Mark Poole is a writer filmmaker and academic. He wrote the feature films Hammers Over The Anvil and A Single Life as well as many hours of television and film drama and documentary. He co-wrote, directed and produced the documentary Fearless which screened on ABC1 in 2010. He teaches documentary and media at RMIT. He is the author of numerous articles, books and papers on screenwriting, documentary, cinema, gender diversity and AI.
The group of film enthusiasts who had been the organising committee for the Melbourne Film Festiv... more The group of film enthusiasts who had been the organising committee for the Melbourne Film Festival first recommended the establishment of the AFI during 1954. Hungry to expand their film diets, they wanted to see films from overseas.
Abstract: Mark Poole explores the controversy surrounding the recent merger of the Victorian Coll... more Abstract: Mark Poole explores the controversy surrounding the recent merger of the Victorian College of the Arts with the University of Melbourne and proposed changes to the VCA's practice-based curricula. ... To cite this article: Poole, Mark. This Year's Model: Saving the ...
Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne F... more Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne Film Festival first recommended the establishment of the AFI during 1954. Hungry to expand their film diets, they wanted to see films from overseas. ... To cite this article: French, Lisa ...
To cite this article: Cosgrove-Smith, Karen. Film Business: A Handbook for Producers [Book Review... more To cite this article: Cosgrove-Smith, Karen. Film Business: A Handbook for Producers [Book Review] [online]. Metro Magazine: Media & Education Magazine, No. 153, June 2007: 204-205. Availability: <http://search.informit.com.au/documentSummary;dn= ...
Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne F... more Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne Film Festival first recommended the establishment of the AFI during 1954. Hungry to expand their film diets, they wanted to see films from overseas. ... To cite this article: French, Lisa ...
Review(s) of: Film business - a handbook for producers, Edited and compiled by Damien Parer, Aust... more Review(s) of: Film business - a handbook for producers, Edited and compiled by Damien Parer, Australian Film, Television and Radio School.
Both a process and a set of products, influenced by policy as well as people, and incorporating o... more Both a process and a set of products, influenced by policy as well as people, and incorporating objective agendas at the same time as subjective experiences, script development is a core practice within the screen industry – yet one that is hard to pin down and, to some extent, define. From an academic research perspective, we might say that script development is a ‘wicked problem’ precisely because of these complex and often contradictory aspects. Following on from a recent Journal of Screenwriting special issue on script development (2017, vol. 8:3), and in particular an article therein dedicated to reviewing the literature and ‘defining the field’, an expanded team of researchers follow up on those ideas and insights. In this article, then, we attempt to theorize script development as a ‘wicked problem’ that spans a range of themes and disciplines. As a ‘wicked’ team of authors, our expertise encompasses screenwriting theory, screenwriting practice, film and television studies, cultural policy, ethnography, gender studies and comedy. By drawing on these critical domains and creative practices, we present a series of interconnected themes that we hope not only suggests the potential for script development as a rich and exciting scholarly pursuit, but that also inspires and encourages other researchers to join forces in an attempt to solve the script development ‘puzzle’.
CRAIG BATTY RMIT University RADHA O’MEARA University of Melbourne STAYCI TAYLOR RMIT University HESTER JOYCE La Trobe University PHILIPPA BURNE University of Melbourne NOEL MALONEY La Trobe University MARK POOLE RMIT University MARILYN TOFLER Swinburne University of Technology
This article covers a discussion between producer Greg Haddrick and director Matt Saville about t... more This article covers a discussion between producer Greg Haddrick and director Matt Saville about the adaptation of Tim Winton's novel Cloudstreet for television. First published in Screen Hub in 2011.
This paper was first published in the online screen journal Screen Hub. It covers a session at Bo... more This paper was first published in the online screen journal Screen Hub. It covers a session at Books at MIFF, part of the Melbourne Film Festival, about screenwriting and adapting novels and books for film and television.
Acclaimed documentary producer John Smithson (Touching The Void, 127 Hours), talks to a room full... more Acclaimed documentary producer John Smithson (Touching The Void, 127 Hours), talks to a room full of Australian documentary filmmakers and writers about documentary. Screen Hub 2011
This paper looks at how Rosalie Ham's novel The Dressmaker was adapted by co-writers Jocelyn Moor... more This paper looks at how Rosalie Ham's novel The Dressmaker was adapted by co-writers Jocelyn Moorhouse and P.J.Hogan into the feature film produced by Sue Maslin and released in 2015.
Australian screenwriters are turning to adaptation as an alternative to original screenplays as t... more Australian screenwriters are turning to adaptation as an alternative to original screenplays as the basis for feature films. This article looks at the work of three prominent screenwriters: Jan Sardi, Anna-Maria Monticelli and Mac Gudgeon.
Most histories of the dynamism of the Australian film industry in the 1970s explore feature films... more Most histories of the dynamism of the Australian film industry in the 1970s explore feature films, but a vital part of the creativity and energy of the revival occurred in the non-feature sector. A significant site of experimentation and originality in form, content and technique was the Experimental Film and Television Fund (EFTF). From its inception in 1970, The Australian Film Institute (AFI) managed the fund until 1977 when the Australian Film Commission (AFC) assumed control of it. Drawing on a series of interviews with key players involved in the fund during the AFI’s tenure, and research for the book, Shining a Light: 50 Years of the Australian Film Institute (French and Poole 2009), this article traces this significant period of the history of Australian film production, and proposes that the AFI played an important role in promoting modernist film practice, and the Australian film revival, through its management of the EFTF.
Shining A Light: 50 Years of the AFI
traces the progress of the film and television industries a... more Shining A Light: 50 Years of the AFI traces the progress of the film and television industries as well as screen culture within Australia over the past half century, through the lens of one organisation, the Australian Film Institute (AFI | AACTA).
The group of film enthusiasts who had been the organising committee for the Melbourne Film Festiv... more The group of film enthusiasts who had been the organising committee for the Melbourne Film Festival first recommended the establishment of the AFI during 1954. Hungry to expand their film diets, they wanted to see films from overseas.
Abstract: Mark Poole explores the controversy surrounding the recent merger of the Victorian Coll... more Abstract: Mark Poole explores the controversy surrounding the recent merger of the Victorian College of the Arts with the University of Melbourne and proposed changes to the VCA's practice-based curricula. ... To cite this article: Poole, Mark. This Year's Model: Saving the ...
Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne F... more Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne Film Festival first recommended the establishment of the AFI during 1954. Hungry to expand their film diets, they wanted to see films from overseas. ... To cite this article: French, Lisa ...
To cite this article: Cosgrove-Smith, Karen. Film Business: A Handbook for Producers [Book Review... more To cite this article: Cosgrove-Smith, Karen. Film Business: A Handbook for Producers [Book Review] [online]. Metro Magazine: Media & Education Magazine, No. 153, June 2007: 204-205. Availability: <http://search.informit.com.au/documentSummary;dn= ...
Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne F... more Abstract: The group of film enthusiasts who had been the organising committee for the Melbourne Film Festival first recommended the establishment of the AFI during 1954. Hungry to expand their film diets, they wanted to see films from overseas. ... To cite this article: French, Lisa ...
Review(s) of: Film business - a handbook for producers, Edited and compiled by Damien Parer, Aust... more Review(s) of: Film business - a handbook for producers, Edited and compiled by Damien Parer, Australian Film, Television and Radio School.
Both a process and a set of products, influenced by policy as well as people, and incorporating o... more Both a process and a set of products, influenced by policy as well as people, and incorporating objective agendas at the same time as subjective experiences, script development is a core practice within the screen industry – yet one that is hard to pin down and, to some extent, define. From an academic research perspective, we might say that script development is a ‘wicked problem’ precisely because of these complex and often contradictory aspects. Following on from a recent Journal of Screenwriting special issue on script development (2017, vol. 8:3), and in particular an article therein dedicated to reviewing the literature and ‘defining the field’, an expanded team of researchers follow up on those ideas and insights. In this article, then, we attempt to theorize script development as a ‘wicked problem’ that spans a range of themes and disciplines. As a ‘wicked’ team of authors, our expertise encompasses screenwriting theory, screenwriting practice, film and television studies, cultural policy, ethnography, gender studies and comedy. By drawing on these critical domains and creative practices, we present a series of interconnected themes that we hope not only suggests the potential for script development as a rich and exciting scholarly pursuit, but that also inspires and encourages other researchers to join forces in an attempt to solve the script development ‘puzzle’.
CRAIG BATTY RMIT University RADHA O’MEARA University of Melbourne STAYCI TAYLOR RMIT University HESTER JOYCE La Trobe University PHILIPPA BURNE University of Melbourne NOEL MALONEY La Trobe University MARK POOLE RMIT University MARILYN TOFLER Swinburne University of Technology
This article covers a discussion between producer Greg Haddrick and director Matt Saville about t... more This article covers a discussion between producer Greg Haddrick and director Matt Saville about the adaptation of Tim Winton's novel Cloudstreet for television. First published in Screen Hub in 2011.
This paper was first published in the online screen journal Screen Hub. It covers a session at Bo... more This paper was first published in the online screen journal Screen Hub. It covers a session at Books at MIFF, part of the Melbourne Film Festival, about screenwriting and adapting novels and books for film and television.
Acclaimed documentary producer John Smithson (Touching The Void, 127 Hours), talks to a room full... more Acclaimed documentary producer John Smithson (Touching The Void, 127 Hours), talks to a room full of Australian documentary filmmakers and writers about documentary. Screen Hub 2011
This paper looks at how Rosalie Ham's novel The Dressmaker was adapted by co-writers Jocelyn Moor... more This paper looks at how Rosalie Ham's novel The Dressmaker was adapted by co-writers Jocelyn Moorhouse and P.J.Hogan into the feature film produced by Sue Maslin and released in 2015.
Australian screenwriters are turning to adaptation as an alternative to original screenplays as t... more Australian screenwriters are turning to adaptation as an alternative to original screenplays as the basis for feature films. This article looks at the work of three prominent screenwriters: Jan Sardi, Anna-Maria Monticelli and Mac Gudgeon.
Most histories of the dynamism of the Australian film industry in the 1970s explore feature films... more Most histories of the dynamism of the Australian film industry in the 1970s explore feature films, but a vital part of the creativity and energy of the revival occurred in the non-feature sector. A significant site of experimentation and originality in form, content and technique was the Experimental Film and Television Fund (EFTF). From its inception in 1970, The Australian Film Institute (AFI) managed the fund until 1977 when the Australian Film Commission (AFC) assumed control of it. Drawing on a series of interviews with key players involved in the fund during the AFI’s tenure, and research for the book, Shining a Light: 50 Years of the Australian Film Institute (French and Poole 2009), this article traces this significant period of the history of Australian film production, and proposes that the AFI played an important role in promoting modernist film practice, and the Australian film revival, through its management of the EFTF.
Shining A Light: 50 Years of the AFI
traces the progress of the film and television industries a... more Shining A Light: 50 Years of the AFI traces the progress of the film and television industries as well as screen culture within Australia over the past half century, through the lens of one organisation, the Australian Film Institute (AFI | AACTA).
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Papers by Mark Poole
CRAIG BATTY
RMIT University
RADHA O’MEARA
University of Melbourne
STAYCI TAYLOR
RMIT University
HESTER JOYCE
La Trobe University
PHILIPPA BURNE
University of Melbourne
NOEL MALONEY
La Trobe University
MARK POOLE
RMIT University
MARILYN TOFLER
Swinburne University of Technology
traces the progress of the film and television industries as well as screen culture within Australia over the past half century, through the lens of one organisation, the Australian Film Institute (AFI | AACTA).
CRAIG BATTY
RMIT University
RADHA O’MEARA
University of Melbourne
STAYCI TAYLOR
RMIT University
HESTER JOYCE
La Trobe University
PHILIPPA BURNE
University of Melbourne
NOEL MALONEY
La Trobe University
MARK POOLE
RMIT University
MARILYN TOFLER
Swinburne University of Technology
traces the progress of the film and television industries as well as screen culture within Australia over the past half century, through the lens of one organisation, the Australian Film Institute (AFI | AACTA).