LEADER 00000ngm a2200433 i 4500 
003    CaSfKAN 
005    20130802105144.0 
006    m     o  c         
007    vz uzazuu 
007    cr una---unuuu 
008    140717p20142009cau089        o   vleng d 
028 52 1042264|bKanopy 
035    (OCoLC)897765456 
040    UtOrBLW|beng|cUtOrBLW|erda 
043    u-at--- 
099    Streaming Video Kanopy 
245 00 Into the shadows.|h[Kanopy electronic resource] 
264  1 [San Francisco, California, USA] :|bKanopy Streaming,
       |c2014. 
300    1 online resource (1 video file, approximately 89 min., 55
       sec.) :|bdigital, .flv file, sound 
336    two-dimensional moving image|2rdacontent 
337    computer|2rdamedia 
337    video|2rdamedia 
338    online resource|2rdacarrier 
500    Title from title frames. 
518    Originally produced by Ronin Films in 2009. 
520    Into the shadows journeys beyond the big screen to meet 
       the filmmakers, distributors and exhibitors who bring 
       Australian films to us, the audience. Away from the bright
       lights, the red carpets and paparazzi, an awful truth is 
       discovered. The cinema was once a place where Australian 
       culture thrived: audiences were educated, entertained and 
       inspired by Australian stories, characters and landscapes.
       But now, alarmingly, out of the {dollar}895.5 million 
       spent at the Australian box-office in 2008, only 
       {dollar}36.6 million (3.8%) was spent on Australian films.
       Australian films are clearly not connecting with the 
       cinema-going audience. Why? Into the Shadows begins by 
       tracing the history of Australian cinema, from the initial
       production boom in 1910-12, declining steadily to the 
       barren post-war years. The film investigates the 
       regeneration of the domestic production industry, 
       championed by a dedicated few, in the late 1960s. Bruce 
       Beresford, Anthony Buckley, Phillip Adams and Alan Finney 
       recount what the atmosphere was like in the 1960s and 
       1970s while distributors and exhibitors, Andrew Pike 
       (Electric Shadows), Chris Kiely (Valhalla), Natalie Miller
       (the Longford) and Antonio Zeccola (Palace) reveal how 
       important the independent art-house cinemas were in 
       contributing to the re-birth of the Australian film 
       industry. The closure of many of these independent art-
       house cinemas in recent years, typified by the demise of 
       Electric Shadows in Canberra in 2006, exacerbates the 
       difficulties that producers have in reaching cinema 
       screens on a fair and equitable basis. Many exhibitors, 
       past and surviving, question the efficacy of the 
       industry's code of conduct, and talk frankly about unfair 
       trade practices. These difficulties parallel the growing 
       number of Australian films remaining unreleased. But all 
       is not lost. A new generation of Australian filmmakers 
       have emerged and continue to push at the boundaries of the
       cinema trade, exploring new ways of connecting to the ever
       elusive but very important audience. 
538    Mode of access: World Wide Web. 
650  0 Motion pictures|zAustralia|xHistory. 
700 1  Bereford, Bruce,|einterviewee. 
700 1  Buckley, Anthony,|einterviewee. 
700 1  Adams, Philip,|einterviewee. 
700 1  Finney, Alan,|einterviewee. 
700 1  Pike, Andrew,|einterviewee. 
700 1  Kiely, C. J.,|einterviewee. 
700 1  Miller, Natalie,|einterviewee. 
700 1  Zeccola, Antonio,|einterviewee. 
710 2  Kanopy (Firm) 
856 40 |uhttps://naperville.kanopy.com/node/42265|zAvailable on 
       Kanopy 
856 42 |zCover Image|uhttps://www.kanopy.com/node/42265/external-
       image