Australian cinema is caught in a bind of wanting to appeal to national audiences, but also to not exclude international markets. In relation to film Dressmaker (Moorhouse, 2015) and Upgrade (Whannell, 2018), how has the industry in your opinion succeeded – or failed – to cater to these divergent audiences?
Research Question Australian cinema is caught in a bind of wanting to appeal to national audiences, but also to not exclude international markets. In relation to film Dressmaker (Moorhouse, 2015) and Upgrade (Whannell, 2018), how has the industry in your opinion succeeded – or failed – to cater to these divergent audiences? Links to download […]