art.Combiningsomeofthatclosetohomestrangeness
withtheloadedbaggageofbeinga rockumentary,Now
Sound:Melbourne’sListeningutterlyobliteratedany
notionsofcriticalobjectivityI could’vehopedto possess–
somethingwaybeyondtheclosetohomenessI already
felt when,beforethat, first viewingHerSound,HerStory.
But, then again,whetheras filmmakeror as viewer,aren’t
ourexperiencesofcinema– rootedin perspective, speci
ficity, moments in time – always subjective?Anthony Carew is a Melbourne-based critic. m
Endnotes(^1) SeeLauraBennett,‘TheFirst-personIndustrialComplex’,
Slate, 14 September2015,http://www.slate.com/articles/
life/technology/2015/09/the_first_person_industrial_complex
_how_the_harrowing_personal_essay_took.html, accessed
31 May 2019.
(^2) PaulineKael,quotedin Hal Espen,‘Kael Talks’,The New
Yorker, 21 March1994,p. 134.
(^3) See ‘WritingAboutMusicIs like DancingAboutArchitecture’,
QuoteInvestigator,https://quoteinvestigator.com/2010/11/
08/writing-about-music/, accessed31 May 2019.
(^4) CarlWilson,Let’sTalkAboutLove:WhyOtherPeopleHave
SuchBadTaste, Bloomsbury, New York & London, 2014
[2007].
(^5) Ian F Svenonius,CensorshipNow!!, Akashic Books, New
York, 2015,pp. 114, 79.
(^6) FlorianHabicht,quotedin AnthonyCarew(woot!),‘Common
People’,TheMusic, 31 July 2014,https://themusic.com.
au/article/bJF_fmFgY2I/florian-habicht-anthony-carew,
accessed1 June 2019.
(^7) See ShamiraIbrahim,‘In Defenseof CancelCulture’,VICE,
5 April 2019,https://www.vice.com/en_us/article/vbw9pa/
what-is-cancel-culture-twitter-extremely-online, accessed
31 May 2019.
(^8) See RandallRoberts,‘QueerPunk BandPWR BTTMForced
to CancelTour Datesamid SexualAbuseAllegations’,Los
AngelesTimes, 15 May 2017,https://www.latimes.com/
entertainment/music/la-et-ms-pwr-bttm-cancel-tour-2017
0515-htmlstory.html, accessed31 May 2019.
(^9) KEWLStudios,Now Sound: Melbourne’s Listening press kit,
2018,p. 9.
(^10) Her Sound, Her Story,Her Sound, Her Story press kit, 2018,
p. 6.
(^11) MichelleGraceHunder,phoneinterviewwith author,6 May 2019.
(^12) ClaudiaSangiorgi Dalimore, phone interview with author, 6 May
2019.
(^13) ClaudiaSangiorgiDalimore,‘Director’s Statement’, in Her
Sound,Her Story,op. cit., p. 5.
(^14) SangiorgiDalimore,phoneinterviewwith author,op. cit.
(^15) ‘About’,LISTENofficialwebsite,https://www.listenlisten
listen.org/about/, accessed1 June 2019.
(^16) SangiorgiDalimore, phone interview with author, op. cit.
(^17) Hunder,op. cit.
(^18) AlexandraHeller-Nicholas,‘FilmmakerAmandaKramerTalks
Ladyworld’,Allianceof WomenFilmJournalists, 15 October
2018,https://awfj.org/blog/2018/10/15/filmmaker-amanda
-kramer-talks-ladyworld-alexandra-heller-nicholas-
interviews/, accessed1 June 2019.
(^19) TobiasWillis,phoneinterviewwith author, 27 April 2019.
(^20) Her Sound,Her Story,op. cit., p. 2.
(^21) KEWLStudios,op. cit., p. 3.
(^22) See Andy Ross,‘Shoegazing– the Coiningof a Genre’,HuffPost,
11 May 2016,https://www.huffingtonpost.co.uk/andy-ross/
shoegaze_b_9892330.html, accessed1 June 2019.
(^23) MikeyCahill,email interview with author, 26 April 2019.
(^24) Willis,op. cit.
(^25) ibid.
(^26) SimonWinkler,emailinterviewwith author,29 April 2019.
(^27) BeckySui ZhenFreeman, phone interview with author,
29 April 2019.
Above: Jen CloherinNow Sound: Melbourne’s Listening
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