NiTRO Creative Matters

Perspectives on creative arts in higher education

AFTRS

The screen market has experienced a contraction of traditional free-to-air distribution in favour of pay on-demand or subscription services … (and) begun to cross-over into gaming, and gamification content towards incentivised engagement of consumption … Such change has … produced a requirement to equip screen business students with a

Creative industries are characterised by a gig economy featuring short-term, intensive contracts, word-of-mouth recruitment, ten-hour days, and precarious work. Such conditions can pose challenges for filmmakers with disability to flourish.

Screen stories have evolved away from the simplistic dichotomies of conflict between good and evil, goodies and baddies. Audiences expect and appreciate more nuanced and complex depictions of character, culture and conflict … ‘engaging writing’ features three dimensional characters and dramatic irony which follow from the application of the

By Stephen Murphy — There’s a question I used to dread: “So, what do you do?” It has a second part to it, assumed and unvoiced: “ … for a living”. And what I dreaded was the rabbit hole this opened. If I told a taxi driver “I work in
By Dr Romaine Moreton — Indigenous media production at the cultural interface is the ancient application of what is already known, an accumulation of knowledges gained through throughout millennia for the purpose of producing and reproducing Indigenous values of balance, harmony, and sustainability.
By Pearl Tan — The push for diversity in many arenas is stronger than ever. In higher education, one way this can manifest, is in higher numbers of students from diverse backgrounds. With more diverse student cohorts, it’s certain that teachers will encounter students who are telling stories from cultures
By EO Gill — As COVID-19 corrodes our creative industries, I find myself scrambling to identify anything that might signal a brighter future. At the same time, I am wary of pandemic-born states of panic, since rapid-response initiatives often work to further disenfranchise already vulnerable members of the arts community.
By Rowan Woods and Dr Duncan McLean — Film school programs are only useful to students and industry if attention is paid to the winds of change surrounding screen authorship.

Australian Film, Television and Radio School (AFTRS) students have take out both gold and silver in the Student Cinematography category of the NSW Australian Cinematographers Society (ACS) Awards. Gold was awarded David Luff for Memoir, and Silver to Tom Pennel for The Child. Both are current Bachelor of Arts: Screen Production

AFTRS has appointed two new heads of department of Animation and Documentary.  Former Learning and Development  Manager at Animal Logic, Krista Jordan will take up the position of Head of Animation. With over twenty years professional industry experience Krista’s credits include: The Matrix, The Matrix Reloaded, Rabbit- Proof Fence, Moulin