CARELESS LOVE a Film by John Duigan
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
For Release: on Approval Motion Picture Sound Editors to Honor
For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
Introduction: Fairy Tale Films, Old Tales with a New Spin
Notes Introduction: Fairy Tale Films, Old Tales with a New Spin 1. In terms of terminology, ‘folk tales’ are the orally distributed narratives disseminated in ‘premodern’ times, and ‘fairy tales’ their literary equiva- lent, which often utilise related themes, albeit frequently altered. The term ‘ wonder tale’ was favoured by Vladimir Propp and used to encompass both forms. The general absence of any fairies has created something of a mis- nomer yet ‘fairy tale’ is so commonly used it is unlikely to be replaced. An element of magic is often involved, although not guaranteed, particularly in many cinematic treatments, as we shall see. 2. Each show explores fairy tale features from a contemporary perspective. In Grimm a modern-day detective attempts to solve crimes based on tales from the brothers Grimm (initially) while additionally exploring his mythical ancestry. Once Upon a Time follows another detective (a female bounty hunter in this case) who takes up residence in Storybrooke, a town populated with fairy tale characters and ruled by an evil Queen called Regina. The heroine seeks to reclaim her son from Regina and break the curse that prevents resi- dents realising who they truly are. Sleepy Hollow pushes the detective prem- ise to an absurd limit in resurrecting Ichabod Crane and having him work alongside a modern-day detective investigating cult activity in the area. (Its creators, Roberto Orci and Alex Kurtzman, made a name for themselves with Hercules – which treats mythical figures with similar irreverence – and also worked on Lost, which the series references). Beauty and the Beast is based on another cult series (Ron Koslow’s 1980s CBS series of the same name) in which a male/female duo work together to solve crimes, combining procedural fea- tures with mythical elements. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor -
Joel Creasey
JOEL CREASEY “Creasey is an unstoppable force and the crown prince of Aussie comedy.” - The Daily Telegraph Joel Creasey is one of Australia's most-popular, acclaimed and charmingly controversial stand-up comedians. A self-described shameless "fame whore", Joel has become a television staple in Australia. This year alone, Joel has captained his team to (occasional) victory on the first season of Channel Ten’s newest studio-based comedy series, Show Me The Movie!, along with enemy-captain Jane Harber and host Rove McManus. Ten Network has just announced a second season. Joel also made his soap star debut on one of Australia’s favourite TV shows, Neighbours. It was recently announced that Joel shall be Australia’s newest and frankly loosest, cupid – hosting the worldwide phenomenon dating show, ‘Take Me Out’, on Network Seven. To add to a very busy television year, Joel was chuffed to see his stand up special, recorded at the esteemed Sydney Opera House, air on Network Ten. A prestigious honour that not many stand-up comedians have achieved. Landing the much coveted role as co-host of SBS’s ‘Eurovision Song Contest’ alongside Myf Warhurst in 2017, Joel and Myf returned in 2018 for the global event described as the Olympics of song contests. Joel caused international headlines this year during his commentary, when a stage invader attempted to grab the microphone during the UK’s performance. Reacting without hesitation, Joel said “what an absolute cockhead”, a quote that immediately went viral worldwide. Even JK Rowling heard the quote and instantly praised his candour, awarding him an ‘Order of Merlin First Class’, a title only held by 11 people in the world (yes, it’s really a thing and Joel’s proudest achievement to date). -
Download Press
MAO’S LAST DANCER #28 1-SHEET COMPS_08.27.09 Special Gala Premiere Toronto Film Festival From the Oscar nominated producer and screenwriter of SHINE Directed by Bruce Beresford From the bestselling autobiography by Li Cunxin World Sales Celluloid Dreams Australia - 2009 - 117 min - 1:85 - Dolby SRD - English/Mandarin 2 rue Turgot, 75009 Paris, France T : + 33 (0) 1 4970 0370 F : + 33 (0) 1 4970 0371 [email protected] www.celluloid-dreams.com SYNOPSIS This is the inspirational true story of Li Cunxin, adapted from his best-selling autobiography and telling how, amidst the chaos of Mao’s Cultural Revolution, he was chosen to leave his peasant family and sent on an amazing journey … as it turned out towards freedom and personal triumph. Li’s story unfolds as China was emerging from Mao’s grand vision. It couldn’t have been a better time for Li Cunxin to discover the west and for the west to discover Li Cunxin. This is about how Li overcame adversity, discovering and exploring his natural abilities and talent as a great classical dancer. This meant not only dealing with his own physical limitations but also eventually the punishment meted out by a highly suspicious Chinese government after Li’s defection to the US. In America Li found a completely different and captivating new world – but there were other difficulties he could never have imagined. Even with the support of many friends there was still isolation and despite his growing fame there was still uncertainty for his future. Here is a poignant yet triumphant story, directed by twice Academy nominated director Bruce Beresford (BREAKER MORANT, DRIVING MISS DAISY, TENDER MERCIES, BLACK ROBE etc) from a stunning adaptation by experienced screenwriter, Jan Sardi (SHINE, THE NOTEBOOK, LOVE’S BROTHER etc) that has the ability to touch both worlds. -
John Duigan Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
John Duigan 电影 串行 (大全) https://zh.listvote.com/lists/film/movies/%E5%81%87%E9%87%8B%E8%BB%8D%E5%AE%98- å‡ é‡‹è»å ®˜ 5227843/actors Fragments of War: The Story https://zh.listvote.com/lists/film/movies/fragments-of-war%3A-the-story-of-damien-parer-5477735/actors of Damien Parer Wide Sargasso https://zh.listvote.com/lists/film/movies/wide-sargasso-sea-1168478/actors Sea Paranoid https://zh.listvote.com/lists/film/movies/paranoid-1525102/actors The Journey of https://zh.listvote.com/lists/film/movies/the-journey-of-august-king-2554115/actors August King One Night Stand https://zh.listvote.com/lists/film/movies/one-night-stand-369435/actors Romero https://zh.listvote.com/lists/film/movies/romero-495138/actors Careless Love https://zh.listvote.com/lists/film/movies/careless-love-5038998/actors Dimboola https://zh.listvote.com/lists/film/movies/dimboola-5277185/actors Far East https://zh.listvote.com/lists/film/movies/far-east-5434525/actors Mouth to Mouth https://zh.listvote.com/lists/film/movies/mouth-to-mouth-6926348/actors The Firm Man https://zh.listvote.com/lists/film/movies/the-firm-man-7734059/actors The https://zh.listvote.com/lists/film/movies/the-trespassers-7770125/actors Trespassers Winter of Our https://zh.listvote.com/lists/film/movies/winter-of-our-dreams-8026400/actors Dreams https://zh.listvote.com/lists/film/movies/%E5%A4%B1%E8%81%B2%E6%AD%B2%E6%9C%88- å¤±è² æ² æœˆ 1169123/actors 情 https://zh.listvote.com/lists/film/movies/%E6%83%85%E6%8C%91%E7%8E%89%E5%A5%B3%E5%BF%83- 挑玉女心 127665/actors 相ç https://zh.listvote.com/lists/film/movies/%E7%9B%B8%E7%B4%84%E5%9C%A8%E4%BB%8A%E7%94%9F- -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
LESLEY VANDERWALT Make-Up and Hair Designer
LESLEY VANDERWALT Make-Up And Hair Designer FILM PROMETHEUS 2 Make-Up and Hair Designer Filming Begins April 2016 Director: Ridley Scott 20th Century Fox GODS OF EGYPT Make-Up and Hair Designer Summit Entertainment Director: Alex Proyas MAD MAX: FURY ROAD Make-Up and Hair Designer Village Roadshow Pictures Director: George Miller Winner: Academy Award for Best Make-Up and Hairstyling Winner: BAFTA for Best Make-up and Hair Winner: Critics’ Choice Award for Best Hair & Make-Up Winner: Make-Up Artists & Hair Stylists Guild Awards for Best Period and/or Character Make-Up THE GREAT GATSBY Make-Up and Hair Supervisor – Additional Design Warner Bros. Director: Baz Luhrmann Winner of the M.A.C Austrailia APDG Award for Make-up shared with Kerry Warn and Maritzio Silvi. Nominated for Hollywood Make-up Artists and Hairstylists Guild Award Best Character Make-Up SLEEPING BEAUTY Make-Up and Hair Designer / Make-Up Department Head Magic Films Director: Julia Leigh Cast: Emily Browning, Rachael Blake, Ewen Leslie, Eden Falk, Mirrah Folks, Chris Haywood, Hugh Keays-Byrne, Tammy Macintosh, Tracy Mann, Sarah Snook, Matthew Whittet Winner of the M.A.C Austrailia APDG Award for Make-up KNOWING Make-Up and Hair Designer Summit Entertainment Director: Alex Proyas Cast: Rose Byrne, Ben Mendelsohn AUSTRAILIA Make-Up and Hair Supervisor – Additional Design 20th Century Fox Director: Baz Lurmann Cast: Jack Thompson, Ben Mendelsohn, Jacek Koman, Sandy Gore, Wah Yuen, Ursula Yovich, GHOST RIDER Make-Up and Hair Designer Columbia Pictures Director: Mark Stephan -
Annual Report 2011/2012
ANNUAL REPORT 2011/2012 AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL Building 130, The Entertainment Quarter, Moore Park NSW 2021 PO Box 2286, Strawberry Hills NSW 2012 Tel + 61 (0)2 9805 6611 Fax + 61 (0)2 9887 1030 www.aftrs.edu.au NATIONAL PHONE: 1300 131 461 AFTRS © Australian Film, Television Radio School 2012 Published by the Australian Film, Television and Radio School ISSN 0819-2316 The text in this Annual Report is released subject to a Creative Commons BY- NC- ND licence, except for the text of the independent auditor’s report. This means, in summary, that you may reproduce, transmit and otherwise use AFTRS’ text, so long as you do not do so for commercial purposes and do not change it. You must also attribute the text you use as extracted from the Australian Film, Television and Radio School’s Annual Report. For more details about this licence, see http://creativecommons.org/licenses/by-nc-nd/3.0/deed.en_GB. This licence is in addition to any fair dealing or other rights you may have under the Copyright Act 1968. You are not permitted to reproduce, transmit or otherwise use any still photographs included in this Annual Report, without first obtaining AFTRS’ written permission. The report is available at the AFTRS website http://www.aftrs.edu.au 1 LETTER FROM THE CHAIR The Hon Simon Crean MP Minister for the Arts Parliament House Canberra ACT 2600 Dear Minister It is with great pleasure that I present the Annual Report for the Australian Film, Television and Radio School (AFTRS) for the financial year ended 30 June 2012.