholar]
  310. Mackie, Andrew (2017), ‘Something deeper’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 1115.
    [Google Scholar]
  311. Madigan, Damien (2018), ‘Uncovering movie gems’, Blue Mountains Gazette, 19 December, p. 18.
    [Google Scholar]
  312. Maddox, Gary (2003), ‘Doctor’s script for film recovery’, The Sydney Morning Herald, 17 November, p. 15.
    [Google Scholar]
  313. Maddox, Gary (2024), ‘“I thought I’d go completely blind”: Cruellest blow for a movie critic hits David Stratton’, Sydney Morning Herald, 11 October, https://www.smh.com.au/culture/books/i-thought-i-d-go-completely-blind-cruellest-blow-for-a-movie-critic-hits-david-stratton-20240926-p5kdt6.html. Accessed 14 October 2024.
  314. Maddox, Gary and Molitorisz, Sacha (2003), ‘Metropolitan: Doing their lolly’, The Sydney Morning Herald, 7 June, p. 1.
    [Google Scholar]
  315. Magnusson, Tony (2008), ‘In my own words’, Sunday Telegraph Magazine, 23 March, p. 17.
    [Google Scholar]
  316. Maguire, Jennifer Smith (2014), ‘Bourdieu on cultural intermediaries’, in Jennifer Smith Maguire and Julian Matthews (eds), The Cultural Intermediaries Reader, Los Angeles, CA: SAGE, pp. 1524.
    [Google Scholar]
  317. Malone, Peter (1994), Worth Watching: Thirty Film Reviewers on Review, Richmond: Spectrum Publications Pty Ltd.
  318. Maltby, Richard (1995), ‘The genesis of the production code’, Quarterly Review of Film and Video, 15:4, pp. 532.
    [Google Scholar]
  319. Maras, Steven (2005), ‘The problem of theory and practice: Towards a constitutive analysis’, Journal of Media Practice, 6:2, pp. 93103.
    [Google Scholar]
  320. Maras, Steven (2009), Screenwriting: History, Theory and Practice, London: Wallflower Press.
  321. Maras, Steven (2017), ‘Towards a critique of universalism in screenwriting criticism’, Journal of Screenwriting, 8:2, pp. 177196.
    [Google Scholar]
  322. Maras, Steven (2019), ‘Outline for a social ethics of film reviewing: After Pierre Bourdieu’, Ethical Space: The International Journal of Communication Ethics, 16:4, pp. 415.
    [Google Scholar]
  323. Maras, Steven (2020), ‘Revisiting the distinction between criticism and reviewing: Practices, functions, rhetorics, and containers’, Continuum: Journal of Media & Cultural Studies, 34:1, pp. 3243.
    [Google Scholar]
  324. Maras, Steven (2021), ‘Screenwriting research in Australia: A truncated (pre)history’, Journal of Screenwriting, 12:2, pp. 179202.
    [Google Scholar]
  325. Martin, Adrian (1992a), ‘In the name of popular culture’, Metro Magazine, 89, autumn, pp. 3446.
    [Google Scholar]
  326. Martin, Adrian (1992b), ‘Mise en scène is dead: The expressive, the technical and the stylish’, Continuum: Journal of Media & Cultural Studies, 5:2, pp. 89140.
    [Google Scholar]
  327. Martin, Adrian (1999), ‘Making a bad script worse: The curse of the scriptwriting manual’, Australian Book Review, 209, April, pp. 2326.
    [Google Scholar]
  328. Martin, Adrian (2004), ‘Possessory credit’, Framework: The Journal of Cinema and Media, 45:1, pp. 9599.
    [Google Scholar]
  329. Martin, Adrian (2014), Mise en Scène and Film Style: From Classical Hollywood to New Media Art, Basingstoke: Palgrave Macmillan.
  330. Martin, Lauren (1998), ‘The plot thickens: $15 M rescue plan’, The Sydney Morning Herald, 1 September, p. 15.
    [Google Scholar]
  331. Maximus Headroom (2013), ‘Margaret Pomeranz detained 2003—Debate on Ken Park ban—Channel 7 and Channel 9 reports’, 25 April, https://www.youtube.com/watch?v=tl6zp_wIogQ. Accessed 17 July 2023.
  332. Mayer, Arthur L. (1945), ‘Some of my best friends are critics’, The American Mercury, 60:255, March, pp. 341346.
    [Google Scholar]
  333. Mayer, Arthur L. (1959), ‘On critics and criticism by a vet pix pro’, Variety, 7 January, p. 10.
    [Google Scholar]
  334. McArthur, Colin (1985), ‘British film reviewing: A complaint’, Screen, 26:1, pp. 7984.
    [Google Scholar]
  335. McClintock, Pamela (2017), ‘Studios toss sour grapes at Rotten Tomatoes’, The Hollywood Reporter, 2 August, pp. 1011.
    [Google Scholar]
  336. McClintock, Pamela (2019), ‘Rotten Tomatoes arms itself against trolls’, The Hollywood Reporter, 13 March, p. 26.
    [Google Scholar]
  337. McKee, Robert (1997), Story: Substance, Structure, Style, and the Principles of Screenwriting, New York: ReganBooks.
  338. McKenzie, Jordi (2007), ‘Filmonomics: An introduction to the economics of the box office’, Metro Magazine, 153, pp. 106110.
    [Google Scholar]
  339. McKenzie, Jordi (2009), ‘Revealed word-of-mouth demand and adaptive supply: Survival of motion pictures at the Australian box office’, Journal of Cultural Economics, 33:4, pp. 279299.
    [Google Scholar]
  340. McKenzie, Jordi (2019), e-mail to author, 15 March.
  341. McKenzie, Jordi and Walls, W. David (2013), ‘Australian films and the Australian box office: Performance, distribution and subsidies’, Journal of Cultural Economics, 27:2, pp. 247269.
    [Google Scholar]
  342. McManus, Brigid (2015), ‘Q+A Margaret Pomeranz’, The Canberra Times, 30 March, p. C003.
    [Google Scholar]
  343. Mills, Jane (2001), The Money Shot: Cinema, Sin and Censorship, Annandale: Pluto Press.
  344. Mills, Jane (2002), ‘On the road with screen culture [or, hit the road mate]’, Metro Magazine, 133.
    [Google Scholar]
  345. Milsom, Rosemarie (2004), ‘Questions for Cate Shortland’, Sun Herald, 19 September, p. 63.
    [Google Scholar]
  346. Miraudo, Simon (2023), ‘Margaret Pomeranz v the police: How Australian film standards – and censors – limit what we watch’, The Guardian, 1 August, https://www.theguardian.com/film/2023/jul/31/margaret-pomeranz-australian-film-censorship-police. Accessed 20 August 2023.
    [Google Scholar]
  347. Mittell, Jason (2015), Complex TV: The Poetics of Contemporary Television Storytelling, London: New York University Press.
  348. Moodley, Nashen (2017), ‘Love letter’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 2326.
    [Google Scholar]
  349. Moore, Cath and O’Meara, Radha (2021), ‘How government institutions shape script development: Comparative case studies of Screen Australia and the Danish Film Institute’, in C. Batty and S. Taylor (eds), Script Development: Critical Approaches, Creative Practices, International Perspectives, Cham: Palgrave Macmillan, pp. 3150.
    [Google Scholar]
  350. Moran, Jonathon (2019), ‘Shock revelation from top film critic’s career’, Herald-Sun, 21 January, https://www.heraldsun.com.au/entertainment/confidential/margaret-pomeranz-never-intended-to-work-in-front-of-the-camera/news-story/33d648bd36379747458b8f9e92c4f4c4. Accessed 20 August 2023.
    [Google Scholar]
  351. Morris, Meaghan (1988), ‘Indigestion: A rhetoric of reviewing’, in The Pirate’s Fiancée: Feminism, Reading, Postmodernism, London: Verso, pp. 105121.
    [Google Scholar]
  352. Morris, Meaghan (2005), ‘Political correctness’, in Tony Bennett, Lawrence Grossberg and Meaghan Morris (eds), New Keywords: A Revised Vocabulary of Culture and Society, Malden, MA: Blackwell, pp. 260261.
    [Google Scholar]
  353. Muecke, Stephen (1991), ‘A rhetoric of reviewing’, Editions, 2:11, pp. 2021.
    [Google Scholar]
  354. National Classification Code (2005), https://www.legislation.gov.au/Details/F2013C00006. Accessed 20 August 2023.
  355. Neill, Rosemary (2008), ‘A lifetime at the movies’, The Australian, 15 March, p. 6.
    [Google Scholar]
  356. Neill, Rosemary (2023), ‘Five stars for David: Last review and candid reflections of legendary film critic Stratton’, The Weekend Australian, 30 December, p. 1.
    [Google Scholar]
  357. Nelmes, Jill (2007), ‘Some thoughts on analysing the screenplay, the process of screenplay writing and the balance between craft and creativity’, Journal of Media Practice, 8:2, pp. 107113.
    [Google Scholar]
  358. Nelmes, Jill (ed.) (2011), Analysing the Screenplay, New York: Routledge.
  359. Nelmes, Jill and Selbo, Jule (eds) (2015), Women Screenwriters: An International Guide, Houndmills: Palgrave Macmillan.
  360. Neuendorf, Kimberley A. (2002), The Content Analysis Guidebook, Thousand Oaks, CA: SAGE.
  361. Neutze, Ben (2017), ‘Exclusive: Eleven years of David and Margaret disappear from ABC website’, Daily Review, 29 October, https://dailyreview.com.au/abc-erases-history-david-margaret/67446/. Accessed 20 August 2023.
    [Google Scholar]
  362. Newcomb, Horace M. and Hirsch, Paul M. (1983), ‘Television as a cultural forum: Implications for research’, Quarterly Review of Film and Video, 8:3, pp. 4555.
    [Google Scholar]
  363. NFSA (2020), ‘Margaret Pomeranz and David Stratton review 2020’, The Chaser, The War on 2020, https://www.nfsa.gov.au/collection/curated/margaret-pomeranz-and-david-stratton-review-2020. Accessed 29 August 2023.
    [Google Scholar]
  364. Nishijima, Marislei, Rodrigues, Mauro and Souza, Thaís Luiza Donega (2021), ‘Is Rotten Tomatoes killing the movie industry? A regression discontinuity approach’, Applied Economics Letters, 29:13, pp. 11871192.
    [Google Scholar]
  365. O’Connor, Cliodhna and Joffe, Helene (2020), ‘Intercoder reliability in qualitative research: Debates and practical guidelines’, International Journal of Qualitative Methods, 19, pp. 113.
    [Google Scholar]
  366. O’Regan, Tom (1983), ‘Australian film making: Its public circulation’, Framework: The Journal of Cinema and Media, 22/23, autumn, pp. 3136.
    [Google Scholar]
  367. O’Regan, Tom (1986), ‘A fine cultural romance: Aspects of Australian film in the late 1970s’, Australian Journal of Cultural Studies, 4:1, pp. 5475.
    [Google Scholar]
  368. O’Regan, Tom (1996), Australian National Cinema, Milton Park: Routledge.
  369. O’Regan, Tom and Walmsley-Evans, Huw (2015a), ‘Towards a history of Australian film criticism’, Screening the Past, 39, August, http://www.screeningthepast.com/issue-39-first-release/towards-a-history-of-australian-film-criticism/. Accessed 20 August 2023.
    [Google Scholar]
  370. O’Regan, Tom and Walmsley-Evans, Huw (2015b), ‘Writing the cinema experience: The film review’, Lola, 6, http://www.lolajournal.com/6/review.html. Accessed 20 August 2023.
    [Google Scholar]
  371. Perlgut, Don (2014), ‘Film reviewing’, in B. Griffen-Foley (ed.), A Companion to the Australian Media, North Melbourne: Australian Scholarly Publishing, pp. 172173.
    [Google Scholar]
  372. Petelin, Roslyn, Elder, Klaus, Rigg, Julie, Kuipers, Richard and Martin, Adrian (2005), ‘How film critics work: Brisbane International Film Festival 2005’, Australian Journal of Communication, 32:3, pp. 117.
    [Google Scholar]
  373. Phillips, Liam (2008), ‘Stratton’s quirky side prevails in memoir’, Northern Territory News/Sunday Territorian, 30 March, p. 54.
    [Google Scholar]
  374. Pitt, Helen (1996), ‘Split over “moral majority” plan’, The Sydney Morning Herald, 11 July, p. 6.
    [Google Scholar]
  375. Pomeranz, Margaret (2005a), ‘Wolf Creek (2005)’, Letterboxd, 2 November, https://letterboxd.com/margaret_david/film/wolf-creek/. Accessed 27 May 2024.
    [Google Scholar]
  376. Pomeranz, Margaret (2005b), ‘Rebound (2005)’, Letterboxd, 12 April, https://letterboxd.com/margaret_david/film/rebound/. Accessed 27 May 2024.
    [Google Scholar]
  377. Pomeranz, Margaret (2006), ‘Margaret Pomeranz on how it all began, and advertising executive Tony Hardy’, Conversations with Richard Fidler, 6 July, http://www.abc.net.au/local/stories/2006/07/06/1680409.htm. Accessed 20 August 2023.
    [Google Scholar]
  378. Pomeranz, Margaret (2009), ‘Samson and Delilah (2009)’, https://letterboxd.com/margaret_david/film/samson-and-delilah/. Accessed 29 May 2024.
  379. Pomeranz, Margaret (2010), ‘Hector Crawford Memorial Lecture’, lecture delivered at Screen Producers Association of Australia Conference, Hilton Hotel, Sydney, 17 November.
    [Google Scholar]
  380. Pomeranz, Margaret (2014), Interviewed by ABC News, https://www.youtube.com/watch?v=zZbxhVwE_p8. Accessed 10 September 2023.
  381. Pomeranz, Margaret and Whitfield Pomeranz, Philippa (2015), Let’s Eat: A Cookbook Celebrating Film, Food & Family, Sydney: ABC Books.
  382. Price, Steven (2013), ‘The screenplay: An accelerated critical history’, Journal of Screenwriting, 4:1, pp. 8797.
    [Google Scholar]
  383. Proyas, Alex (2016), ‘Nothing confirms rampant stupidity faster…’, Facebook, 28 February, https://www.facebook.com/permalink.php?story_fbid=195699647463502&id=100010704046009. Accessed 10 September 2023.
    [Google Scholar]
  384. Quinn, Karl (2014), ‘Big, bad Wolf: TV icons snub local horror’, The Age, 27 February, p. 13.
    [Google Scholar]
  385. Quinn, Karl (2015), ‘Margaret Pomeranz: The feisty First Lady of the Australian screen tells why she couldn’t stay away’, The Sydney Morning Herald, 16 October, https://www.smh.com.au/entertainment/movies/lunch-with--margaret-pomeranz-first-lady-of-the-australian-screen-20151005-gk1oog.html. Accessed 20 August 2023.
    [Google Scholar]
  386. Reinstein, David A. and Snyder, Christopher M. (2005), ‘The influence of expert reviews on consumer demand for experience goods: A case study of movie critics’, The Journal of Industrial Economics, 53:1, pp. 2751.
    [Google Scholar]
  387. Reuters (2003), ‘Australian police halt screening’, The Globe and Mail, 5 July, https://www.theglobeandmail.com/arts/australian-police-halt-screening/article4128533/. Accessed 20 August 2023.
    [Google Scholar]
  388. Roach, Vicky (2014), ‘Wolf Creek 2 downgraded to teenager-friendly rating’, news.com.au, 18 February, https://www.news.com.au/entertainment/movies/wolf-creek-2-downgraded-to-teenagerfriendly-rating/news-story/a90070c969f217224aa5568f4014f9f9. Accessed 20 August 2023.
    [Google Scholar]
  389. Romei, Stephen (2017), ‘Credits roll on a film critic’s life’, The Australian, 25 February, p. 14.
    [Google Scholar]
  390. Rosenbaum, Jonathan (2007), ‘Film writing on the web: Some personal reflections’, Film Quarterly, 60:3, pp. 7680.
    [Google Scholar]
  391. Ross, Monique (2014), ‘Margaret Pomeranz and David Stratton retire: From Team America to Sex and the City, the films that split the At the Movies hosts’, ABC News, 16 September, https://www.abc.net.au/news/2014-09-16/the-movies-that-split-margaret-and-david/5747652. Accessed 18 June 2019.
    [Google Scholar]
  392. Rutherford, Anne (2019), ‘A dense web of relationships: How film culture sustains the screen industries’, Metro Magazine, 201, pp. 118125.
    [Google Scholar]
  393. Sainsbury, Peter (2003a), ‘Visions, illusions, and delusions’, Realtime, 53, February–March, pp. 1819, http://www.realtimearts.net/article/issue53/6972. Accessed 20 August 2023.
    [Google Scholar]
  394. Sainsbury, Peter (2003b), ‘Visions, illusions, and delusions Part II’, Realtime, 54, April–May, pp. 1517, http://www.realtimearts.net/article/issue54/7051. Accessed 20 August 2023.
    [Google Scholar]
  395. Sainsbury, Peter (2005), ‘The fear and loathing of risk and the underdevelopment of script development’, Metro Magazine, 142, pp. 4451.
    [Google Scholar]
  396. Salmon, Caspar (2018), ‘Who needs film critics? Actually we all do’, The Guardian, 20 June, https://www.theguardian.com/film/2018/jun/20/who-needs-film-critics-diversity-hollywood-oceans-8-wrinkle-in-time. Accessed 20 June 2018.
    [Google Scholar]
  397. SBS Movies (2009), ‘The Piano Teacher review’, 1 January, https://www.sbs.com.au/movies/review/piano-teacher-review. Accessed 25 July 2023.
  398. SBS Movies (2015a), ‘Romper Stomper: The movie David Stratton famously refused to rate’, 3 June 2019, https://www.sbs.com.au/movies/review/romper-stomper-review-movie-david-stratton-famously-refused-rate. Accessed 20 June 2019.
  399. SBS Movies (2015b), ‘Romper Stomper: Interviews’, https://www.sbs.com.au/edsweb/video-player/11699779813. Accessed 20 June 2019.
  400. Schembri, Jim (2003), ‘Crisis? What crisis?’, The Age, 21 November, p. 3.
    [Google Scholar]
  401. Schmidt, Lucinda (2008), ‘Profile: David Stratton’, The Sydney Morning Herald, 5 March, p. 2.
    [Google Scholar]
  402. Scott, Mike and Tribble, Christopher (2006), Textual Patterns: Key Words and Corpus Analysis in Language Education, Amsterdam: John Benjamins Publishing Company.
  403. Shepherd, Tamara (2009), ‘Rotten Tomatoes in the field of cultural production’, Revue Canadienne d’Études cinématographiques/Canadian Journal of Film Studies, 18:2, pp. 2644.
    [Google Scholar]
  404. Siemienowicz, Rachel (2011), ‘25 years on the couch: Margaret Pomeranz’, 18 August, https://blogafi.wordpress.com/2011/08/18/25-years-on-the-couch-margaret-pomeranz/. Accessed 17 December 2017.
  405. Singer, Jill (1997), ‘Film: Make me laugh, or cry’, Herald-Sun, 20 November, p. 19.
    [Google Scholar]
  406. Smith, Simon (n.d.), ‘Two on the Aisle: Australian TV’s first movie review duo’, National Film and Sound Archive of Australia, https://www.nfsa.gov.au/latest/two-aisle-australian-tvs-first-movie-review-duo. Accessed 2 September 2023.
    [Google Scholar]
  407. Stadler, Jane and McWilliam, Kelly (2009), Screen Media: Analysing Film and Television, Crows Nest: Allen & Unwin.
  408. Staiger, Janet (1980), ‘Mass-produced photoplays: Economic and signifying practices in the first years of Hollywood’, Wide Angle, 4:3, pp. 1227.
    [Google Scholar]
  409. Staiger, Janet (1985), ‘Blueprints for feature Films: Hollywood’s continuity scripts’, in T. Balio (ed.), The American Film Industry, rev. ed., Madison, WI: University of Wisconsin Press, pp. 173192.
    [Google Scholar]
  410. Stern, David (1991), ‘Are disagreements about taste possible? A discussion of Kant’s antinomy of taste’, The Iowa Review, 21, pp. 6671.
    [Google Scholar]
  411. Stokes, Patrick (2014), ‘Margaret, David, Wolf Creek 2 and, oh … torture porn’, The Conversation, 27 February, https://theconversation.com/margaret-david-wolf-creek-2-and-oh-torture-porn-23758. Accessed 20 August 2023.
    [Google Scholar]
  412. Stratton, David (1980), The Last New Wave: The Australian Film Revival, London and Sydney: Angus & Robertson.
  413. Stratton, David (1990), The Avocado Plantation: Boom and Bust in the Australian Film Industry, Chippendale: Pan Macmillan.
  414. Stratton, David (2003), ‘Letters to the editor’, The Australian, 7 July, p. 8.
    [Google Scholar]
  415. Stratton, David (2006), ‘Hostel (2005)’, Letterboxd, 22 February, https://letterboxd.com/margaret_david/film/hostel/. Accessed 27 May 2024.
    [Google Scholar]
  416. Stratton, David (2008a), I Peed on Fellini: Recollections of a Life in Film, North Sydney: Random House.
  417. Stratton, David (2008b), ‘David Stratton and Professor Kathryn North’, Conversations with Richard Fidler, 8 April, http://www.abc.net.au/local/stories/2008/04/08/2210917.htm. Accessed 20 August 2023.
    [Google Scholar]
  418. Stratton, David (2008c), ‘A subtle take on bereavement’, The Australian, 4 October, p. 22.
    [Google Scholar]
  419. Stratton, David (2014a), ‘Race against overkill’, The Australian, 22 February, p. 15.
    [Google Scholar]
  420. Stratton, David (2014b), ‘There comes a moment when the closing credits must roll’, The Australian, 17 September, p. 15.
    [Google Scholar]
  421. Stratton, David (2017), Interviewed by J. Di Rosso, The Final Cut, Radio National, 3 March, https://www.abc.net.au/radionational/programs/archived/finalcut/david-stratton:-a-cinematic-life/8313408. Accessed 20 August 2023.
    [Google Scholar]
  422. Stratton, David (2018), 101 Marvellous Movies You May Have Missed, Sydney: Allen & Unwin.
  423. Stratton, David (2019), ‘The tears of a clown’, The Australian, 28 September, p. 14.
    [Google Scholar]
  424. Stratton, David (2021), My Favourite Movies: From a Century of Films and the World’s Best Directors, Sydney: Allen & Unwin.
  425. Stratton, David (2024), Australia at the Movies: The Ultimate Guide to Modern Australian Cinema, Sydney: Allen & Unwin.
  426. Stratton, David (n.d.), ‘David Stratton recommends’, https://palacenova.com.au/david-stratton-recommends. Accessed 29 August 2023.
  427. Stratton, David and Pomeranz, Margaret (1999), ‘Dangers in censorship’, Sydney Morning Herald, 17 April, p. 44.
    [Google Scholar]
  428. Stratton, David and Pomeranz, Margaret (2014), ‘The closing credits’, The Age, 6 December, p. 12.
    [Google Scholar]
  429. Strohmaier, Petra (1999), ‘Metacriticism in Australian film reviewing in the 1970s’, Antipodes, 13:2, pp. 7377.
    [Google Scholar]
  430. Szcygłowska, Tatiana (2022), ‘The lexico-phraseological profile of professional film reviews published by the British media: A corpus-linguistic study’, Crossroads: A Journal of English Studies, 38, pp. 1840.
    [Google Scholar]
  431. Thomas, Sarah (2014), ‘At the Movies: Margaret and David avoid “ugly” Wolf Creek 2’, The Sydney Morning Herald, 26 February, https://www.smh.com.au/entertainment/movies/at-the-movies-margaret-and-david-avoid-ugly-wolf-creek-2-20140226-33hbi.html. Accessed 18 June 2019.
    [Google Scholar]
  432. Thompson, Kenneth L. (1947), ‘Criticism and opinion’, Sight and Sound, 16:62, pp. 7172.
    [Google Scholar]
  433. Truffaut, François ([1954] 1976), ‘A certain tendency of the French cinema’, in B. Nichols (ed.), Movies and Methods: An Anthology, vol. 1. Berkeley, CA: University of California Press, pp. 224236.
    [Google Scholar]
  434. Tsitas, Evelyn (1999), ‘What’s wrong with Aussie film?’, Herald-Sun, 29 November, p. 88.
    [Google Scholar]
  435. Tulich, Katherine (2014), ‘“At the Movies” ends its long Australian run’, RogerEbert.com, 19 September, https://www.rogerebert.com/features/at-the-movies-ends-its-long-australian-run. Accessed 20 August 2023.
    [Google Scholar]
  436. Turner, Graeme (1990), British Cultural Studies, Boston: Unwin Hyman.
  437. Turner, Graeme (1993), ‘Media texts and messages’, in S. Cunningham and G. Turner (eds), The Media in Australia: Industries, Texts, Audiences, St Leonards: Allen & Unwin, pp. 205266.
    [Google Scholar]
  438. Ugwu, Reggie (2023), ‘They review movies on TikTok, but don’t call them critics’, The New York Times, 15 August, https://www.nytimes.com/2023/08/15/movies/tiktok-movie-reviews-critics.html?smid=url-share. Accessed 29 August 2023.
    [Google Scholar]
  439. Urban, Andrew L. (2003), ‘Lies and damn censorship’, 3 July, http://www.urbancinefile.com.au/home/view.asp?a=7595&s=features. Accessed 19 June 2019.
  440. Verhoeven, Deb (2006), Sheep and the Australian Cinema, Melbourne: Melbourne University Press.
  441. Visontay, Michael (1986), ‘The picture show men’, The Sydney Morning Herald, 22 December, p. 1.
    [Google Scholar]
  442. Walmsley-Evans, Huw (2014), ‘Don’t let this be the last picture show’, The Drum, 16 September, https://mobile.abc.net.au/news/2014-09-16/walmsley-dont-let-this-be-the-last-picture-show/5747960?pfmredir=sm&pfm=sm. Accessed 18 June 2019.
    [Google Scholar]
  443. Walmsley-Evans, Huw (2018), Film Criticism as a Cultural Institution, Milton Park: Routledge.
  444. Watch on Censorship (2008), ‘The watchers watched’, 28 May, https://web.archive.org/web/20120320065408/http://watchoncensorship.asn.au/watch.html. Accessed 19 June 2019.
  445. Webber, Pauline (2005), ‘History of the Sydney Film Festival, 1954–1983’, MA dissertation, Sydney: University of Technology, Sydney.
  446. Weerakkody, Niranjala (2015), Research Methods for Media and Communication, South Melbourne: Oxford University Press.
  447. Wilk, Max (2004), Schmucks with Underwoods: Conversations with America’s Classic Screenwriters, New York: Applause Theatre & Cinema Books.
  448. Wilkinson, Alissa (2018), ‘The real reason we need more diversity in film criticism’, Vox, 23 June, https://www.vox.com/culture/2018/6/22/17466246/criticism-film-movie-diversity-annenberg-study-larson-blanchett-bullock-kaling. Accessed 18 June 2019.
    [Google Scholar]
  449. Wilkinson, Jules (2010), ‘A box of mirrors, a unicorn, and a pony’, Transformative Works and Cultures, 4, http://dx.doi.org/10.3983/twc.2010.0159. Accessed 12 July 2023.
    [Google Scholar]
  450. Williams, Glen (2000), ‘24 hours’, Sun Herald, 18 June, p. 4.
    [Google Scholar]
  451. Wilmoth, Peter (1993), ‘Take that! The critics get some of their own medicine’, The Age [Saturday Extra], 9 January, p. 1.
    [Google Scholar]
  452. Wilmoth, Peter (1995), ‘Show stoppers: Just who do these critics think they are?’, Sunday Age, 15 June, p. 1.
    [Google Scholar]
  453. Wollen, Peter (1993), ‘Films: Why do some survive and others disappear?’, Sight and Sound, 3:5, pp. 2628.
    [Google Scholar]
  454. Worthington, Jane (2007), ‘Defining moments: Margaret Pomeranz, film critic’, Wish Magazine (The Australian), 5 October, p. 98.
    [Google Scholar]
  455. Writers Guild of America, West (2018), ‘Screen credits manual’, https://www.wga.org/uploadedfiles/credits/manuals/screenscredits_manual18.pdf. Accessed 9 October 2023.
  456. Writers’ Guild of Great Britain (2011), ‘Credit arbitration’, https://writersguild.org.uk/wp-content/uploads/2015/02/Arbitration-Guidelines-April-2011.pdf. Accessed 29 May 2024.
  457. Wyatt, Robert O. and Badger, David P. (1984), ‘How reviews affect interest in and evaluation of films’, Journalism Quarterly, 61:4, pp. 874878.
    [Google Scholar]
  458. Wyatt, Robert O. and Badger, David P. (1987), ‘To toast, pan or waffle: How film reviews affect reader interest and credibility perception’, Newspaper Research Journal, 8:4, pp. 1930.
    [Google Scholar]
  459. YouTube Movies and TV (2017), ‘Romper Stomper: Trailer’, 14 October, https://www.youtube.com/watch?v=Tu2JLPh4A40. Accessed 24 July 2023.
  460. Zuel, Bernard (1996), ‘The not so odd couple’, The Sydney Morning Herald, 28 October, p. 3.
    [Google Scholar]
  461. Zvi, Jacob (2019), ‘What killed Australian Cinema & why is the bloody corpse still moving?’, Ph.D. thesis, Melbourne: Swinburne University of Technology.

References

  1. The 13th Letter (1951), Otto Preminger (dir.), Howard Koch (wr.) and Louis Chavance (wr.), United States: Twentieth Century Fox.
  2. Amour (2012), Michael Haneke (dir./wr.), Austria, France and Germany: Les Films du Losange, X-Filme Creative Pool, Wega Film.
  3. Anacondas: The Hunt for the Blood Orchid (2004), Dwight H. Little (dir.), Hans Bauer (wr.), Jim Cash (wr.), Jack Epps Jr. (wr.), John Claflin (wr.), Daniel Zelman (wr.), Michael Miner (wr.) and Edward Neumier (wr.), United States and Australia: Screen Gems, Middle Fork Productions.
  4. Anchorman: The Legend of Ron Burgundy (2004), Adam McKay (dir./wr.) and Will Ferrell (wr.), United States: Dreamworks Pictures, Apatow Productions, Herzog-Cowen Entertainment.
  5. Australia (2008), Baz Luhrmann (dir./wr.), Stuart Beattie (wr.), Ronald Harwood (wr.) and Richard Flanagan (wr.), United Kingdom, Australia and United States: Twentieth Century Fox, Bazmark Films, ScreenWest, Dune Entertainment III, Ingenious Film Partners.
  6. Because of Winn-Dixie (2005), Wayne Wang (dir.), Kate DiCamillo (wr.) and Joan Singleton (wr.), United States: Twentieth Century Fox, Walden Media.
  7. Becoming Jane (2007), Julian Jarrold (dir.), Jane Austen (wr.), Kevin Hood (wr.) and Sarah Williams (wr.), United Kingdom and Ireland: Hanway Films, UK FIlm Council, The Irish Film Board, Ecosse Films.
  8. Beyond the Valley of the Dolls (1970), Russ Meyer (dir./wr.), Roger Ebert (wr.), Kevin Hood (wr.) and Sarah Williams (wr.), United States: Twentieth Century Fox.
  9. Birdman or (The Unexpected Virtue of Ignorance) (2014), Alejandro G. Iñárritu, (dir./wr), Nicolás Giacobone (wr.) and Alexander Dinelaris (wr.), United States: New Regency Productions, M Productions, Grisbi Productions, TSG Entertainment, Worldview Entertainment.
  10. Blessed (2009), Ana Kokkinos (dir.), Andrew Bovell (wr.), Melissa Reeves (wr.), Patricia Cornelius (wr.), Christos Tsiolkas (wr.) and Irene Vela (wr.), Australia: Blessed Film Productions, Film Victoria, Head Gear Films, Melbourne International Film Festival, Metrol Technology, Screen Australia, Wildheart Zizani.
  11. Blind Company (2009), Alkinos Tsilimidos (dir./wr.) and Austin Pendleton (wr.), Australia: Valarc Films, Rescued Films, Maker Films, Scarab Studio.
  12. The Boat That Rocked (2009), Richard Curtis (dir./wr.), United Kingdom, France, Germany and United States: Universal Pictures, Working Title Films.
  13. The Book of Revelation (2006), Ana Kokkinos (dir./wr.), Rupert Thomson (wr.) and Andrew Bovell (wr.), Australia: Screen Australia, Wildheart Zizani.
  14. The Box (2009), Richard Kelly (dir./wr.) and Richard Matheson (wr.), United States: Warner Bros., Darko Entertainment, Lin Pictures.
  15. Break of Day (1976), Ken Hannam (dir.) and Cliff Green (wr.), Australia: Clare Beach Films, Greater Union, Nine Network.
  16. The Bridge on the River Kwai (1957), David Lean (dir.), Pierre Boulle (wr.), Carl Foreman (wr.) and Michael Wilson (wr.), United Kingdom and United States: Horizon Pictures.
  17. Brokeback Mountain (2005), Ang Lee (dir.), Annie Proulx (wr.), Larry McMurtry (wr.) and Diana Ossana (wr.), United States and Canada: Focus Features, River Road Entertainment, Alberta Film Entertainment, Good Machine.
  18. Cars (2006), John Lasseter (dir./wr.), Joe Ranft (co-dir./wr.), Jorgen Klubien (wr.), Dan Fogelman (wr.), Kiel Murray (wr.) and Phil Lorin (wr.), United States: Pixar Animation Studios, Walt Disney Pictures.
  19. Casablanca (1942), Michael Curtiz (dir.), Julius J. Epstein (wr.), Philip G. Epstein (wr.), Howard Koch (wr.), Murray Burnett (wr.) and Joan Alison (wr.), United States: Warner Bros.
  20. Certain Women (1973–1977), Tony Morphett (cr.), Australia: Australian Broadcasting Commission).
  21. Changeling (2008), Clint Eastwood (dir.) and J. Michael Straczynski (wr.), United States: Imagine Entertainment, Malpaso Productions, Relativity Media.
  22. Charlie’s Country (2013), Rolf de Heer (dir./wr.) and David Gulpilil (wr.), Australia: Adelaide Film Festival, Bula’bula Arts Aboriginal, Screen Australia, The South Australian Film Corporation, Vertigo Productions.
  23. The Chronicles of Riddick (2004), David Twohy (dir./wr.), Jim Wheat (wr.) and Ken Wheat (wr.), United States: Universal Pictures, Radar Pictures, One Race Productions, Primal Foe Productions.
  24. Citizen Kane (1941), Orson Welles (dir./wr.), Herman J. Mankiewicz (wr.), John Houseman (wr.), Roger Q. Denny (wr.) and Mollie Kent (wr.), United States: RKO Radio Pictures.
  25. Closing the Ring (2007), Richard Attenborough (dir.) and Peter Woodward (wr.), United Kingdom, Canada and United States: CTR, Closing The Ring Ltd., Premiere Picture, Prospero Pictures, Scion Films, Spinster.
  26. Le Corbeau (1943), Henri-Georges Clouzot (dir./wr.) and Louis Chavance (wr.), France: Continental Films.
  27. Damsels in Distress (2011), Whit Stilman (dir./wr.), United States: Westerly Films.
  28. Dancer in the Dark (2000), Lars von Trier (dir./wr.) and Sjón Sigurdsson (wr.), Denmark, Germany, Netherlands, Italy, United States, United Kingdom, France, Sweden, Finland, Iceland and Norway: Zentropa Entertainments, Trust Film Svenska, Film i Väst, Liberator Productions, Icelandic Film, Memfis Film, Slot Machine.
  29. The Dark Knight (2008), Christopher Nolan (dir./wr.), Jonathan Nolan (wr.), David S. Goyer (wr.) and Bob Kane (wr.), United States and United Kingdom: Warner Bros., Legendary Entertainment, Syncopy, DC Comics.
  30. David Stratton: A Cinematic Life (2017), Sally Aitken (dir./wr.), Australia: Adelaide Film Festival, Stranger Than Fiction Films.
  31. David Stratton’s Stories of Australian Cinema (2017), Sally Aitken (dir./wr), Australia: Adelaide Film Festival, Stranger Than Fiction Films.
  32. Doctor Zhivago (1965), David Lean (dir.), Boris Pasternak (wr.) and Robert Bolt (wr.), Italy, United Kingdom and United States: Metro-Goldwyn-Mayer, Carlo Ponti Production, Sostar S.A.
  33. The Everlasting Secret Family (1988), Michael Thornhill (dir.) and Frank Moorhouse (wr.), Australia: FGH. Hemdale Film Corporation, International Film Management.
  34. Fahrenheit 9/11 (2004), Michael Moore (dir./wr.), United States: Fellowship Adventure Group, Dog Eat Dog Films, Miramax.
  35. Fast and Furious 6 (2013), Justin Lin (dir.), Chris Morgan (wr.) and Gary Scott Thompson (wr.), United States, Japan, Spain and United Kingdom: Universal Studios, Original Film, One Race Productions, F & F VI Productions A.I.E., Etalon Film.
  36. Fight Club (1999), David Fincher (dir.), Chuck Palahniuk (wr.) and Jim Uhls (wr.), Germany and United States: Fox 2000 Pictures, New Regency Productions, Linson Films, Atman Entertainment, Knickerbocker Films, Taurus Film.
  37. A Film with Me in It (2008), Ian Fitzgibbon (dir.) and Mark Doherty (wr.), Ireland: Parallel Film Productions, The Irish Film Board.
  38. The Fly (1986), David Cronenberg (dir./wr.), George Langelaan (wr.) and Charles Edward Pogue (wr.), United States and Canada: SLM Production Group, Brooksfilms, Province of British Columbia Production Services Tax Credit.
  39. Fly Me to the Moon [A Perfect Plan or Un plan parfait] (2012), Pascal Chaumeil (dir.), Laurent Zeitoun (wr.), Yoann Gromb (wr.), Béatrice Fournera (wr.) and Philippe Mechelen (wr.), France: Quad, TF1 Films Production, Scope Pictures, Les Productions du Ch’timi, Chaocorp Distribution, Yeardawn, Blue Sky Films.
  40. Freddy’s Dead: The Final Nightmare (1991), Rachel Talalay (dir./wr.), Wes Craven (wr.) and Michael De Luca (wr.), United States: New Line Cinema, Nicolas Entertainment.
  41. Frenzy (1972), Alfred Hitchcock (dir.), Arthur La Bern (wr.) and Anthony Shaffer (wr.), United Kingdom: Alfred J. Hitchcock Productions.
  42. Friends with Kids (2011), Jennifer Westfeldt (dir./wr.), United States: Red Granite Pictures, Points West Pictures, Locomotive.
  43. Genova (2008), Michael Winterbottom (dir./wr.) and Laurence Coriat (wr.), United Kingdom, Sweden and Cayman Islands: Revolution Films, Aramid Entertainment Fund, Film4, Moviola Film och Television.
  44. Georgia Rule (2007), Garry Marshall (dir.) and Mark Andrus (wr.), United States: Morgan Creek Entertainment, Trust Me.
  45. Good Night, and Good Luck (2005), George Clooney (dir./wr.) and Grant Heslov (wr.), United States, France, United Kingdom and Japan: Warner Independent Pictures, 2929 Productions, Participant, Section Eight, Metropolitan Talent Agency.
  46. Gran Torino (2008), Clint Eastwood (dir.), Nick Schenk (wr.) and Dave Johannson (wr.), Germany and United States: Matten Productions, Double Nickel Entertainment, Gerber Pictures, Malpaso Productions, Village Roadshow Pictures, WV Films IV, Warner Bros.
  47. Gravity (2013), Alfonso Cuarón (dir./wr.) and Jonás Cuarón (wr.), United Kingdom and United States: Warner Bros., Esperanto Filmoj, Heyday Films.
  48. Great Expectations (1946), David Lean (dir./wr.), Charles Dickens (wr.), Ronald Neame (wr.), Anthony Havelock-Allan (wr.), Kay Walsh (wr.) and Cecil McGivern (wr.), United Kingdom: Cineguild.
  49. Hostel (2005), Eli Roth (dir./wr.), United States and Czechia: Next Entertainment, Raw Nerve, International Production Company, Hostel LLC.
  50. House of Flying Daggers (2004), Yimou Zhang (dir./wr.), Feng Li (wr.) and Bin Wang (wr.), China and Hong Kong: China Film Co-Production Corporation, Edko Films, Elite Group Enterprises, Xin Huamian Film, Zhang Yimou Studio.
  51. How to Lose Friends & Alienate People (2008), Robert B. Weide (dir.), Peter Straughan (wr.) and Toby Young (wr.), United Kingdom: Number 9 Films, Intandem Films.
  52. The Ice Storm (1997), Ang Lee (dir.), James Schamus (wr.) and Rick Moody (wr.), United States: Searchlight Pictures, Good Machine, Canal+ Droits Audiovisuels.
  53. In the Heat of the Night (1967), Norman Jewison (dir.), Stirling Siliphant (wr.), and John Ball (wr.), United States: United Artists.
  54. Inception (2010), Christopher Nolan (dir./wr.), United Kingdom and United States: Warner Bros., Legendary Entertainment, Syncopy.
  55. The Incredible Hulk (2008), Louis Leterrier (dir.), Zak Penn (wr.), Stan Lee (wr.) and Jack Kirby (wr.), United States: Universal Pictures, Marvel Enterprises.
  56. Interview with a Vampire (1994), Neil Jordan (dir.), and Anne Rice (wr.), United States: Geffen Pictures.
  57. The Jammed (2007), Dee McLachlan (dir./wr.), Australia: Jammed Films, The Picture Tank.
  58. Japanese Story (2003), Sue Brooks (dir.) and Alison Tilson (wr.), Australia: Australian Film Finance Corporation, Fortissimo Films, Gecko Films Pty. Ltd.
  59. Johnny Guitar (1954), Nicholas Ray (dir./wr.), Philip Yordan (wr.) and Roy Chanslor (wr.), United States: Republic Pictures.
  60. Joker (2019), Todd Phillips (dir./wr.), Scott Silver (wr.), Bon Kane (wr.), Bill Finger (wr.) and Jerry Robinson (wr.), United States and Canada: Warner Bros.
  61. Ken Park (2002), Larry Clark (dir./wr.), Edward Lachman (dir.), Harmony Korine (wr.), United States, Netherlands, and France: Warner Bros.
  62. Killing Them Softly (2012), Andrew Dominik (dir./wr.) and George V. Higgins (wr.), United States: Plan B Entertainment, Annapurna Pictures, Chockstone Pictures, Inferno Entertainment.
  63. The King (2019), David Michôd (dir./wr.) and Joel Edgerton (wr.), United Kingdom, Hungary, United States and Australia: Netflix, Plan B Entertainment, Porchlight Films, Blue-Tongue Films, Pioneer Stilking Films, Yoki.
  64. King Kong (2005), Peter Jackson (dir./wr.), Fran Walsh (wr.), Philippa Boyens (wr.), Merian C. Cooper (wr.) and Edgar Wallace (wr.), United States, New Zealand and Germany: Universal Pictures, WingNut Films, Big Primate Pictures, MFPV Film.
  65. The Kings of Mykonos (2010), Peter Andrikidis (dir.), Chris Anastassiades (wr.) and Nick Giannopoulos (wr.), Australia and Greece: G.O. Films, See-Saw Films.
  66. The Last Detail (1973), Hal Ashby (dir.), Robert Towne (wr.) and Darryl Ponicsan (wr.), United States: Columbia Pictures, Bright-Persky Associates, Acrobat Productions.
  67. The Last Station (2009), Michael Hoffman (dir./wr.) and Jay Parini (wr.), Germany, United Kingdom and Russia: Egoli Tossell Pictures, Zephyr Films.
  68. Lawless Heart (2001), Tom Hunsinger (dir./wr.) and Neil Hunter (dir./wr.), United Kingdom and France: Overseas Film Group, October Productions, Martin Pope Productions, Isle of Man Film.
  69. Lemon Tree (2008), Eran Riklis (dir./wr.) and Suha Arraf (wr.), Israel, Germany and France: Heimatfilm, MACT Productions, Eran Riklis Productions, Riva Filmproduktion.
  70. The Letter (1940), William Wyler (dir.), W. Somerset Maugham (wr.) and Howard Koch (wr.), United States: Warner Bros.
  71. Letter from an Unknown Woman (1948), Max Ophüls (dir./wr.), Howard Koch (wr.) and Stefan Zweig (wr.), United States: William Dozier Productions, Rampart Productions.
  72. The Lincoln Lawyer (2011), Brad Furman (dir.), John Romano (wr.) and Michael Connelly (wr.), United States: Lionsgate, Lakeshore Entertainment.
  73. Lord of War (2005), Andrew Niccol (dir./wr.), United States and Germany: Entertainment Manufacturing Company, VIP 3 Medienfonds, Ascendant Pictures, Saturn Films, Metro-Goldwyn-Mayer (MGM).
  74. A Lot Like Love (2005), Nigel Cole (dir.) and Colin Patrick Lynch (wr.), United States: Touchstone Pictures, Mile High Productions, Beacon Pictures, Kevin Messick Productions.
  75. Lumumba (2000), Raoul Peck (dir./wr.), Pascal Bonitzer (wr.) and Dan Edelstein (wr.), France, Belgium, Germany and Haiti: JBA Production, Entre Chien et Loup, Essential Filmproduktion GmbH, Velvet S.A., Arte France Cinéma, Radio Télévision Belge Francophone, ZDF/Arte, Canal+, Vlaamse Radio en Televisie, Cofimage 10.
  76. The Man with the Golden Arm (1955), Otto Preminger (dir.), Walter Newman (wr.), Lewis Meltzer (wr.), and Nelson Algren (wr.), United States: Otto Preminger Films.
  77. M*A*S*H (1970), Robert Altman (dir.), Richard Hooker (wr.) and Ring Lardner Jr. (wr.), United States: Aspen Productions, Ingo Preminger Productions.
  78. Man About Town (2006), Mike Binder (dir./wr.), United States: Media 8 Entertainment, Sunlight Productions, Man About Town Films Inc., Greentrees Films, FilmBudget.com.
  79. The Man from Snowy River II (1988), Geoff Burrowes (dir./wr.), John Dixon (wr.) and A.B. ‘Banjo’ Paterson (wr.), Australia: Burrowes Film Group, Hoyts Distribution, Silver Screen Partners II, Walt Disney Pictures.
  80. Man of Steel (2013), Zack Snyder (dir.), David S. Goyer (wr.), Christopher Nolan (wr.), Jerry Siegel (wr.) and Joe Shuster (wr.), United States and United Kingdom: Warner Bros., Legendary Entertainment, Syncopy, DC Comics, DC Entertainment.
  81. Man on a Ledge (2012), Asger Leth (dir.) and Pablo F. Fenjves (wr.), United States: Summit Entertainment, Di Bonaventura Pictures.
  82. Mao’s Last Dancer (2009), Bruce Beresford (dir.), Jan Sardi (wr.) and Cunxin Li (wr.), Australia: Great Scott Productions Pty. Ltd.
  83. Metal Skin (1994), Geoffrey Wright (dir./wr.), Australia: Australian Film Finance Corporation, Southern Star, Film Victoria, Arrow Capital Limited, Daniel Scharf Productions.
  84. Miami Vice (2006), Michael Mann (dir./wr.) and Anthony Yerkovich (wr.), Germany, United States, Uruguay and Paraguay: Universal Pictures, Motion Picture ETA, Produktionsgesellschaft, Forward Pass, Foqus Arte Digital, Metropolis Films, Michael Mann Productions.
  85. Monsters University (2013), Dan Scanlon (dir./wr.), Daniel Gerson (wr.) and Robert L. Baird (wr.), United States and Japan: Walt Disney Pictures, Pixar Animation Studios.
  86. Mulholland Drive (2001), David Lynch (dir./wr.), France and United States: Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc., Canal+.
  87. The Name of the Rose (1986), Jean-Jacques Annaud (dir.), Umberto Eco (wr.), Andrew Birkin (wr.), Gérard Brach (wr.), Howard Franklin (wr.) and Alain Godard (wr.), West Germany, Italy and France: Constantin Film, Cristaldifilm, Les Films Ariane, Zweites Deutsches Fernsehen, Allied Filmmakers, FR 3 Cinéma, RAI Radiotelevisione Italiana.
  88. Next (2007), Lee Tamahori (dir.), Gary Goldman (wr.), Jonathan Hensleigh (wr.), Paul Bernbaum (wr.) and Philip K. Dick (wr.), United States: Paramount Pictures, Revolution Studios, IEG Virtual Studios, Saturn Films, Eyetronics.
  89. The Night of the Hunter (1955), Charles Laughton (dir./wr.), Davis Grubb (wr.) and James Agee (wr.), United States: Paul Gregory Productions.
  90. No Country for Old Men (2007), Ethan Cohen (dir./wr.), Joel Cohen (dir./wr.) and Cormack McCarthy (wr.), United States: Paramount Vantage, Miramax, Scott Rudin Productions, Mike Zoss Productions.
  91. No Sad Songs for Me (1950), Rudolph Maté (dir.), Howard Koch (wr.) and Ruth Southard (wr.), United States: Columbia Pictures.
  92. Oliver Twist (1948), David Lean (dir./wr.), Charles Dickens (wr.), Stanley Haynes (wr.), Eric Ambler (wr.) and Kay Walsh (wr.), United Kingdom: Cineguild.
  93. The Other Woman (2014), Nick Cassavetes (dir.) and Melissa K. Stack (wr.), United States: Twentieth Century Fox, LBI Productions.
  94. The Piano Teacher (2001), Michael Haneke (dir./wr.) and Elfriede Jelinek (wr.), France, Austria and Germany: Wega Film, MK2 Productions, Les Films Alain Sarde, Arte France Cinéma, Österreichischer Rundfunk.
  95. Please Give (2010), Nicole Holofcener (dir./wr.), United States: Sony Pictures Classics, Likely Story, Feelin’ Guilty.
  96. POM Wonderful Presents: The Greatest Movie Ever Sold (2011), Morgan Spurlock (dir./wr.) and Jeremy Chilnick (wr.), United States: Snoot Entertainment, Warrior Poets.
  97. Quantum of Solace (2008), Marc Forster (dir.), Paul Haggis (wr.), Neal Purvis (wr.) and Robert Wade (wr.), United Kingdom and United States: Metro-Goldwyn-Mayer (MGM), Columbia Pictures, Eon Productions, B22, Danjaq, United Artists.
  98. The Queen of Sheba’s Pearls (2004), Colin Nutley (dir./wr.), Sweden and United Kingdom: AKA Pictures, Nordisk Film & TV-Fond, Random Harvest Film Partnership II, Svensk Filmindustri, Svenska Filminstitutet, Sweetwater Filmrights AB, TV4 Sweden.
  99. Rear Window (1954), Alfred Hitchcock (dir.), John Michael Hayes (wr.) and Cornell Woolrich (wr.), United States: Alfred J. Hitchcock Productions.
  100. Rebound (2005), Steve Carr (dir.), Bill Wolff (wr.), Ed Decter (wr.) and John J. Strauss (wr.), United States: Robert Simonds Productions, Runteldat Entertainment.
  101. Red Eye (2005), Wes Craven (dir.), Carl Ellsworth (wr.) and Dan Foos (wr.), United States: Dreamworks Pictures, BenderSpink, Craven-Maddalena Films.
  102. Riddick (2013), David Twohy (dir./wr.), Jim Wheat (wr.) and Ken Wheat (wr.), Canada and United States: Riddick Canada Productions, One Race Productions, Radar Pictures.
  103. Ride Like a Girl (2019), Rachel Griffiths (dir.), Andrew Knight (wr.) and Elise McCredie (wr.), Australia: Magdalene Media, Screen Australia, The Film Company.
  104. Rise of the Guardians (2012), Peter Ramsey (dir.), David Lindsay-Abaire (wr.) and William Joyce (wr.), United States and India: DreamWorks Animation, Polyphony Digital.
  105. Romper Stomper (1992), Geoffrey Wright (dir./wr.), Australia: Film Victoria, Romper Stomper Pty. Ltd., Seon Film Productions, The Australian Film Commission.
  106. Salò, or the 120 Days of Sodom (1975), Pier Paolo Pasolini (dir./wr.), Sergio Citti (wr.), Pupi Avati (wr.) and Marquis de Sade (wr.), Italy and France: Produzioni Europee Associate, Les Productions Artistes Associés.
  107. Samson & Delilah (2009), Warwick Thornton (dir/wr.) and Beck Cole (wr.), Australia: CAAMA Productions, New South Wales Film & Television Office, Scarlett Pictures, Screen Australia.
  108. Sanctum (2011), Alister Grierson (dir.), John Garvin (wr.) and Andrew Wight (wr.), United States and Australia: Universal Pictures, Relativity Media, Wayfare Entertainment, Great Wight Productions/Osford Films, Sanctum Australia, Start Media.
  109. Saw (2004), James Wan (dir./wr.) and Leigh Whannell (wr.), United States: Twisted Pictures, Evolution Entertainment.
  110. A Separation (2011), Asghar Farhadi (dir./wr.), Iran, France and Australia: Asghar Farhadi Productions, Dreamlab Films, Memento Films.
  111. Singin’ in the Rain (1952), Stanley Donen (dir.), Gene Kelly (dir.), Betty Comden (wr.), Adolph Green (Wr.), United States: Loew’s.
  112. Snow Flower and the Secret Fan (2011), Wayne Wang (dir.), Angela Workman (wr.), Ron Bass (wr.), Michael Ray (wr.) and Lisa See (wr.), China and United States: IDG China Media.
  113. Son of Saul (2015), László Nemes (dir./wr.) and Clara Royer (wr.), Hungary: Laokoon Filmgroup, Hungarian National Film Fund.
  114. Special Treatment [Sans queue ni tête] (2010), Jeanne Labrune (dir./wr.) and Richard Debuisne (wr.), France, Luxembourg and Belgium: Artémis Productions, Art-Light Productions.
  115. State of Play (2009), Kevin Macdonald (dir.), Matthew Michael Carnahan (wr.), Tony Gilroy (wr.), Billy Ray (wr.) and Paul Abbott (wr.), United States, United Kingdom and France: Universal Pictures.
  116. Steal (2002), Gérard Pirès (dir./wr.) and Mark Ezra (wr.), France, United Kingdom and Canada: Alliance Atlantis Communications, Fusion International, Future Film Financing, Mandarin Films, Scion Films, Spice Factory, Spice Favoy, Transfilm, Téléfilm Canada.
  117. The Story of O (1975), Just Jaeckin (dir.), Dominique Aury (wr.) and Sébastien Japrisot (wr.), France, West Germany and Canada: A.D. Creation, Somerville House, Terra-Filmkunst, Yang Films.
  118. Subdivision (2009), Sue Brooks (dir.), Ashley Bradnam (wr.), Janice Bradnam (wr.) and Terry McCann (wr.), Australia: Australian Film Finance Corporation, Cane Toad Productions, Freshwater Pictures, Pacific Film & Television Commission, Screen Australia.
  119. Summerfield (1977), Ken Hannam (dir.) and Cliff Green (wr.), Australia: Roadshow Home Video.
  120. Sunshine and Shadows: 70 Years of Australian Cinema (1976), Brian Adams (dir.) and David Stratton (wr.), Australia: Australian Broadcasting Commission.
  121. Swerve (2011), Craig Lahiff (dir./wr.), Australia: Duo Art Productions.
  122. Team America: World Police (2004), Trey Parker (dir./wr.), Matt Stone (wr.) and Pam Brady (wr.), United States and Germany: Paramount Pictures, Scott Rudin Productions, MMDP Munich Movie Development & Production GmbH & Co. Project KG, Stoopid Buddy Stoodios.
  123. The Texas Chainsaw Massacre (2003), Marcus Nispel (dir.), Kim Henkel (wr.), Tobe Hooper (wr.) and Scott Kosar (wr.), United States: New Line Cinema, Focus Features, Platinum Dunes, Next Entertainment, Chainsaw Productions LLC.
  124. To Be or Not to Be (1942), Ernst Lubitsch (dir.), Melchior Lengyel (wr.) and Edwin Justus Mayer (wr.), United States: Romaine Film Corporation.
  125. To Kill a Mockingbird (1962), Robert Mulligan (dir.), Harper Lee (wr.) and Horton Foote (wr.), United States: Pakula-Mulligan, Brentwood Productions.
  126. Transformers: Dark of the Moon (2011), Michael Bay (dir.) and Ehren Kruger (wr.), United States: Paramount Pictures, DreamWorks, Di Bonaventura Pictures, Tom DeSanto/Don Murphy Production, Amblin Entertainment, Platinum Dunes.
  127. Transformers: Revenge of the Fallen (2009), Michael Bay (dir.), Ehren Kruger (wr.), Roberto Orci (wr.) and Alex Kurtzman (wr.), United States: Dreamworks Pictures, Paramount Pictures, Tom DeSanto/Don Murphy Production, Di Bonaventura Pictures, Platinum Dunes.
  128. The Tumbler (2008), Marc Gracie (dir./wr.) and Chris Thompson (wr.), Australia: Mondayitis Productions, ZTudio.
  129. Two on the Aisle (1971–1974), Geoffrey Owen-Taylor (prod.), Australia: Channel 7 (Melbourne).
  130. Two Thousand Weeks (1969), Tim Burstall (dir./wr.) and Patrick Ryan (wr.), Australia: Eltham Film Productions, Senior Films.
  131. Tyrannosaur (2011), Paddy Considine (dir./wr.), United Kingdom: Warp X, Inflammable Films.
  132. Valentine’s Day (2010), Garry Marshall (dir.), Katherine Fugate (wr.), Abby Kohn (wr.) and Marc Silverstein (wr.), United States: New Line Cinema, Rice Films, Karz Entertainment.
  133. Vantage Point (2008), Pete Travis (dir.) and Barry L. Levy (wr.), United States and Mexico: Columbia Pictures.
  134. Vice (2018), Adam McKay (dir./wr.), United States: Annapurna Pictures, Gary Sanchez Productions, Plan B Entertainment.
  135. Victim (1961), Basil Dearden (dir.), Janet Green (wr.), and John McCormick (wr.), United Kingdom: Allied Film Makers (AFM), Parkway Films.
  136. Wall Street: Money Never Sleeps (2010), Oliver Stone (dir./wr.), Allan Loeb (wr.), Stephen Schiff (wr.) and Stanley Weiser (wr.), United States: Twentieth Century Fox, Pressman Film.
  137. Wolf Creek (2005), Greg McLean (dir./wr.), Australia: Australian Film Finance Corporation.
  138. Wolf Creek 2 (2013), Greg McLean (dir./wr.) and Aaron Sterns (wr.), Australia: Screen Australia, The South Australian Film Corporation.
  139. Wreck-It Ralph (2012), Rich Moore (dir./wr.), Phil Johnston (wr.), Jim Reardon (wr.) and Jennifer Lee (wr.), United States and Japan: Walt Disney Animation Studios, Walt Disney Pictures.
  140. xXx: The Next Level (2005), Lee Tamahori (dir.), Rich Wilkes (wr.) and Simon Kinberg (wr.), United States: Columbia Pictures, Revolution Studios.
  141. You and Your Stupid Mate (2005), Marc Gracie (dir.), Dave O’Neil (wr.) and Mark O’Toole (wr.), Australia: Mondayitis Productions, Australian Film Finance Corporation (AFFC), Film Victoria, Macquarie Film Corporation.
  142. A Rational Fear (2014), ‘Leaked: At the Movies “Wolf Creek 2” review’, 27 February, https://www.youtube.com/watch?v=FpwIqv9w9VM. Accessed 13 July 2023.
  143. ACMA (2013), ‘Investigation Report No. 2900 [ACMA Investigation Report – At the Movies broadcast by ABC on 22 August 2012]’, Australian Communication and Media Authority, 23 May, https://webarchive.nla.gov.au/awa/20141216100949/http://www.acma.gov.au/~/media/Broadcasting%20Investigations/Investigation%20reports/TV%20investigations/Word%20Document/ABC%20At%20the%20Movies%20No%202900%20docx.docx. Accessed 6 September 2023.
    [Google Scholar]
  144. ACMI (2011), ‘Let’s agree to disagree’, Australian Centre for the Moving Image blog, 11 August, https://web.archive.org/web/20111101144729/http://blog.acmi.net.au/index.php/2011/08/lets-agree-to-disagree/. Accessed 2 September 2023.
    [Google Scholar]
  145. The Administrator (2017), ‘David Stratton on Romper Stomper’, 24 June, https://www.youtube.com/watch?v=aV9MOwKaaRw. Accessed 24 July 2023.
  146. Anderson, Doug (2011), ‘Television’, The Sydney Morning Herald, 26 October, p. 21.
    [Google Scholar]
  147. Anderson, Megan (2001), ‘Film positive’, The West Australian [the west magazine], pp. 1516.
    [Google Scholar]
  148. Aranjuez, Adolfo (2017), ‘Critical opinion is critical’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 4327.
    [Google Scholar]
  149. Armstrong, Gillian (2017), ‘All is forgiven’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 59.
    [Google Scholar]
  150. Arnold, Matthew (1869), Culture and Anarchy, London: Thomas Nelson & Sons.
  151. Aronson, Linda (2000), Scriptwriting Updated: New and Conventional Ways of Writing for the Screen, Sydney: Australian Film Television & Radio School.
  152. Azlant, Edward (1980), ‘The theory, history, and practice of screenwriting, 1897–1920’, Ph.D. thesis, Madison, WI: University of Wisconsin-Madison.
  153. Azlant, Edward (1997), ‘Screenwriting for the early silent film: Forgotten pioneers, 1897–1911’, Film History, 9:3, pp. 228256.
    [Google Scholar]
  154. Azuela-Flores, José Ignacio, Fernández-Blanco, Víctor and Sanzo-Pérez, María José (2012), ‘The effects of critics reviews on movie demand’, Contaduría y Administración, 57:2, pp. 201222.
    [Google Scholar]
  155. Balanzategui, Jessica (2014), ‘Wolf Creek 2 knifed by intellectual snobbery’, Sydney Morning Herald, 28 February, https://www.smh.com.au/opinion/wolf-creek-2-knifed-by-intellectual-snobbery-20140227-33m72.html. Accessed 3 September 2023.
    [Google Scholar]
  156. Balanzategui, Jessica (2023), ‘10 years of homegrown horror hits: Talk To Me and the golden age of Aussie horror’, The Conversation, 8 August, https://theconversation.com/10-years-of-homegrown-horror-hits-talk-to-me-and-the-golden-age-of-aussie-horror-211031. Accessed 3 September 2023.
    [Google Scholar]
  157. Banks, Miranda J. (2015), The Writers: A History of American Screenwriters and Their Guild, New Brunswick, NJ: Rutgers University Press.
  158. Barber, Lynden (1998), ‘Saviours of the screenplay’, The Australian, 3 April, p. 15.
    [Google Scholar]
  159. Barber, Lynden (1999a), ‘We’re part of the big picture, despite ourselves’, The Australian, 22 January, p. 17.
    [Google Scholar]
  160. Barber, Lynden (1999b), ‘Blood on the floor’, The Weekend Australian, 27 November, p. R16.
    [Google Scholar]
  161. Barber, Lynden (2000), ‘Weeding out the weak and woeful’, The Australian, 16 September, p. R21.
    [Google Scholar]
  162. Barber, Lynden (2008a), ‘Scripts fail to tell the whole story’, The Australian, 2 January, p. 12.
    [Google Scholar]
  163. Barber, Lynden (2008b), ‘Where Australian scripts fall down: Part 1’, Eyes Wired Open, 3 January, https://eyeswiredopen.blogspot.com/2008/01/where-australian-scripts-tend-to-fall.html. Accessed 29 August 2013.
    [Google Scholar]
  164. Barber, Lynden (2008c), ‘Where Australian scripts fall down: Part 2 (Duncan Thompson)’, Eyes Wired Shut, 15 January, https://eyeswiredopen.blogspot.com/2008/01/where-australian-scripts-fall-down-part_14.html. Accessed 29 August 2023.
    [Google Scholar]
  165. Barber, Lynden (2008d), ‘Where Australian scripts fall down: Part 3 (Joan Sauers)’, Eyes Wired Shut, 4 January, https://eyeswiredopen.blogspot.com/2008/01/heres-second-transcript-of-my-three.html. Accessed 29 August 2023.
    [Google Scholar]
  166. Barber, Lynden (2008e), ‘Where Australian scripts fall down: Part 4 (Billy Marshall Stoneking)’, Eyes Wired Shut, 8 January, http://eyeswiredopen.blogspot.com/2008/01/where-australian-scripts-fall-down-part_08.html. Accessed 29 August 2023.
    [Google Scholar]
  167. Barber, Lynden (2008f), ‘Australian scriptwriting issues: The debate continues’, Eyes Wired Shut, 3 May, https://eyeswiredopen.blogspot.com/2008/05/australian-scriptwriting-issues-debate.html. Accessed 29 August 2023.
    [Google Scholar]
  168. Barber, Lynden (2014), ‘David and Margaret: The head and heart of Australian film culture’, The Guardian, 16 September, https://www.theguardian.com/tv-and-radio/australia-culture-blog/2014/sep/16/david-and-margaret-the-head-and-heart-of-australian-film-culture. Accessed 19 August 2023.
    [Google Scholar]
  169. Basuroy, Suman, Chatterjee, Subimal and Ravid, S. Abraham (2003), ‘How critical are critical reviews? The box office effects of film critics, star power, and budgets’, Journal of Marketing, 67:4, pp. 103117.
    [Google Scholar]
  170. Batty, Craig and Waldeback, Zara (2008), Writing for the Screen: Creative and Critical Approaches, Basingstoke: Palgrave Macmillan.
  171. Batty, Craig and Kerrigan, Susan (eds) (2017), Screen Production Research: Creative Practice as a Mode of Enquiry, Basingstoke: Palgrave Macmillan.
  172. Batty, Craig, O’Meara, Radha, Taylor, Staci, Joyce, Hester, Burne, Philippa, Maloney, Noel, Poole, Mark and Tofler, Marilyn (2018), ‘Script development as a “wicked problem”’, Journal of Screenwriting, 9:2, pp. 153174.
    [Google Scholar]
  173. Baumann, Shyon (2007), Hollywood Highbrow: From Entertainment to Art, Princeton, NJ: Princeton University Press.
  174. Beecroft, Kevin Harris (2014), ‘Letters [Critical silent treatment]’, The Sydney Morning Herald, 27 February, p. 19.
    [Google Scholar]
  175. Bennett, Tony, Frow, John, Hage, Ghassan and Noble, Greg (2013), ‘Antipodean fields: Working with Bourdieu’, Journal of Sociology, 49:2, pp. 129150.
    [Google Scholar]
  176. Blank, Grant (2006), Critics, Ratings, and Society: The Sociology of Reviews, Lanham, MD: Rowman & Littlefield.
  177. Blundell, Graeme (2004), ‘Keeping it reel’, Limelight, July, pp. 3638.
    [Google Scholar]
  178. Blundell, Graeme (2011), ‘The David and Margaret show’, The Australian, 15 October, p. 34.
    [Google Scholar]
  179. Boatwright, Peter, Basuroy, Suman and Kamakura, Wagner (2007), ‘Reviewing the reviewers: The impact of individual film critics on box office performance’, Quantitative Marketing and Economics, 5, pp. 401425.
    [Google Scholar]
  180. Bodey, Michael (2000), ‘Homegirl: Interview’, Daily Telegraph, 22 April, p. 37.
    [Google Scholar]
  181. Bodey, Michael (2014), ‘Critical loss’, The Australian, 1 November, p. 12.
    [Google Scholar]
  182. Boland, Michaela (2003), ‘Projecting the future of Australian film’, The Australian Financial Review, 17 October, p. 16.
    [Google Scholar]
  183. Bolt, Andrew (2004), ‘No star for Stratton’, Herald-Sun, 8 December, p. 19.
    [Google Scholar]
  184. Bonner, Frances (2016), Personality Presenters: Television’s Intermediaries with Viewers, London: Routledge.
  185. Boon, Kevin A. (2008), Script Culture and the American Screenplay, Detroit, MI: Wayne State University Press.
  186. Bordwell, David (1979), ‘The art cinema as a mode of film practice’, Film Criticism, 4:1, pp. 5664.
    [Google Scholar]
  187. Bordwell, David (1985), Narration in the Fiction Film, London: Methuen.
  188. Bordwell, David (1989), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Cambridge, MA: Harvard University Press.
  189. Boucaut, Robert and Pugsley, Peter C. (2022), ‘Publics of interest and the death of the critic on Australian TV’, Media International Australia, online first, https://doi.org/10.1177/1329878X221145026. Accessed 20 August 2023.
    [Google Scholar]
  190. Bourdieu, Pierre (1977), Outline of a Theory of Practice, Oxford: Cambridge University Press.
  191. Bourdieu, Pierre (1983), ‘The field of cultural production, or: The economic world reversed’, Poetics, 12:4, pp. 311356.
    [Google Scholar]
  192. Bourdieu, Pierre ([1979] 1984), Distinction: A Social Critique of the Judgement of Taste, Cambridge, MA: Harvard University Press.
  193. Bourdieu, Pierre (1985), ‘The market of symbolic goods’, Poetics, 14:1, pp. 1344.
    [Google Scholar]
  194. Bourdieu, Pierre (1986), ‘The forms of capital’, in John G. Richardson (ed.), Handbook of Theory and Research for the Sociology of Education, New York: Greenwood Press, pp. 241258.
    [Google Scholar]
  195. Bourdieu, Pierre (1990), In Other Words: Essays Towards a Reflexive Sociology, Stanford, CA: Stanford University Press.
  196. Bovell, Andrew (2017), ‘5 stars’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 121126.
    [Google Scholar]
  197. Brady, John (1981), The Craft of the Screenwriter: Interviews with Six Celebrated Screenwriters, New York: Simon & Schuster.
  198. Brown, Trevor (1978), ‘Reviewers on reviewing’, Journalism and Mass Communication Quarterly, 55:1, pp. 3238.
    [Google Scholar]
  199. Buchanan, Dominic (1990), ‘It’s great work: If you can get it’, The Sydney Morning Herald, 4 October, p. 36.
    [Google Scholar]
  200. Buckmaster, Luke (2014), ‘Film reviewing couple bow out but leave us the keys to the kingdom’, Crikey, 17 September, https://www.crikey.com.au/2014/09/17/film-reviewing-royal-couple-bow-out-but-leave-us-the-keys-to-the-kingdom/. Accessed 21 August 2023.
    [Google Scholar]
  201. Buckmaster, Luke (2017), ‘Interview: David Stratton on bad reviews, director tantrums and watching a new film every day’, The Guardian, 23 February, https://www.theguardian.com/film/2017/feb/23/david-stratton-on-bad-reviews-director-tantrums-and-watching-a-new-film-every-day. Accessed 23 February 2024.
    [Google Scholar]
  202. Butler, Judith (1988), ‘Performative acts and gender constitution: An essay in phenomenology and feminist theory’, Theatre Journal, 40:4, pp. 519531.
    [Google Scholar]
  203. Butwell, Murray (2011), ‘He says six, she says 12’, The Examiner Newspaper, 21 August, p. C06.
    [Google Scholar]
  204. Byrne, Jennifer (2004), ‘Margaret Pomeranz and David Stratton’, The Bulletin with Newsweek, 29 June, pp. 4042.
    [Google Scholar]
  205. Caldwell, John T. (2008), Production Culture: Industrial Reflexivity and Critical Practice in Film and Television, Durham, NC: Duke University Press.
  206. Cameron, Deborah (1999), ‘Lights, action: And cancel’, The Sydney Morning Herald, 7 August, p. 13.
    [Google Scholar]
  207. Carbone, Suzanne (2001), ‘Under the green guide grill’, The Age, 14 June, p. 2.
    [Google Scholar]
  208. Carbone, Suzanne (2003), ‘Film board chief on the defensive over banned movie’, The Age, 5 July, p. 12.
    [Google Scholar]
  209. Cartwright, Lexie (2019), ‘Celebrated film critic Margaret Pomeranz reveals worst movie she’s ever seen’, news.com.au, 22 January, https://www.news.com.au/entertainment/movies/box-office/celebrated-film-critic-margaret-pomeranz-reveals-worst-movie-shes-ever-seen/news-story/dc7260759bdcfa68299199e5948b7d9a. Accessed 20 August 2023.
    [Google Scholar]
  210. Castrique, Sue (1997), ‘Add one writer and stir: Recipe or feast?’, Media International Australia, 85:1, pp. 102106.
    [Google Scholar]
  211. Cenere, Philip, Thompson, Peter, Byrnes, Paul, Urban, Andrew and Wilson, Jake (2005), ‘Film criticism … somebody’s got to do it.’, Metro Magazine, 142, pp. 9295.
    [Google Scholar]
  212. Chang, Won H. (1975), ‘A typology study of movie critics’, Journalism Quarterly, 52:5, pp. 721725.
    [Google Scholar]
  213. Chapman, Jan (2017), ‘Giving life’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 117119.
    [Google Scholar]
  214. Chenoweth, Neil (2003), ‘Cut! The Australian film industry loses the plot’, The Australian Financial Review, 13 September, p. 22.
    [Google Scholar]
  215. Choueti, Marc, Smith, Stacy L., Pieper, Katherine and Case, Ariana (2018), Critics Choice? Gender and Race/Ethnicity of Film Reviewers Across 100 Top Films of 2017, Los Angeles, CA: USC Annenberg Inclusion Initiative, https://assets.uscannenberg.org/docs/cricits-choice-2018.pdf. Accessed 20 August 2023.
  216. Christie, Ian (1992), ‘Canon fodder’, Sight and Sound, 2:8, pp. 3133.
    [Google Scholar]
  217. Classification (Publications, Films and Computer Games) Act (1995), https://www.legislation.gov.au/Details/C2017C00267. Accessed 20 August 2023.
  218. Colbert, Mary (1992), ‘Where are the scripts?’, The Sydney Morning Herald, 4 July, p. 41.
    [Google Scholar]
  219. Commonwealth of Australia (n.d.), ‘Australian Classification’, https://www.classification.gov.au/. Accessed 3 September 2023.
  220. Corliss, Richard (1975), Talking Pictures: Screenwriters in the American Cinema, New York: Penguin Books.
  221. Corliss, Richard (1990), ‘All thumbs: Or, is there a future for film criticism?’, Film Comment, 26:2, pp. 1416, 18.
    [Google Scholar]
  222. Crane, Diana (2008), ‘Taste culture’, in Wolfgang Donsbach (ed.), The International Encyclopedia of Communication, Chichester: John Wiley & Sons, Ltd, pp. 49544956.
    [Google Scholar]
  223. Cuthbertson, Debbie (2011), ‘Exhibit marks 25 years of Margaret and David’, ABC News, 18 August, https://www.abc.net.au/news/2011-08-17/margaret-david-exhibition/2842736. Accessed 18 June 2019.
    [Google Scholar]
  224. Daily Review (2014), ‘Phillip Adams on Oz film: Worry about Washington’s trojan horses’, Daily Review, 17 November, https://dailyreview.com.au/phillip-adams-on-oz-film-worry-about-washingtons-trojan-horses/. Accessed 20 August 2023.
    [Google Scholar]
  225. Dalton, Keith (1988), ‘A crisis down under: As profit-motivated entrepreneurs abandon the Australian film industry, production takes a dramatic plunge’, The Globe and Mail, 5 March, p. C3.
    [Google Scholar]
  226. Davies, Brian (2007), ‘The story of Spectrum Films, Australia’s leading postproduction specialist: An epic and corner stone of the Australian film industry, set in place 45 years ago’, http://www.abctvgorehill.com.au/assets/contributions/hans-pomeranz-tribute.htm. Accessed 29 June 2019.
  227. Debenedetti, Stéphane (2006), ‘The role of media critics in the cultural industries’, International Journal of Arts Management, 8:3, pp. 3042.
    [Google Scholar]
  228. Dermody, Susan and Jacka, Elizabeth (1987), The Screening of Australia, vol. 1. Sydney: Currency Press.
  229. Dermody, Susan and Jacka, Elizabeth (1988a), The Screening of Australia, vol. 2: Anatomy of a National Cinema, Sydney: Currency Press.
  230. Dermody, Susan and Jacka, Elizabeth (1988b), The Imaginary Industry: Australian Film’s in the Late ‘80s, North Ryde: AFTRS Publications.
  231. Di Rosso, Jason (2019), ‘Joker offers realistic depiction of violence and alienation that feels relevant and unsettling’, ABC News, 1 October, https://www.abc.net.au/news/2019-10-02/joker-review-joaquin-phoenix-dc-comics-realistic-violence/11564060. Accessed 25 July 2023.
    [Google Scholar]
  232. Divola, Barry (2005), ‘Censors working overtime’, Sun Herald, 25 September, p. 22.
    [Google Scholar]
  233. Dow, Steve (2002), ‘Moulin Rouge tops Australian box office’, The Age, 26 January, p. 14.
    [Google Scholar]
  234. Duthie, Amanda (ed.) (2017), Margaret and David: 5 Stars, Mile End: Wakefield Press.
  235. Ebert, Roger (1990), ‘All stars: Or, is there a cure for criticism of film criticism?’, Film Comment, 26:3, pp. 4557.
    [Google Scholar]
  236. Eliashberg, Jehoshua and Shugan, Steven M. (1997), ‘Film critics: Influencers or predictors?’, Journal of Marketing, 61:2, pp. 6878.
    [Google Scholar]
  237. Enker, Debi (2004), ‘Same spotlight, different stage’, The Age, 24 June, p. 8.
    [Google Scholar]
  238. Episode 1 (1986), The Movie Show, 30 October, Australia: SBS.
    [Google Scholar]
  239. Evershed, Nick (2014), ‘At the Movies: Margaret and David’s most divisive films revealed’, The Guardian, 16 September, https://www.theguardian.com/news/datablog/2014/sep/16/at-the-movies-margaret-and-davids-most-divisive-films-revealed. Accessed 29 August 2023.
    [Google Scholar]
  240. Farouque, Farah (2009), ‘Critic’s view’, The Age, 2 April, p. 40.
    [Google Scholar]
  241. Faughnder, Ryan (2017), ‘How Rotten Tomatoes became Hollywood’s most influential—and feared—website’, Los Angeles Times, 21 July, https://www.latimes.com/business/hollywood/la-fi-ct-rotten-tomatoes-20170721-htmlstory.html. Accessed 20 August 2023.
    [Google Scholar]
  242. Fitzgerald, Ross (2008), ‘Howard’s moral cleansers past their use-by date’, The Australian, 7 January, p. 6.
    [Google Scholar]
  243. Ford, Rebecca (2014), ‘CinemaCon: Film critics still have clout, study finds’, Hollywood Reporter, 24 May, https://www.hollywoodreporter.com/movies/movie-news/cinemacon-film-critics-still-have-690579/. Accessed 19 May 2024.
    [Google Scholar]
  244. Forster, Edward M. (1927), Aspects of the Novel, New York: Harcourt, Brace and Company, Inc.
  245. Foucault, Michel (1977), ‘Nietzsche, genealogy, history’, in Donald F. Bouchard (ed.), Language, Counter-Memory, Practice: Selected Essays and Interviews, Ithaca, NY: Cornell University Press, pp. 139164.
    [Google Scholar]
  246. French, Lisa (2015), ‘The league of men: Why are there so few female critics’, The Conversation, 8 October, https://theconversation.com/the-league-of-men-why-are-there-so-few-female-film-critics-47470. Accessed 13 October 2024.
    [Google Scholar]
  247. Frey, Mattias (2014), The Permanent Crisis of Film Criticism: The Anxiety of Authority, Amsterdam: Amsterdam University Press.
  248. Frey, Mattias (2015), ‘The new democracy? Rotten Tomatoes, Metacritic, Twitter, and IMDb’, in Mattias Frey and Cecilia Sayad (eds), Film Criticism in the Digital Age, Baltimore, MD: Rutgers University Press, pp. 8198.
    [Google Scholar]
  249. Gans, Herbert J. (1974), Popular Culture and High Culture, New York: Basic Books.
  250. Gardner, Geoff, Hodsdon, Barrett and Knox, Jim (2002), ‘A film culture forum’, Screening the Past, 21, July, http://www.sensesofcinema.com/2002/feature-articles/forum/. Accessed 23 May 2024.
    [Google Scholar]
  251. Gemser, Gerda, Van Oostrum, Martine and Leenders, Mark A.A.M. (2007), ‘The impact of film reviews on the box office performance of art house versus mainstream motion pictures’, Journal of Cultural Economics, 31, pp. 4363.
    [Google Scholar]
  252. George, Sandy (2017), ‘Margaret and David, the film business, film diversity and Aussie film’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 77115.
    [Google Scholar]
  253. Gilday, Katherine (1978), ‘Down under new wave’, The Globe and Mail, 23 September, p. 21.
    [Google Scholar]
  254. Ginsborg, Hannah (2022), ‘Kant’s aesthetics and teleology’, in Edward N. Zalta and Uri Nodelman (eds), The Stanford Encyclopedia of Philosophy, Fall ed., https://plato.stanford.edu/archives/fall2022/entries/kant-aesthetics/. Accessed 13 July 2013.
    [Google Scholar]
  255. Goldman, William (1983), Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting, New York: Warner Books.
  256. Gonski, David (1997), Review of Commonwealth Assistance to the Film Industry, Canberra: Department of Communications and the Arts.
  257. Gonzalez, Claude (2015), e-mail to author, 18 March.
  258. Gonzalez, Miguel (2010), ‘Bad box office not the same as bad films’, Mumbrella, 18 November, https://mumbrella.com.au/bad-box-office-not-the-same-as-bad-films-71708. Accessed 25 September 2023.
    [Google Scholar]
  259. Gourlay, Colin and Liddy, Matthew (2014), ‘At the Movies: Data reveals Margaret and David’s likes and dislikes’, ABC News, 11 February, https://www.abc.net.au/news/2014-12-09/at-the-movies-data-reveals-margaret-and-david-likes-and-dislikes/5951130. Accessed 11 June 2019.
    [Google Scholar]
  260. Gray, Paul (2002), ‘Ban the movie backlash’, Herald-Sun, 14 May, p. 19.
    [Google Scholar]
  261. Gray, Paul (2004), ‘The paranoids need to wake up’, Herald-Sun, 26 April, p. 18.
    [Google Scholar]
  262. Groening, Matt (1985), ‘How to be a clever film critic’, 5 September, https://www.tumblr.com/lifeinhellarchives/101277972864/how-to-be-a-clever-film-critic-september-5-1985?source=share. Accessed 1 May 2024.
  263. Grue, Jan (2006), ‘Newspaper film reviews: A critical discourse analysis’, Master’s thesis, Oslo: University of Oslo.
  264. Guillaume, Jenna (2014a), ‘The Margaret and David fan fiction you will never unsee’, Buzzfeed, 22 May, https://www.buzzfeed.com/jennaguillaume/the-margaret-and-david-fan-fiction-you-will-never-unsee. Accessed 18 June 2019.
    [Google Scholar]
  265. Guillaume, Jenna (2014b), ‘Are you a Margaret or a David? Which “At the Movies” host are you?’, Buzzfeed, 16 September, https://www.buzzfeed.com/jennaguillaume/are-you-a-margaret-or-a-david. Accessed 18 June 2019.
    [Google Scholar]
  266. Hambly, Glenda (2021), ‘Cultural difference in script development: The Australian example’, in Craig Batty and Stayci Taylor (eds), Script Development: Critical Approaches, Creative Practices, International Perspectives, Cham: Palgrave Macmillan, pp. 6984.
    [Google Scholar]
  267. Hartley, John (1996), Popular Reality: Journalism, Modernity, Popular Culture, London: Arnold.
  268. Havens, Timothy and Lotz, Amanda D. (2012), Understanding Media Industries, New York: Oxford University Press.
  269. Haywood, Ben (2005), ‘Classified information’, The Age, 5 December, p. 8.
    [Google Scholar]
  270. Heller-Nicholas, Alexandra (2014), ‘Horrors of history: On the politics of Wolf Creek 2’, Overland, 215, winter, pp. 2427, https://overland.org.au/previous-issues/issue-215/feature-alexandra-heller-nicholas/. Accessed 20 August 2023.
    [Google Scholar]
  271. Hennessy, Kate (2023), ‘David Stratton’s closing credits: “I’ve done the best I could”’, 23 December, https://www.theguardian.com/film/2023/dec/23/david-strattons-closing-credits-ive-done-the-best-i-could. Accessed 6 May 2024.
  272. Hodsdon, Barrett (2001), Straight Roads and Crossed Lines: The Quest for Film Culture in Australia from the 1960s? Shenton Park: Bernt Porridge Group.
  273. Holbrook, Morris B. (1999), ‘Popular appeal versus expert judgments of motion pictures’, Journal of Consumer Research, 26:2, pp. 144155.
    [Google Scholar]
  274. Holgate, Ben (1999), ‘Waiting in the wings/good guy bad guy’, The Weekend Australian, 5 June, p. R01.
    [Google Scholar]
  275. Horn, John (2001), ‘The reviewer who wasn’t there’, Newsweek, 1 June, https://www.newsweek.com/reviewer-who-wasnt-there-153387. Accessed 20 August 2023.
    [Google Scholar]
  276. Horne, Donald (1986), The Public Culture: The Triumph of Industrialism, London: Pluto Press.
  277. Hoskin, Dave (2012), ‘Margaret and David: Three and a half stars’, Metro Magazine, 171, summer, p. 139.
    [Google Scholar]
  278. Hsieh, Hsiu-Fang and Shannon, Sarah E. (2005), ‘Three approaches to qualitative content analysis’, Qualitative Health Research, 15:9, pp. 12771288.
    [Google Scholar]
  279. Hsu, Greta (2006), ‘Evaluative schemas and the attention of critics in the US film industry’, Industrial and Corporate Change, 15:3, pp. 467496.
    [Google Scholar]
  280. Idato, Michael (2005), ‘Culture rot’, The Sydney Morning Herald, 5 September, p. 4.
    [Google Scholar]
  281. IMDb (n.d.), ‘Romper Stomper taglines’, https://www.imdb.com/title/tt0105275/taglines/?ref_=tt_stry_tg. Accessed 24 July 2023.
  282. Jenkins, Henry, Ford, Sam and Green, Joshua (2013), Spreadable Media: Creating Value and Meaning in a Networked Culture, New York: New York University Press.
  283. Johnson, Travis (2019), ‘From Texas Chainsaw Massacre 2 to Ken Park: Films that failed the censorship test’, The Guardian, 21 February, https://www.theguardian.com/film/2019/feb/21/from-texas-chainsaw-massacre-2-to-ken-park-films-that-failed-the-censorship-test. Accessed 20 August 2023.
    [Google Scholar]
  284. Jones, Barry (1973), ‘The script problem in Australian films & television’, Film Appreciation Newsletter, 3:5, pp. 206207.
    [Google Scholar]
  285. Joyce, Hester (2015), ‘Cargo cults: Key moments in establishing screenwriting in the New Zealand Film Commission’, Journal of Screenwriting, 6:1, pp. 7187.
    [Google Scholar]
  286. Kant, Immanuel ([1790] 1914), Kant’s Critique of Judgement, London: Macmillan and Co., Ltd.
  287. Kaufman, Tina (1996), ‘The film community under review: The critical link – film culture’, Metro Magazine, 108, pp. 8992.
    [Google Scholar]
  288. Kaufman, Tina (1998), ‘Screen culture data released in time for government review’, Metro Magazine, 116, pp. 57.
    [Google Scholar]
  289. Kaufman, Tina (2000), ‘Missing: Screen culture’, Metro Magazine, 121/122, pp. 1316.
    [Google Scholar]
  290. Kaufman, Tina (2009), ‘Australian screen culture in 2009: Where we are, where we’re going’, Metro Magazine, 160, pp. 102109.
    [Google Scholar]
  291. Keating, Paul John (1991), ‘The Hon. P.J. Keating, press conference, Parliament House, 19 December 1991’, https://pmtranscripts.pmc.gov.au/release/transcript-8367. Accessed 23 May.
  292. Kerner, Aaron Michael (2015), Torture Porn in the Wake of 9/11: Horror, Exploitation, and the Cinema of Sensation, New Brunswick, NJ: Rutgers University Press.
  293. King, Noel, Verevis, Constantine and Williams, Deane (eds) (2013–2018), Australian Film Theory & Criticism, 3 vols, Chicago, IL: University of Chicago Press.
  294. Knox, David (2024), ‘David Stratton makes rare ABC return’, 29 April, https://tvtonight.com.au/2024/04/david-stratton-makes-rare-abc-return.html. Accessed 7 May 2024.
  295. Kornits, Dov (2017), ‘David Stratton returns to reviewing films on the screen’, FilmInk, 31 May, https://www.filmink.com.au/david-stratton-returns-reviewing-films-screen/. Accessed 29 August 2023.
    [Google Scholar]
  296. Kuipers, Richard (2017), ‘Part of the family’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 5363.
    [Google Scholar]
  297. Lake, Gayle (2014), ‘Pomeranz, Margaret’, https://www.womenaustralia.info/leaders/biogs/WLE0197b.htm. Accessed 19 June 2019.
  298. Lamaison, Pierre and Bourdieu, Pierre (1986), ‘From rules to strategies: An interview with Pierre Bourdieu’, Cultural Anthropology, 1:1, pp. 110120.
    [Google Scholar]
  299. Lampel, Joseph and Shamsie, Jamal (2000), ‘Critical push: Strategies for creating momentum in the motion picture industry’, Journal of Management, 26:2, pp. 233257.
    [Google Scholar]
  300. Lapkin, Ted (2004), ‘Triumph of the swill’, The Institute of Public Affairs Review: A Quarterly Review of Politics and Public Affairs, 56:3, pp. 1617.
    [Google Scholar]
  301. Lee, Sandra (1997), ‘Victim of cutting criticism’, Daily Telegraph, 13 September, p. 10.
    [Google Scholar]
  302. Levy, Sandra (2017), ‘Bear witness’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 1720.
    [Google Scholar]
  303. Lewis, Maria (2014), ‘Wolf Creek 2 star John Jarratt takes aim at “elitist” ABC film critics Margaret and David after they reuse to review his new movie on their TV show’, Mail Online, 27 February, https://www.dailymail.co.uk/tvshowbiz/article-2568897/Wolf-Creek-2-star-John-Jarratt-takes-aim-elitist-ABC-film-critics-Margaret-David-refuse-review-new-movie-TV-show.html. Accessed 20 August 2023.
    [Google Scholar]
  304. Liu, Bing (2022), Sentiment Analysis and Opinion Mining, Cham: Springer Nature.
  305. Long, Malcolm (2005), ‘Solving box office blues’, The Australian Financial Review, 24 February, p. 45.
    [Google Scholar]
  306. Lovell, Glenn (1997), ‘Movies and manipulation: How studios punish critics’, Columbia Journalism Review, 35:9, pp. 912.
    [Google Scholar]
  307. Luscri, Chris (2021), ‘Australian autofiction: A filmmaker roundtable’, Screening the Past, 99, July, https://www.sensesofcinema.com/2021/australian-autofiction-2/australian-autofiction-a-filmmaker-roundtable/. Accessed 26 October 2023.
    [Google Scholar]
  308. Macdonald, Ian W. (2013), Screenwriting Poetics and the Screen Idea, Basingstoke: Palgrave Macmillan.
  309. Macdonald, Ian W. (2021), ‘Meeting old friends for the first time: A personal reflection on the development of the Screenwriting Research Network’, Journal of Screenwriting, 12:2, pp. 203226.
    [Google Scholar]
  310. Mackie, Andrew (2017), ‘Something deeper’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 1115.
    [Google Scholar]
  311. Madigan, Damien (2018), ‘Uncovering movie gems’, Blue Mountains Gazette, 19 December, p. 18.
    [Google Scholar]
  312. Maddox, Gary (2003), ‘Doctor’s script for film recovery’, The Sydney Morning Herald, 17 November, p. 15.
    [Google Scholar]
  313. Maddox, Gary (2024), ‘“I thought I’d go completely blind”: Cruellest blow for a movie critic hits David Stratton’, Sydney Morning Herald, 11 October, https://www.smh.com.au/culture/books/i-thought-i-d-go-completely-blind-cruellest-blow-for-a-movie-critic-hits-david-stratton-20240926-p5kdt6.html. Accessed 14 October 2024.
  314. Maddox, Gary and Molitorisz, Sacha (2003), ‘Metropolitan: Doing their lolly’, The Sydney Morning Herald, 7 June, p. 1.
    [Google Scholar]
  315. Magnusson, Tony (2008), ‘In my own words’, Sunday Telegraph Magazine, 23 March, p. 17.
    [Google Scholar]
  316. Maguire, Jennifer Smith (2014), ‘Bourdieu on cultural intermediaries’, in Jennifer Smith Maguire and Julian Matthews (eds), The Cultural Intermediaries Reader, Los Angeles, CA: SAGE, pp. 1524.
    [Google Scholar]
  317. Malone, Peter (1994), Worth Watching: Thirty Film Reviewers on Review, Richmond: Spectrum Publications Pty Ltd.
  318. Maltby, Richard (1995), ‘The genesis of the production code’, Quarterly Review of Film and Video, 15:4, pp. 532.
    [Google Scholar]
  319. Maras, Steven (2005), ‘The problem of theory and practice: Towards a constitutive analysis’, Journal of Media Practice, 6:2, pp. 93103.
    [Google Scholar]
  320. Maras, Steven (2009), Screenwriting: History, Theory and Practice, London: Wallflower Press.
  321. Maras, Steven (2017), ‘Towards a critique of universalism in screenwriting criticism’, Journal of Screenwriting, 8:2, pp. 177196.
    [Google Scholar]
  322. Maras, Steven (2019), ‘Outline for a social ethics of film reviewing: After Pierre Bourdieu’, Ethical Space: The International Journal of Communication Ethics, 16:4, pp. 415.
    [Google Scholar]
  323. Maras, Steven (2020), ‘Revisiting the distinction between criticism and reviewing: Practices, functions, rhetorics, and containers’, Continuum: Journal of Media & Cultural Studies, 34:1, pp. 3243.
    [Google Scholar]
  324. Maras, Steven (2021), ‘Screenwriting research in Australia: A truncated (pre)history’, Journal of Screenwriting, 12:2, pp. 179202.
    [Google Scholar]
  325. Martin, Adrian (1992a), ‘In the name of popular culture’, Metro Magazine, 89, autumn, pp. 3446.
    [Google Scholar]
  326. Martin, Adrian (1992b), ‘Mise en scène is dead: The expressive, the technical and the stylish’, Continuum: Journal of Media & Cultural Studies, 5:2, pp. 89140.
    [Google Scholar]
  327. Martin, Adrian (1999), ‘Making a bad script worse: The curse of the scriptwriting manual’, Australian Book Review, 209, April, pp. 2326.
    [Google Scholar]
  328. Martin, Adrian (2004), ‘Possessory credit’, Framework: The Journal of Cinema and Media, 45:1, pp. 9599.
    [Google Scholar]
  329. Martin, Adrian (2014), Mise en Scène and Film Style: From Classical Hollywood to New Media Art, Basingstoke: Palgrave Macmillan.
  330. Martin, Lauren (1998), ‘The plot thickens: $15 M rescue plan’, The Sydney Morning Herald, 1 September, p. 15.
    [Google Scholar]
  331. Maximus Headroom (2013), ‘Margaret Pomeranz detained 2003—Debate on Ken Park ban—Channel 7 and Channel 9 reports’, 25 April, https://www.youtube.com/watch?v=tl6zp_wIogQ. Accessed 17 July 2023.
  332. Mayer, Arthur L. (1945), ‘Some of my best friends are critics’, The American Mercury, 60:255, March, pp. 341346.
    [Google Scholar]
  333. Mayer, Arthur L. (1959), ‘On critics and criticism by a vet pix pro’, Variety, 7 January, p. 10.
    [Google Scholar]
  334. McArthur, Colin (1985), ‘British film reviewing: A complaint’, Screen, 26:1, pp. 7984.
    [Google Scholar]
  335. McClintock, Pamela (2017), ‘Studios toss sour grapes at Rotten Tomatoes’, The Hollywood Reporter, 2 August, pp. 1011.
    [Google Scholar]
  336. McClintock, Pamela (2019), ‘Rotten Tomatoes arms itself against trolls’, The Hollywood Reporter, 13 March, p. 26.
    [Google Scholar]
  337. McKee, Robert (1997), Story: Substance, Structure, Style, and the Principles of Screenwriting, New York: ReganBooks.
  338. McKenzie, Jordi (2007), ‘Filmonomics: An introduction to the economics of the box office’, Metro Magazine, 153, pp. 106110.
    [Google Scholar]
  339. McKenzie, Jordi (2009), ‘Revealed word-of-mouth demand and adaptive supply: Survival of motion pictures at the Australian box office’, Journal of Cultural Economics, 33:4, pp. 279299.
    [Google Scholar]
  340. McKenzie, Jordi (2019), e-mail to author, 15 March.
  341. McKenzie, Jordi and Walls, W. David (2013), ‘Australian films and the Australian box office: Performance, distribution and subsidies’, Journal of Cultural Economics, 27:2, pp. 247269.
    [Google Scholar]
  342. McManus, Brigid (2015), ‘Q+A Margaret Pomeranz’, The Canberra Times, 30 March, p. C003.
    [Google Scholar]
  343. Mills, Jane (2001), The Money Shot: Cinema, Sin and Censorship, Annandale: Pluto Press.
  344. Mills, Jane (2002), ‘On the road with screen culture [or, hit the road mate]’, Metro Magazine, 133.
    [Google Scholar]
  345. Milsom, Rosemarie (2004), ‘Questions for Cate Shortland’, Sun Herald, 19 September, p. 63.
    [Google Scholar]
  346. Miraudo, Simon (2023), ‘Margaret Pomeranz v the police: How Australian film standards – and censors – limit what we watch’, The Guardian, 1 August, https://www.theguardian.com/film/2023/jul/31/margaret-pomeranz-australian-film-censorship-police. Accessed 20 August 2023.
    [Google Scholar]
  347. Mittell, Jason (2015), Complex TV: The Poetics of Contemporary Television Storytelling, London: New York University Press.
  348. Moodley, Nashen (2017), ‘Love letter’, in Amanda Duthie (ed.), Margaret and David: 5 Stars, Mile End: Wakefield Press, pp. 2326.
    [Google Scholar]
  349. Moore, Cath and O’Meara, Radha (2021), ‘How government institutions shape script development: Comparative case studies of Screen Australia and the Danish Film Institute’, in C. Batty and S. Taylor (eds), Script Development: Critical Approaches, Creative Practices, International Perspectives, Cham: Palgrave Macmillan, pp. 3150.
    [Google Scholar]
  350. Moran, Jonathon (2019), ‘Shock revelation from top film critic’s career’, Herald-Sun, 21 January, https://www.heraldsun.com.au/entertainment/confidential/margaret-pomeranz-never-intended-to-work-in-front-of-the-camera/news-story/33d648bd36379747458b8f9e92c4f4c4. Accessed 20 August 2023.
    [Google Scholar]
  351. Morris, Meaghan (1988), ‘Indigestion: A rhetoric of reviewing’, in The Pirate’s Fiancée: Feminism, Reading, Postmodernism, London: Verso, pp. 105121.
    [Google Scholar]
  352. Morris, Meaghan (2005), ‘Political correctness’, in Tony Bennett, Lawrence Grossberg and Meaghan Morris (eds), New Keywords: A Revised Vocabulary of Culture and Society, Malden, MA: Blackwell, pp. 260261.
    [Google Scholar]
  353. Muecke, Stephen (1991), ‘A rhetoric of reviewing’, Editions, 2:11, pp. 2021.
    [Google Scholar]
  354. National Classification Code (2005), https://www.legislation.gov.au/Details/F2013C00006. Accessed 20 August 2023.
  355. Neill, Rosemary (2008), ‘A lifetime at the movies’, The Australian, 15 March, p. 6.
    [Google Scholar]
  356. Neill, Rosemary (2023), ‘Five stars for David: Last review and candid reflections of legendary film critic Stratton’, The Weekend Australian, 30 December, p. 1.
    [Google Scholar]
  357. Nelmes, Jill (2007), ‘Some thoughts on analysing the screenplay, the process of screenplay writing and the balance between craft and creativity’, Journal of Media Practice, 8:2, pp. 107113.
    [Google Scholar]
  358. Nelmes, Jill (ed.) (2011), Analysing the Screenplay, New York: Routledge.
  359. Nelmes, Jill and Selbo, Jule (eds) (2015), Women Screenwriters: An International Guide, Houndmills: Palgrave Macmillan.
  360. Neuendorf, Kimberley A. (2002), The Content Analysis Guidebook, Thousand Oaks, CA: SAGE.
  361. Neutze, Ben (2017), ‘Exclusive: Eleven years of David and Margaret disappear from ABC website’, Daily Review, 29 October, https://dailyreview.com.au/abc-erases-history-david-margaret/67446/. Accessed 20 August 2023.
    [Google Scholar]
  362. Newcomb, Horace M. and Hirsch, Paul M. (1983), ‘Television as a cultural forum: Implications for research’, Quarterly Review of Film and Video, 8:3, pp. 4555.
    [Google Scholar]
  363. NFSA (2020), ‘Margaret Pomeranz and David Stratton review 2020’, The Chaser, The War on 2020, https://www.nfsa.gov.au/collection/curated/margaret-pomeranz-and-david-stratton-review-2020. Accessed 29 August 2023.
    [Google Scholar]
  364. Nishijima, Marislei, Rodrigues, Mauro and Souza, Thaís Luiza Donega (2021), ‘Is Rotten Tomatoes killing the movie industry? A regression discontinuity approach’, Applied Economics Letters, 29:13, pp. 11871192.
    [Google Scholar]
  365. O’Connor, Cliodhna and Joffe, Helene (2020), ‘Intercoder reliability in qualitative research: Debates and practical guidelines’, International Journal of Qualitative Methods, 19, pp. 113.
    [Google Scholar]
  366. O’Regan, Tom (1983), ‘Australian film making: Its public circulation’, Framework: The Journal of Cinema and Media, 22/23, autumn, pp. 3136.
    [Google Scholar]
  367. O’Regan, Tom (1986), ‘A fine cultural romance: Aspects of Australian film in the late 1970s’, Australian Journal of Cultural Studies, 4:1, pp. 5475.
    [Google Scholar]
  368. O’Regan, Tom (1996), Australian National Cinema, Milton Park: Routledge.
  369. O’Regan, Tom and Walmsley-Evans, Huw (2015a), ‘Towards a history of Australian film criticism’, Screening the Past, 39, August, http://www.screeningthepast.com/issue-39-first-release/towards-a-history-of-australian-film-criticism/. Accessed 20 August 2023.
    [Google Scholar]
  370. O’Regan, Tom and Walmsley-Evans, Huw (2015b), ‘Writing the cinema experience: The film review’, Lola, 6, http://www.lolajournal.com/6/review.html. Accessed 20 August 2023.
    [Google Scholar]
  371. Perlgut, Don (2014), ‘Film reviewing’, in B. Griffen-Foley (ed.), A Companion to the Australian Media, North Melbourne: Australian Scholarly Publishing, pp. 172173.
    [Google Scholar]
  372. Petelin, Roslyn, Elder, Klaus, Rigg, Julie, Kuipers, Richard and Martin, Adrian (2005), ‘How film critics work: Brisbane International Film Festival 2005’, Australian Journal of Communication, 32:3, pp. 117.
    [Google Scholar]
  373. Phillips, Liam (2008), ‘Stratton’s quirky side prevails in memoir’, Northern Territory News/Sunday Territorian, 30 March, p. 54.
    [Google Scholar]
  374. Pitt, Helen (1996), ‘Split over “moral majority” plan’, The Sydney Morning Herald, 11 July, p. 6.
    [Google Scholar]
  375. Pomeranz, Margaret (2005a), ‘Wolf Creek (2005)’, Letterboxd, 2 November, https://letterboxd.com/margaret_david/film/wolf-creek/. Accessed 27 May 2024.
    [Google Scholar]
  376. Pomeranz, Margaret (2005b), ‘Rebound (2005)’, Letterboxd, 12 April, https://letterboxd.com/margaret_david/film/rebound/. Accessed 27 May 2024.
    [Google Scholar]
  377. Pomeranz, Margaret (2006), ‘Margaret Pomeranz on how it all began, and advertising executive Tony Hardy’, Conversations with Richard Fidler, 6 July, http://www.abc.net.au/local/stories/2006/07/06/1680409.htm. Accessed 20 August 2023.
    [Google Scholar]
  378. Pomeranz, Margaret (2009), ‘Samson and Delilah (2009)’, https://letterboxd.com/margaret_david/film/samson-and-delilah/. Accessed 29 May 2024.
  379. Pomeranz, Margaret (2010), ‘Hector Crawford Memorial Lecture’, lecture delivered at Screen Producers Association of Australia Conference, Hilton Hotel, Sydney, 17 November.
    [Google Scholar]
  380. Pomeranz, Margaret (2014), Interviewed by ABC News, https://www.youtube.com/watch?v=zZbxhVwE_p8. Accessed 10 September 2023.
  381. Pomeranz, Margaret and Whitfield Pomeranz, Philippa (2015), Let’s Eat: A Cookbook Celebrating Film, Food & Family, Sydney: ABC Books.
  382. Price, Steven (2013), ‘The screenplay: An accelerated critical history’, Journal of Screenwriting, 4:1, pp. 8797.
    [Google Scholar]
  383. Proyas, Alex (2016), ‘Nothing confirms rampant stupidity faster…’, Facebook, 28 February, https://www.facebook.com/permalink.php?story_fbid=195699647463502&id=100010704046009. Accessed 10 September 2023.
    [Google Scholar]
  384. Quinn, Karl (2014), ‘Big, bad Wolf: TV icons snub local horror’, The Age, 27 February, p. 13.
    [Google Scholar]
  385. Quinn, Karl (2015), ‘Margaret Pomeranz: The feisty First Lady of the Australian screen tells why she couldn’t stay away’, The Sydney Morning Herald, 16 October, https://www.smh.com.au/entertainment/movies/lunch-with--margaret-pomeranz-first-lady-of-the-australian-screen-20151005-gk1oog.html. Accessed 20 August 2023.
    [Google Scholar]
  386. Reinstein, David A. and Snyder, Christopher M. (2005), ‘The influence of expert reviews on consumer demand for experience goods: A case study of movie critics’, The Journal of Industrial Economics, 53:1, pp. 2751.
    [Google Scholar]
  387. Reuters (2003), ‘Australian police halt screening’, The Globe and Mail, 5 July, https://www.theglobeandmail.com/arts/australian-police-halt-screening/article4128533/. Accessed 20 August 2023.
    [Google Scholar]
  388. Roach, Vicky (2014), ‘Wolf Creek 2 downgraded to teenager-friendly rating’, news.com.au, 18 February, https://www.news.com.au/entertainment/movies/wolf-creek-2-downgraded-to-teenagerfriendly-rating/news-story/a90070c969f217224aa5568f4014f9f9. Accessed 20 August 2023.
    [Google Scholar]
  389. Romei, Stephen (2017), ‘Credits roll on a film critic’s life’, The Australian, 25 February, p. 14.
    [Google Scholar]
  390. Rosenbaum, Jonathan (2007), ‘Film writing on the web: Some personal reflections’, Film Quarterly, 60:3, pp. 7680.
    [Google Scholar]
  391. Ross, Monique (2014), ‘Margaret Pomeranz and David Stratton retire: From Team America to Sex and the City, the films that split the At the Movies hosts’, ABC News, 16 September, https://www.abc.net.au/news/2014-09-16/the-movies-that-split-margaret-and-david/5747652. Accessed 18 June 2019.
    [Google Scholar]
  392. Rutherford, Anne (2019), ‘A dense web of relationships: How film culture sustains the screen industries’, Metro Magazine, 201, pp. 118125.
    [Google Scholar]
  393. Sainsbury, Peter (2003a), ‘Visions, illusions, and delusions’, Realtime, 53, February–March, pp. 1819, http://www.realtimearts.net/article/issue53/6972. Accessed 20 August 2023.
    [Google Scholar]
  394. Sainsbury, Peter (2003b), ‘Visions, illusions, and delusions Part II’, Realtime, 54, April–May, pp. 1517, http://www.realtimearts.net/article/issue54/7051. Accessed 20 August 2023.
    [Google Scholar]
  395. Sainsbury, Peter (2005), ‘The fear and loathing of risk and the underdevelopment of script development’, Metro Magazine, 142, pp. 4451.
    [Google Scholar]
  396. Salmon, Caspar (2018), ‘Who needs film critics? Actually we all do’, The Guardian, 20 June, https://www.theguardian.com/film/2018/jun/20/who-needs-film-critics-diversity-hollywood-oceans-8-wrinkle-in-time. Accessed 20 June 2018.
    [Google Scholar]
  397. SBS Movies (2009), ‘The Piano Teacher review’, 1 January, https://www.sbs.com.au/movies/review/piano-teacher-review. Accessed 25 July 2023.
  398. SBS Movies (2015a), ‘Romper Stomper: The movie David Stratton famously refused to rate’, 3 June 2019, https://www.sbs.com.au/movies/review/romper-stomper-review-movie-david-stratton-famously-refused-rate. Accessed 20 June 2019.
  399. SBS Movies (2015b), ‘Romper Stomper: Interviews’, https://www.sbs.com.au/edsweb/video-player/11699779813. Accessed 20 June 2019.
  400. Schembri, Jim (2003), ‘Crisis? What crisis?’, The Age, 21 November, p. 3.
    [Google Scholar]
  401. Schmidt, Lucinda (2008), ‘Profile: David Stratton’, The Sydney Morning Herald, 5 March, p. 2.
    [Google Scholar]
  402. Scott, Mike and Tribble, Christopher (2006), Textual Patterns: Key Words and Corpus Analysis in Language Education, Amsterdam: John Benjamins Publishing Company.
  403. Shepherd, Tamara (2009), ‘Rotten Tomatoes in the field of cultural production’, Revue Canadienne d’Études cinématographiques/Canadian Journal of Film Studies, 18:2, pp. 2644.
    [Google Scholar]
  404. Siemienowicz, Rachel (2011), ‘25 years on the couch: Margaret Pomeranz’, 18 August, https://blogafi.wordpress.com/2011/08/18/25-years-on-the-couch-margaret-pomeranz/. Accessed 17 December 2017.
  405. Singer, Jill (1997), ‘Film: Make me laugh, or cry’, Herald-Sun, 20 November, p. 19.
    [Google Scholar]
  406. Smith, Simon (n.d.), ‘Two on the Aisle: Australian TV’s first movie review duo’, National Film and Sound Archive of Australia, https://www.nfsa.gov.au/latest/two-aisle-australian-tvs-first-movie-review-duo. Accessed 2 September 2023.
    [Google Scholar]
  407. Stadler, Jane and McWilliam, Kelly (2009), Screen Media: Analysing Film and Television, Crows Nest: Allen & Unwin.
  408. Staiger, Janet (1980), ‘Mass-produced photoplays: Economic and signifying practices in the first years of Hollywood’, Wide Angle, 4:3, pp. 1227.
    [Google Scholar]
  409. Staiger, Janet (1985), ‘Blueprints for feature Films: Hollywood’s continuity scripts’, in T. Balio (ed.), The American Film Industry, rev. ed., Madison, WI: University of Wisconsin Press, pp. 173192.
    [Google Scholar]
  410. Stern, David (1991), ‘Are disagreements about taste possible? A discussion of Kant’s antinomy of taste’, The Iowa Review, 21, pp. 6671.
    [Google Scholar]
  411. Stokes, Patrick (2014), ‘Margaret, David, Wolf Creek 2 and, oh … torture porn’, The Conversation, 27 February, https://theconversation.com/margaret-david-wolf-creek-2-and-oh-torture-porn-23758. Accessed 20 August 2023.
    [Google Scholar]
  412. Stratton, David (1980), The Last New Wave: The Australian Film Revival, London and Sydney: Angus & Robertson.
  413. Stratton, David (1990), The Avocado Plantation: Boom and Bust in the Australian Film Industry, Chippendale: Pan Macmillan.
  414. Stratton, David (2003), ‘Letters to the editor’, The Australian, 7 July, p. 8.
    [Google Scholar]
  415. Stratton, David (2006), ‘Hostel (2005)’, Letterboxd, 22 February, https://letterboxd.com/margaret_david/film/hostel/. Accessed 27 May 2024.
    [Google Scholar]
  416. Stratton, David (2008a), I Peed on Fellini: Recollections of a Life in Film, North Sydney: Random House.
  417. Stratton, David (2008b), ‘David Stratton and Professor Kathryn North’, Conversations with Richard Fidler, 8 April, http://www.abc.net.au/local/stories/2008/04/08/2210917.htm. Accessed 20 August 2023.
    [Google Scholar]
  418. Stratton, David (2008c), ‘A subtle take on bereavement’, The Australian, 4 October, p. 22.
    [Google Scholar]
  419. Stratton, David (2014a), ‘Race against overkill’, The Australian, 22 February, p. 15.
    [Google Scholar]
  420. Stratton, David (2014b), ‘There comes a moment when the closing credits must roll’, The Australian, 17 September, p. 15.
    [Google Scholar]
  421. Stratton, David (2017), Interviewed by J. Di Rosso, The Final Cut, Radio National, 3 March, https://www.abc.net.au/radionational/programs/archived/finalcut/david-stratton:-a-cinematic-life/8313408. Accessed 20 August 2023.
    [Google Scholar]
  422. Stratton, David (2018), 101 Marvellous Movies You May Have Missed, Sydney: Allen & Unwin.
  423. Stratton, David (2019), ‘The tears of a clown’, The Australian, 28 September, p. 14.
    [Google Scholar]
  424. Stratton, David (2021), My Favourite Movies: From a Century of Films and the World’s Best Directors, Sydney: Allen & Unwin.
  425. Stratton, David (2024), Australia at the Movies: The Ultimate Guide to Modern Australian Cinema, Sydney: Allen & Unwin.
  426. Stratton, David (n.d.), ‘David Stratton recommends’, https://palacenova.com.au/david-stratton-recommends. Accessed 29 August 2023.
  427. Stratton, David and Pomeranz, Margaret (1999), ‘Dangers in censorship’, Sydney Morning Herald, 17 April, p. 44.
    [Google Scholar]
  428. Stratton, David and Pomeranz, Margaret (2014), ‘The closing credits’, The Age, 6 December, p. 12.
    [Google Scholar]
  429. Strohmaier, Petra (1999), ‘Metacriticism in Australian film reviewing in the 1970s’, Antipodes, 13:2, pp. 7377.
    [Google Scholar]
  430. Szcygłowska, Tatiana (2022), ‘The lexico-phraseological profile of professional film reviews published by the British media: A corpus-linguistic study’, Crossroads: A Journal of English Studies, 38, pp. 1840.
    [Google Scholar]
  431. Thomas, Sarah (2014), ‘At the Movies: Margaret and David avoid “ugly” Wolf Creek 2’, The Sydney Morning Herald, 26 February, https://www.smh.com.au/entertainment/movies/at-the-movies-margaret-and-david-avoid-ugly-wolf-creek-2-20140226-33hbi.html. Accessed 18 June 2019.
    [Google Scholar]
  432. Thompson, Kenneth L. (1947), ‘Criticism and opinion’, Sight and Sound, 16:62, pp. 7172.
    [Google Scholar]
  433. Truffaut, François ([1954] 1976), ‘A certain tendency of the French cinema’, in B. Nichols (ed.), Movies and Methods: An Anthology, vol. 1. Berkeley, CA: University of California Press, pp. 224236.
    [Google Scholar]
  434. Tsitas, Evelyn (1999), ‘What’s wrong with Aussie film?’, Herald-Sun, 29 November, p. 88.
    [Google Scholar]
  435. Tulich, Katherine (2014), ‘“At the Movies” ends its long Australian run’, RogerEbert.com, 19 September, https://www.rogerebert.com/features/at-the-movies-ends-its-long-australian-run. Accessed 20 August 2023.
    [Google Scholar]
  436. Turner, Graeme (1990), British Cultural Studies, Boston: Unwin Hyman.
  437. Turner, Graeme (1993), ‘Media texts and messages’, in S. Cunningham and G. Turner (eds), The Media in Australia: Industries, Texts, Audiences, St Leonards: Allen & Unwin, pp. 205266.
    [Google Scholar]
  438. Ugwu, Reggie (2023), ‘They review movies on TikTok, but don’t call them critics’, The New York Times, 15 August, https://www.nytimes.com/2023/08/15/movies/tiktok-movie-reviews-critics.html?smid=url-share. Accessed 29 August 2023.
    [Google Scholar]
  439. Urban, Andrew L. (2003), ‘Lies and damn censorship’, 3 July, http://www.urbancinefile.com.au/home/view.asp?a=7595&s=features. Accessed 19 June 2019.
  440. Verhoeven, Deb (2006), Sheep and the Australian Cinema, Melbourne: Melbourne University Press.
  441. Visontay, Michael (1986), ‘The picture show men’, The Sydney Morning Herald, 22 December, p. 1.
    [Google Scholar]
  442. Walmsley-Evans, Huw (2014), ‘Don’t let this be the last picture show’, The Drum, 16 September, https://mobile.abc.net.au/news/2014-09-16/walmsley-dont-let-this-be-the-last-picture-show/5747960?pfmredir=sm&pfm=sm. Accessed 18 June 2019.
    [Google Scholar]
  443. Walmsley-Evans, Huw (2018), Film Criticism as a Cultural Institution, Milton Park: Routledge.
  444. Watch on Censorship (2008), ‘The watchers watched’, 28 May, https://web.archive.org/web/20120320065408/http://watchoncensorship.asn.au/watch.html. Accessed 19 June 2019.
  445. Webber, Pauline (2005), ‘History of the Sydney Film Festival, 1954–1983’, MA dissertation, Sydney: University of Technology, Sydney.
  446. Weerakkody, Niranjala (2015), Research Methods for Media and Communication, South Melbourne: Oxford University Press.
  447. Wilk, Max (2004), Schmucks with Underwoods: Conversations with America’s Classic Screenwriters, New York: Applause Theatre & Cinema Books.
  448. Wilkinson, Alissa (2018), ‘The real reason we need more diversity in film criticism’, Vox, 23 June, https://www.vox.com/culture/2018/6/22/17466246/criticism-film-movie-diversity-annenberg-study-larson-blanchett-bullock-kaling. Accessed 18 June 2019.
    [Google Scholar]
  449. Wilkinson, Jules (2010), ‘A box of mirrors, a unicorn, and a pony’, Transformative Works and Cultures, 4, http://dx.doi.org/10.3983/twc.2010.0159. Accessed 12 July 2023.
    [Google Scholar]
  450. Williams, Glen (2000), ‘24 hours’, Sun Herald, 18 June, p. 4.
    [Google Scholar]
  451. Wilmoth, Peter (1993), ‘Take that! The critics get some of their own medicine’, The Age [Saturday Extra], 9 January, p. 1.
    [Google Scholar]
  452. Wilmoth, Peter (1995), ‘Show stoppers: Just who do these critics think they are?’, Sunday Age, 15 June, p. 1.
    [Google Scholar]
  453. Wollen, Peter (1993), ‘Films: Why do some survive and others disappear?’, Sight and Sound, 3:5, pp. 2628.
    [Google Scholar]
  454. Worthington, Jane (2007), ‘Defining moments: Margaret Pomeranz, film critic’, Wish Magazine (The Australian), 5 October, p. 98.
    [Google Scholar]
  455. Writers Guild of America, West (2018), ‘Screen credits manual’, https://www.wga.org/uploadedfiles/credits/manuals/screenscredits_manual18.pdf. Accessed 9 October 2023.
  456. Writers’ Guild of Great Britain (2011), ‘Credit arbitration’, https://writersguild.org.uk/wp-content/uploads/2015/02/Arbitration-Guidelines-April-2011.pdf. Accessed 29 May 2024.
  457. Wyatt, Robert O. and Badger, David P. (1984), ‘How reviews affect interest in and evaluation of films’, Journalism Quarterly, 61:4, pp. 874878.
    [Google Scholar]
  458. Wyatt, Robert O. and Badger, David P. (1987), ‘To toast, pan or waffle: How film reviews affect reader interest and credibility perception’, Newspaper Research Journal, 8:4, pp. 1930.
    [Google Scholar]
  459. YouTube Movies and TV (2017), ‘Romper Stomper: Trailer’, 14 October, https://www.youtube.com/watch?v=Tu2JLPh4A40. Accessed 24 July 2023.
  460. Zuel, Bernard (1996), ‘The not so odd couple’, The Sydney Morning Herald, 28 October, p. 3.
    [Google Scholar]
  461. Zvi, Jacob (2019), ‘What killed Australian Cinema & why is the bloody corpse still moving?’, Ph.D. thesis, Melbourne: Swinburne University of Technology.
/content/books/9781835951163.bm01
dcterms_title,dcterms_subject,pub_keyword
-contentType:Contributor -contentType:Concept -contentType:Institution
10
5
Chapter
content/books/9781835951163
Book
false
en
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test