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Most of my encounters with contemporary art and film over recent weeks­ haven’t happened by visiting a gallery, museum or cinema. Rather, contact's been made via my laptop, smart phone, a giant screen in a public transport space and reflections on the future of film festivals. In RealTime this week I interview the curatorial director of Wynscreen, which delivers moving-image art to travellers passing though Wynyard Station. Ever preoccupied with the horror genre, Katerina Sakkas reviews Olivier Assayas’ technological arthouse ghost story, Personal Shopper, in which a grieving woman (Kristen Stewart) interacts with a mysterious presence via text messaging. Cameron Williams considers the ways that video-on-demand platforms are changing Australian screen culture and challenging film festivals. And in the theatre work Passenger, John Bailey finds himself immersed in a kind of live cinema. The contemporary screen is a radical shape-shifter.

Lauren, Acting Assistant Editor
FILM FESTIVALS VS THE BIG STREAMERS     Addressing alarming data and chatting with Melbourne International Film Festival's Michelle Carey, Cameron Williams estimates the power or not of Amazon and Netflix to limit choice in Australian international film festival programming.
ART AS BIG PUBLIC INFRASTRUCTURE         Lauren Carroll Harris interviews curator Alessio Cavallaro about screen works programmed for Wynscreen, a media art installation built into Sydney's Wynyard Station, and the expectations held for developing an art-conscious public on the move.
THE AUDIENCE ON THE INSIDE    Passenger, its audience in a bus, overhearing a conversation as the cityscape sweeps by, is "almost live cinema," and Aeon, in which the audience performs—instinctively—is like "an Orphic passage, an animal transformation," writes an engaged John Bailey.
Frank Enstein
SCIENCE + LOVE = EXPLOSIVE DANCE      The Farm (Gold Coast) and Co3 (Perth) unite to create Frank Enstein, a dance work for younger audiences based on the series of books for children but upgraded to adolescent longing for love, realised with powerful choreography and a great sense of fun, writes Kathryn Kelly.
Personal shopper
Katerina Sakkas admires Kristen Stewart's performance in Olivier Assayas' not-quite horror film Personal Shopper in which the everyday assumes a haunting uncanniness.
The Substation’s director, Brad Spolding, tells John Bailey about successfully meeting the challenges of supporting edgy art-making and welcoming a curious and willing local audience.
John Clarke
We mourn the passing of John Clarke, writer and performer, and the loss of the wry eye he cast on the increasingly self-parodying state of Australian politics in Clarke and Dawe and, looking back, on bureaucracy in the brilliantly incisive The Games, a classic.
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RealTime E-dttions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments. RealTime’s Principal Technology Partner is the national communications carrier, Vertel.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher. 

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