Early Features of Melbourne and Sydney Film Festival Programmes (1952–1965)

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A PPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY FILM FESTIVAL PROGRAMMES (1952–1965)

© The Author(s) 2016 205 K. Stevens, Australian Film Festivals, DOI 10.1057/978-1-137-58130-3 206 APPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY… # Films shared between # Films shared MFF and SFF programmes lms and programme elements Sydney Film Festival Select fi Programme breakdown

lms, c fi lms, lms, Berlin lms, Germania Anno Mike and Stefani (Darbon and Louisiana Story lms, documentaries lms, early Australian lms, animated fi (Flaherty, 1926); (Flaherty, lms grouped in thematic lms and programme elements (Rossellini, 1948) lm, French avant-garde fi lms from Canada (Ruttman, 1927); Zero Shorts programmes: scientifi religious fi experimental fi Discussion: Censorship, Film Criticism Select fi La Belle et la Bête Cocteau, 1946); 1948); (Flaherty, (Williams, 1951) Short fi and national programmes, including: Religious fi classroom fi fi fi Discussion forums: Film Society Problems, Censorship, Film and Making a Film Society, Moana Melbourne Film Festival lms lms Programme breakdown 8 features 79 short fi 9 features 88 short fi Year Year 1952 1953 APPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY… 207 ) continued ( lms lms 9 features 13 short fi 6 features 12 short fi c, The (Dreyer, (Dreyer, (de Sica, (Heyer, (Heyer, (Rossellini, (Yutkevitch, (Yutkevitch, (Tati, 1948); (Tati, (Longford, lm programme (Schoedsack & (Kinugasa, 1953);

lms Miracle in Milan Skanderbeg Jour de fête Back of Beyond Grass (Cocteau, 1950); Orphée Sentimental Bloke 1919); 1951); 1953) Specialty programmes: Children’s Films, Amateur fi Director: David Donaldson Germania Anno Zero 1948); The Passion of Joan Arc 1928); 1954); 1925) Cooper, Specialty programmes: Scientifi Amateur fi Director: David Donaldson Gate of Hell lms lms 9 features 25 short fi 13 features 31 short fi The The lm, Film The The (Heyer, (Heyer, (Dreyer, (Dreyer, (Keaton, 1926) (Longford, 1919); ths, 1916); (de Sica, 1951) (Kinugasa, 1953); (Tati, 1949); (Tati, (Griffi (Keaton, 1924); (Rossellini, 1948); Back of Beyond The General (Cocteau, 1950); Jour de fête Passion of Joan Arc 1928); 1954); Shorts programmes: Peoples and Places, Mental Health, Science and The Critic Man, Films and Labour, and the Film, The American Scene Discussion: Music in the fi and the child Gate of Hell Orphée Navigator Intolerance Sentimental Bloke Miracle in Milan Shorts programmes: Fact and The The Children’s World, Fancy, Around Us, The Seventh Art World Discussion: Film and the Child, The Role of Film in Public Health, Marketing with Vision Wanderer lms lms 13 features 78 short fi 16 features 70 short fi 1954 1955 208 APPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY… lms lms MFF and SFF programmes 10 features 18 short fi 6 features 15 short fi

(as Pather lm Farrebique Aparajito Riot in Cell (Longford, 1920) (Kinoshita, 1954); (Kurosawa, 1954); , Ray, 1957); , Ray, (Barreto, 1953); (Ray, 1955); (Ray,

(Siegel, 1954); four Eyes (Welles, 1955); (Welles, lms and programme elements (Sjöberg, 1944); (Sjöberg, The Adventures of Prince Achmet The Adventures 1926); (Reineger, Block 11 O Cangaceiro Seven Samurai Othello Specialty programmes: Films from Amateur Asia, Films of Discovery, programme, Director: David Donaldson (Rouquier, 1946); (Rouquier, Select fi Frenzy Panchali Un Conquered Twenty- On Our Selection International Amateur fi programme Programme by country organised of origin Director: David Donaldson lms lms 17 features 28 short fi breakdown 17 features 62 short fi

Un Animal A Girl in Black Pather The Adventures (Reineger, 1926) (Reineger, (Buñuel, 1929) (Kurosawa, 1954), (Yoshimura, 1956); (Yoshimura, (Barreto, 1953), (Ray, 1955); (Ray, (Yutkevitch); (Yutkevitch); (Welles, 1955); (Welles, lms and programme elements Programme (Sjöberg, 1944); (Sjöberg, (Halas and Batchelor, 1954); (Halas and Batchelor, Select fi Othello Farm Seven Samurai The Bandit Chien Andalou Shorts programmes: In Past Tense, Australiana, Chiaroscuro, Shapes and Shades, Power Discussion: Film and the Child, Personnel Management, Teaching with Films Frenzy Undercurrent Orthello Panchali (Cacoyannis, 1955); of Prince Achmet Shorts programmes: Connoisseur’s Russian Cinema in Corner, Ahead, Faith Retrospect, The Way United Nations, and Fantasy, Dance, Avant-Garde Discussion sessions sidelined, general panel only Director: Erwin Rado Melbourne Film Festival Sydney Film Festival between # Films shared lms lms breakdown 15 features 67 short fi 21 features 89 short fi (continued) Year Programme 1956 1957 APPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY… 209 ) continued ( lms lms lms 21 features 44 short fi 4 features 15 short fi 9 features 23 short fi

The rst time Throne of Blood Los Olvidados (Rogosin, 1959) (Robinson, 1958); (Camus, 1959); (Il, 1957); (Ray, 1958); (Ray, (Kurosawa, 1950); (A & S Mitra, 1956); (Masumura, 1958) rst overseas guest, lm programme Robert Connell Dust in the Sun Jagteraho Day Wedding Precipice Programme continued to be by countryorganised of origin Wishart Paul Director: Valwyn Rotha, fi sponsored by UNESCO grant The Golden Age of Comedy 1957); (Youngson, Black Orpheus of Apu World Rashomon Come Back Africa Programming by country of origin abandoned International Amateur fi Director: Lois Hunter FIAPF accredited for fi (Kurosawa, 1957); (Buñuel, 1951) Australian Film Festival organised under the auspices of AFI Programme by country of origin Directors: Sylvia Lawson and lms lms lms 14 features 31 short fi 22 features 48 short fi 25 features 67 short fi

The

General rst time

(Resnais, Don Quixote (Ray, 1957) (Ray, (Ming, 1959) Calle Mayor Wedding Day Wedding (Kurosawa, 1957); (Kurosawa, 1952); (Kubrick, 1957); (Buñuel, 1951); (Ray, 1958); (Ray, (Rossellini, 1959); Aparajito Living (Wajda, 1956); (Wajda, Hiroshima Mon Amour 1959); of Apu World Paths of Glory Kanal 1957); (Kozintev, (Il, 1957); Shorts programmes: French Fantasia, The Searching Mind, and Active Continents, Trance Dance Director: Erwin Rado FIAPF accredited for the fi AFI Australian Film Awards announced at festival Throne of Blood Los Olvidados Part II Ivan the Terrible, (Eisenstein, 1945) (Bardem, 1956) Thematic shorts programming abandoned. Director: Erwin Rado FIAPF accredited. Fella Rovere Magic Lotus Lantern Director: Erwin Rado lms lms lms 27 features 85 short fi 27 features 106 short fi 25 features 64 short fi 1960 1958 1959 210 APPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY… lms lms 8 features 47 short fi MFF and SFF programmes 19 features 41 short fi

The The Red Regle du Jeu Los Golfos (Torre Nilsson, (Torre (Huston, 1951); The Sentimental lm programme lm programme (Buñuel, 1959); (Ray, 1961); (Ray, (Hersko, 1957) Dad and Dave Come to lms and programme elements (Hall, 1938); (Longford, 1919); Bloke Badge of Courage Paprika Amateur fi Director: Ian Klava FIAPF accredited Nazarin Daughters: The Postmaster and Two Samapti 1939); (Renoir, Select fi House of the Angel 1957); Town (Saura, 1960) Amateur fi Director: Patricia Moore FIAPF accredited lms lms 29 features 85 short fi 20 features 102 short fi breakdown

The

lm. lms from (Buñuel, lm Viridiana (Hurley, (Hurley, La Notte La Regle du (Torre Nilsson, (Torre Shadows rst in-house (Buñuel, 1959); (Ray, 1961); (Ray, The Young Ones The Young Jungle Woman lms and programme elements Programme (Renoir, 1939) (Renoir, Nazarin Select fi House of the Angel 1957); 1960); 1926) Festival also 10th Anniversary. featured an Australian fi retrospective covering fi the past decade. Director: Erwin Rado (Antonioni, 1960); Jeu Festival ran its fi competition: Melbourne Film Festival Awards. Categories included best feature; contribution to the art of cinema; and most universally understood fi Director: Erwin Rado FIAPF accredited: audiences, screenings capped Two Daughters: The Postmaster and Two Samapti (Buñuel, 1961); (Cassavetes, 1959); Melbourne Film Festival Sydney Film Festival between # Films shared lms lms 37 features 123 short fi breakdown 31 features 144 short fi (continued) 1961 Year Programme 1962 APPENDIX 1: EARLY FEATURES OF MELBOURNE AND SYDNEY… 211 lms lms lms 21 features 48 short fi 17 features 41 short fi 21 features 31 short fi

Clay David Tirez sur le Tirez Innocent (Wajda, (Wajda, Le few follet lm Angyalok Foldje The Householder The Endless Night (Godard, 1964); lm programme lm programme Forum: (Perry, 1962); (Perry, (Wadja, 1960); (Wadja, (Truffaut, 1960) (Kurosawa, 1961); The Exterminating Angel and Lisa Sorcerers Pianiste Amateur fi Director: Ian Klava FIAPF accreditation withdrawn (Revesz, 1962); 1963) (Ivory, Forum: Australian fi production—what of its future Director: Ian Klava FIAPF accredited Yojimbo Siberian Lady Macbeth 1962); (Buñuel, 1962); Bande à part (Mangiamele, 1964); (Malle, 1963); 1963) (Tremper, Amateur fi Film Criticism in Australia Director: Ian Klava FIAPF accredited lms lms lms 25 features 82 short fi 26 features 70 short fi 25 features 62 short fi The An Le few (Wajda, (Wajda, (Bergman, (Bergman, (Buñuel, The Woman in The Woman (Ozu, 1962); (Wajda, 1960) (Wajda, (Perry, 1962); (Perry, (Pasolini, 1962); (Demy, 1961); (Demy, (Godard, 1964); (Ray, 1963); (Ray, (Rocha, 1962); (Fellini, 1962); (Teshigawara, 1964); (Teshigawara, (Kurosawa, 1961); 8½ So Close to Life lms only lms only lms only (Malle, 1963); (Mangiamele, 1964) Siberian Lady Macbeth 1962); Autumn Afternoon Barravento Bande à part Mahanagar Yojimbo Mamma Roma David and Lisa Innocent Sorcerers Melbourne Film Festival Awards: Short fi Director: Erwin Rado FIAPF accreditation withdrawn Exterminating Angel 1962); 1958) Melbourne Film Festival Awards: Short fi Director: Erwin Rado FIAPF accredited follet the Dunes Lola and Pavla Clay Melbourne Film Festival Awards: Short fi Director: Erwin Rado FIAPF accredited lms lms lms 37 features 113 short fi 38 features 104 short fi 29 features 109 short fi 1964 1965 1963 APPENDIX 2: SUMMARY OF SELECT FILM CULTURE AND FESTIVAL ACTIVITIES, 1960S–1970S

Film culture activity/organisation Start Ended/suspended year

Film Societies Sydney University Film Society c.1928 Melbourne University Film Society 1948 Became Melbourne Cinémathèque 1984 Federations established in NSW and Victoria 1949 Australian Council of Film Societies established 1950 FVFS severs ties with MFF c.1982 Melbourne Film Festival 1952 – Erwin Rado as Festival Director 1957 1979 (continuous) and 1983 Filmfest Pty Ltd takes over management of festival 1985 – after bankruptcy Sydney Film Festival 1954 – Ian Klava, fi rst full-time director 1962 1965 David Stratton as Festival Director 1966 1983 Canberra Film Festival 1957 c.1960 Australian Film Institute 1958 – Severs ties with MFF 1972 Operation of Vincent Library (later AFI 1970 2000 Distribution) (continued)

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Film culture activity/organisation Start Ended/suspended year

AFI Exhibition 1975 1983 AFI run venues in Hobart, Melbourne and 1976 Sydney Touring Programmes/National Cinémathèque c.2000 Adelaide Film Festival 1959 1980 (excl. 1976) Eric Williams as Festival Director 1959 c.1975 Perth International Film Festival 1959 c.1980 (as part of the Festival of Perth) Hobart Film Festival 1966 1966 New South Wales International Film Festival 1966 1966 Brisbane International Film Festival 1966 1969 National Film Theatre Australia 1967 1979 Programme screenings begins 1968 (merged with AFI) Alice Springs Film Festival 1968 1972 Hobart International Film Festival 1970 c.1988 Sydney Filmmakers’ Co-operative 1970 1985 Regular exhibition activities 1973 1981 Film distribution 1970 1985 Publication of Filmnews monthly fi lm newspaper 1976 1995 (supported by AFC after Co-op folded) Melbourne Filmmakers’ Co-operative 1970–71 1977 Regular exhibition schedule 1975 1977 Film distribution c.1971 1977 Canberra Film Festival 1974 c.1981 APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE, 1949–2000a

b 1954 merged with MFF 1955 1956 1965 [1989] Ended 1949 1952 1955 1956 1965 1967 First year Union Theatre at University of Melbourne, Parkville University of Melbourne Palais Theatre, St Kilda Astor Theatre, St Kilda Forum, Capitol, ACMI, and other Cinemas, Melbourne Savoy Cinemas, Melbourne Royal Melbourne Technical College (RMIT), Melbourne Dendy Cinema, Brighton Carlton Cinema, Rivoli Cinema, Camberwell Brighton Bay Cinema, Other Melbourne suburban cinemas Also Sydney and Canberra Main venue/location lms lms lms lms lms Features, shorts and documentary fi Features, shorts, documentaries and instructional fi Italian fi French cinema Children’s fi Soviet cinema Types of fi Types programmed lms lm lms supplied by Melbourne University Film Society Federation of Victorian Film Societies Later Filmfest Ltd Hosted at the Savoy Cinemas with support of Italian Consul State Film Centre Victoria (with State Film Centre of NSW), fi supplied by Cinématèque Française Victorian Council of Children’s Films and Television Eddie Allison at Quality Films, fi Sovexportfi Screened mostly annually with some exceptions Organising body/key Organising sponsor(s) lm festival Melbourne (International) Film Festival Italian Film Festival MUFS fi of French Sixty Years Cinema: French Film Festival Children’s Holiday Film Festival Soviet Film Week (aka Soviet Film Festival) Event title APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… 217 ) 1975 1978 [1996] continued ( 1975 1978 1983 Palais Theatre, St Kilda Storey Hall, RMIT nationally Toured National Theatre, St Kilda nationally Toured Glasshouse Cinema at Melbourne RMIT, State Film Theatre, East Melbourne Additional venues in Brunswick, Clifton Hill, Richmond Footscray, lms lms lmmakers, Films by women fi 1915–1974 Japanese cinema Australian independent fi (main), also some international fi lm industry lm event. Film Committee of female fi professionals (primarily based in Sydney) convened for the purpose of presenting the event Staged in recognition of International Women’s (1975) Year Eddie Allison at Quality Films and the Australian Japanese Centre Fringe Network Film and Video Group Screens as part of the Melbourne Fringe Arts Festival Event operates as FFVF until at least 1996 before becoming a short fi disappears completely from the Fringe Festival by 2004 International Women’s International Women’s Film Festival Japanese Film Festival Fringe Film and Video Festival (aka Spoleto Fringe Film and Video Festival 1986–1989) 218 APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… b [1996] 1986 1999 1984 1984 1986 1986 Main venue/location First year Ended Brighton Bay Cinema, Brighton Also Sydney and Canberra National Theatre, St Kilda Later Astor Theatre, St Kilda. Hall St Kilda Town YWCA and Education Resource Centre, Melbourne Melbourne RMIT, State Film Theatre, East Melbourne lms, lms lms lms (special Types of fi Types programmed French cinema Australian short and non-feature fi music videos also International fi programmes) Anarchist fi Films on Super-8 and 8mm lms sponsor(s) Organised by DCF Film Organised Distribution First edition screened French cinema from 1982–1984; subsequent editions screened fi from their respective years City of St Kilda (now City of Port Phillip) Hilary May and Patrick Watson as part Organised of the Australian Anarchist Centenary Celebrations Bill Mousoulis with the Melbourne Super-8 Film Group Screened on an irregular annual basis between 1994 and 1999 (continued) Event title body/key Organising Film Nouveau: Festival of Contemporary French Cinema St Kilda Film Festival The International Anarchist Film Festival Film Melbourne Super-8 Festival APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… 219 ) 1986 [1987] 1986 1987 1987 continued ( 1986 1986 1986 1987 1987 1988 Carlton Movie House State Film Theatre, East Melbourne YWCA, Melbourne Melbourne College of Advanced Education National Theatre, St Kilda State Film Centre Theatre, East Melbourne State Film Theatre and Grierson Theatrette, East Melbourne National Gallery Victoria, Southbank Additional venues in Spotswood, St Kilda, Fitzroy lms lms Films of Lother Lambart Gay and Lesbian cinema Anarchist cinema Soviet Science Fiction fi Italian cinema Biennial Avant-garde and experimental fi lm AFI and Carlton Movie House Same as programme presented by AFI in Sydney AFI and State Film Centre, Victoria Same format at Sydney Gay Film Week Hilary May and Patrick Watson, Part of the Australian Anarchist Centenary celebrations National Theatre State Film Centre, Victoria Modern Image Makers’ Association. Supported by AFC, Film Victoria and City of Melbourne (c.1990) Still operational but moved away from ‘fi festival’ format to a broader media arts festival format. Berlin–Sweet Decadence Gay Film Festival International Anarchist Film Festival Soviet Sci-Fi Festival Italian Festival of Films Experimental 220 APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… b 1988 [2001] 1991 [1996] Biennial 1988 1989 1990 1990 1990 Main venue/location First year Ended State Film Theatre, East Melbourne Festival toured nationally National Theatre, St Kilda Cinema, Toorak Trak State Film Theatre, East Melbourne Also Sydney State Film Theatre, Melbourne City Cinema, Toorak, Trak Brighton Bay Cinema. Later Palace Cinemas chain nationally Toured lms lmmaking lmmakers Types of fi Types programmed Animated Films 8mm and 16mm 48-hour shoot-to- screen fi festival Jewish cinema Australian women fi French cinema sponsor(s) AFI and the British Council in association with The Mari Kuttna Bequest and the Power Institute of Fine Arts, Sydney University White Gloves Association Incorporated Founded by Brice Fenwick Australian Film Institute in Film and Women Melbourne, Television, with support from the Education Unit, State Film Centre Alliance Française UniFrance Film International (continued) Event title body/key Organising Quick Draws Australian/ International White Gloves Film Festival Australian Jewish Film Festival in Motion Film Women Festival Alliance Française French Film Festival APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… 221 ) 1993 1993 [2000] [2003] 1993 1993 1994 continued ( 1993 (February) 1993 (December) 1991 1991 1991 1991 1993 1993 1994 Cinema Nova, Carlton Cinema Nova, Carlton Union Cinema, University of Melbourne, Parkville State Film Theatre, East Melbourne State Film Theatre, East Melbourne nationally Toured Classic Cinema, Elsternwick Cinema, Toorak Trak Also Sydney National Theatre, St Kilda State Film Theatre, East Melbourne Later ACMI, Melbourne State Film Theatre, East Melbourne University of Melbourne, Parkville Lumière Cinemas, Melbourne lms lm and lms lms Italian cinema Italian cinema Korean fi Short fi Australian fi nominated for AFI awards Jewish cinema Lesbian, gay, bisexual and transgender cinema fi Women’s television Hong Kong cinema Hosted by Nova Cinemas Hosted by Nova Cinemas Australian Film Institute Melbourne University Filmmakers Association Australian Film Institute incorporated into a Was new event, Melbourne on Screen, in 2004 Jewish Film Foundation. Foundation Founded by Les Rabinowicz Midsumma Festival (initial) The ALSO Foundation Film Victoria (to c.1995) City of Melbourne (from c.1996) in Film and Women Collective Television University of Melbourne Frank Bren Organiser Italian Film Festival: A Mini-Festival Our Brilliant Korea: New Korean, New Cinema Watch My Shorts Watch AFI Australian Film Festival Festival of Jewish Cinema Melbourne Queer Film Festival Out of the Frying Pan Hong Kong Film Festival Italian Film Festival Cinema Italia 222 APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… b 1995 2007 1997 1994 1995 1996 East Melbourne c Later ACMI, Melbourne Main venue/location First year Ended State Film Theatre, East Melbourne Later Palace Cinemas, multiple locations Lumière Cinema, Melbourne Cinemas, St Kilda George Additional venues in Collingwood, Coburg, Brunswick Outdoor event, corner Johnston St and Brunswick St, Fitzroy Later ACMI, Melbourne Cinemedia at Treasury (formerly State Film Theatre), lms lms Types of fi Types programmed Greek cinema Biennial Latin American cinema Short fi Japanese cinema sponsor(s) Antipodes Festival Greek Orthodox Community of Melbourne and Victoria by Jon Hewitt Organised Provincial Hotel by proprietorOrganised Max Fink. Sponsored by Melbourne International Comedy Festival From c.2001 renamed the Comedy Channel Short Film Festival Japan Foundation (continued) Event title body/key Organising Greek Film Festival Latina ‘95: Latin American Film Festival Café Provincial Comedy Film Festival Japanese Film Festival APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… 223 ) 2010 Bienniel 1999 [2002] 1999 2006 [2004] continued ( 1998 1998 1998 1998 1999 1999 1999 Rivoli Cinema, Camberwell Astor Theatre, St Kilda East Cinemedia at Treasury, Melbourne State Film Theatre, East Melbourne Cinema Nova, Carlton Kino Cinemas, Melbourne Cinema, Toorak Trak Cinema Nova, Carlton Later Palace Cinema Como, South Yarra Erwin Rado Theatre, Fitzroy State Film Theatre, East Melbourne Later ACMI, Melbourne Sun Theatre, Yarraville Sun Theatre, Yarraville Paramount Club, West Brunswick Cinema Nova, Carlton lms, lms lms Short Jewish fi under 10min Dance fi Hong Kong cinema Spanish cinema Hispanic cinema Documentary Blues, Jazz and Rock music fi ce Jewish Museum of Australia 1998 programme curated by Erin Brannigan 1999 programme curated Mitchell by Tracie Australian Film Institute and Hong Kong Economic Offiand Trade Spanish Embassy Filmoteca de Melbourne and Fiesta ‘99 Cultural Film Foundation of Australia Supported by Film Victoria (as Cinemedia), AFI, Melbourne Documentary Group and Museum Victoria Films provided by local collectors Celluloid Soup Dance Lumière Hong Kong Film Festival Spanish Film Festival Hispanic Film Festival Real Life on Film Blues Film Festival 224 APPENDIX 3: SELECTIVE LIST OF FILM EVENTS IN MELBOURNE… b 2000 2000 a, which combined and 2000 2000 2000 2000 arily used this venue after 1999 lm events that have operated in Melbourne rst year of new events, these celebrations often cult to pinpoint due a lack of archival material Main venue/location First year Ended Longford Cinemas, South Yarra Palace Cinemas, multiple locations Palace Cinema Como, South Yarra Palace Cinema Como, South Yarra Additional Palace Cinema venues nationally Toured Cinema, St Kilda George Melbourne Loop Bar, Additional venues in Carlton Brunswick, Fitzroy, lm festivals and festival-like fi lms Types of fi Types programmed Israeli cinema Chinese cinema Italian cinema Australian and international independent cinema

cult to establish. While evidence abounds for the fi sponsor(s) Longford Cinemas State Zionist Council of Victoria Sponsored by Israeli AFI Embassy, by Jonathon Organised Xing, editor of Australian Chinese Age Coffee LaVazza Palace Cinemas Richard Wolstencroft Established as an anti-MIFF event Exact end dates for many of these events have been diffi This list is not exhaustive by intended to provide an initial account of the types fi The State Film Theatre was renamed Cinemedia at Treasury recognition of the newly formed Cinemedi organisation in early 1999 in since 1949 replaced the State Film Centre of Victoria and Film Victoria. Cinemedia at Treasury is listed as the venue for events that prim (continued) dwindle into obscurity before ceasing operation. Exact end dates for some events have therefore been diffi or media coverage. As such, some entries have been included estimated end dates Event title body/key Organising Israeli Film Festival Chinese Film Festival Italian Film LaVazza Festival Melbourne Underground Film Festival a b c APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015

Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

Flickerfest Director Bronwyn Short Films February 18 January Kidd (screening 8–19 only) Short Soup Sydney Olympic Park Short Films January 16 International Authority in Short Film partnership with Festival Cinewest Sydney Naming Partner: Surfi ng fi lms January Surf Film O’Neil Founder Nick 20– Festival Stevenson February 1 Blak Nite City of Melbourne Indigenous fi lm February Screen and TV 6–7 Transitions Founder Timothy Films about the February Film Festival Parish human condition 13–March 6 Mardi Director Paul LGBTQI fi lms February Gras Film Struthers 19–March Festival 5 Four Seasons Kariong Eco Garden Environmental February for Art fi lms 21 and Film Festival People for Directors Jennifer Films about peace February Peace Film King and Cristina 21–22 Festival Harris (continued)

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Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

Reelise Film Director Karen Youth ‘pocket’ February Festival Hamilton (portable device) 22 fi lms Projects The Projects Enmore Short fi lms February Short Film Director Monica 24 Festival Zanetti Creative Competition director Student shorts; March 1 Creatures Film Katy Young three-minute fi lm Festival made on a personal device Alliance Alliance Française Contemporary March 4–22 March Francaise Australia French cinema 3–22 French Film Artistic director Festival Emmanuelle Denavit-Feller Ocean Film Organiser Jemima Films about oceans March March Festival Robinson 11–12 17–18 Young At The Festivalists Seniors fi lms March March Heart Director Mathieu 14–22 14–22 Seniors Film Ravier Festival Shire Cinewest and Short fi lms March 18 International Sutherland Shore Short Film Council Curator Festival Vahid Vahed Melbourne Director Lisa Daniel LGBTQI fi lms March Queer Film 19–30 Festival Good Dog! Director Anny Slater Films about dogs March 21 International Film Festival Multicultural North Sydney International March 21 Film Festival Council with Crows cinema Nest Centre Chippo Film Director Patrick Local urban March 28 Festival Ewing cinema Indonesian Co-presented by Indonesian April 9–18 Film Festival ACMI Cinema Co-founders Ronald Wicaksana and Zendi Tjandra (continued) APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015 227

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Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

Setting Sun The Sun Theatre, Short Films April 16–19 Short Film Yarraville Festival Director Anna Bourozikas Turkish Film Director Nalan Turkish cinema April 23–26 April 16 to Festival Cebeci 18 Australia Classic Film Melbourne City Classic Hollywood April 17–19 Festival University of the and Art-House Third Age, Director cinema John Waldie Spanish Film Palace Cinemas Spanish cinema April April Festival Artistic director 22–May 10 21–May 10 Genevieve Kelly Human Rights Programme director Films on or about May 7–21 May 26–30 Arts and Film Malcolm Blaylock human rights Festival issues Festival of Goethe- Institut German Cinema May 14–31 May 13–28 German Films Naming Partner: Audi Director Dr Arpad Solter St Kilda Film City of Port Phillip Short fi lms May 21–30 Festival Council Director Paul Harris Little Big Shots Director Ben Laden Short fi lms for May September International children 30–June 8 9–13 Film Festival for Kids Sydney Film Director Nashen International and June 3–14 Festival Moodley Australian fi lms Polish Film Puma Media Director Polish Cinema June 12–21 June 20–28 Festival Ted Matkowski Sydney Latin SLAFF (not-for- Latin American June 25–28 American Film profi t collective) cinema Festival Melbourne Director Malcolm Animated fi lms June 21–28 International Turner Animation Festival (continued) 228 APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015

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Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

Film by the Sea Miranda Public Primary and July 8–26 Festival School pre-school student fi lms Scandinavian Palace Scandinavian July 9–26 July 8–26 Film Festival CinemasDirector cinema Benjamin Zeccola Melbourne Director Steinar Web fi lms and July 10–12 WebFest Ellingsen series Reel Sydney Cinewest and World Cinema July 24–25 Festival of Sutherland Shire World Cinema Council Curator Vahid Vahed Melbourne Filmfest Ltd Artistic International and July International director Michelle Australian fi lms 25–August Film Festival Carey 11 Great Britain Presented by David Classic British August August Retro Film Stratton fi lms 6–19 6–19 Festival Korean Film Korean Cultural Korean cinema September August Festival in Offi ce Australia 2–10 12–20 Australia Director Dong Seok (David) Park Arab Film Festival Directors International and August August Festival Fadia Abboud and Australian Arab 21–23 13–16 Mouna Zaylah Cinema Indian Film Mind Blowing Films Indian Cinema August October Festival Director Mitu 14–27 1–4 Bhowmick Lange Australian Australia Israel Contemporary and August August Israeli Film Cultural Exchange historic Israeli 18–30 17–30 Festival with Palace Cinemas cinema Artistic director Richard Moore Lebanese Film Organised by Lebanese Cinema August Festival Lebanese Film 21– Festival Association September Inc. Director Camille 5 Lattouf Footprints Leichhardt Council’s Eco-themed short August 23 Film Festival fi lms (continued) APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015 229

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Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

SmartFone Co-Founders Angela Dedicated August 28 FlickFest Blake and Ali Crew smartphone fi lm festival Environmental Director Chris Environmental September Film Festival Gerbing fi lms 3–10 Persian Film Director Amin Iranian cinema and September Festival Palangi Persian language 3–6 fi lms Alliance Alliance Française de French cinema, September Francaise Sydney with Studio retrospective 4–6 Classic Film Canal Festival Focus on NOVA Employment Short fi lms on or September Ability Creative director about disabilities 8 Short Film Ryan Goodwin Festival, Melbourne Director Richard Underground, September Underground Wolstencroft independent and 11–19 Film Festival alternative cinema Indie Cinema Network Independent September Gems Film Australia Curator cinema 11–13 Festival John L. Simpson Joy Director and founder Short fi lms of joy September House Film Joy Hopwood and diversity 13 Festival Auburn Cinewest Director Youth cinema September International Vahid Vahed 14–18 Film Festival for Children and Young Adults Italian Film Palace Cinemas Italian Cinema September September Festival Naming Partner: 16–October 15– LaVazza Director 11 October 11 Elysia Zeccola, Palace Czech And Artistic director Czech and Slovak September September Slovak Film Cerise Howard Cinema 17–25 21–25 Festival Sydney Director Stefan Experimental and September Underground Popescu independent 17–20 Film Festival cinema (continued) 230 APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015

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Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

fl EXiff: First Cinewest Curator Experimental September and The Last Vahid Vahed features and shorts 19–21 Experimental International Film Festival KIDS in the Presented by Films from past September park fi lm Cinewest at the Auburn 21 festival Armory Theatre International Film Festivals 24/7 Youth Presented by Short fi lm September Film Festival Mosman, Manly, competition ages 22–27 Pittwater and 12–24 Warringah Councils Queer Queer Screen LGBTI fi lms September Screen Film Director Paul 22–27 Festival Struthers Cause Film Founder and director Short fi lms September Festival Yolandi Franken supporting a 24 charity or cause Women Media Cinewest Curated by Films produced, September Arts and Film Maryam Kassaie and written and 26–27 Festival Vahid Vahed directed by women Sydney RSPCA NSW Internet Cat October 4 Cat Film videos Festival Willoughby Willoughby City Student short fi lms October 9 Shorts Film Council Festival Antenna Artistic Director Non-fi ction fi lms October Documentary David Rokach and 13–18 Film Festival co-director Rich Welch Australian Fashion fi lms October 13 October 20 Fashion Film Festival Greek Film Greek Community of Greek Cinema October October Festival Melbourne Presented 14– 14– by DelphiBank November November Director Penny 1 1 Kyprianou (continued) APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015 231

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Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

Iranian Film Co-directors Anne Iranian Cinema October October Festival Demy- Geroe and 29– 15–18 Australia Armin Miladi November 2 Football Film Festival Director, Soccer fi lms November October Festival Kieran Tully 6–7 22–25 Girls on Film Produced by Feminist fi lms October Festival Cherchez La Femme 23–25 and Gusto Films Director Karen Pickering Russian Artistic director Greg Russian cinema November October Resurrection Dolgopolov 5–15 23– Film Festival November 4 British Film Palace Cinemas British Cinema October October Festival Naming Partner: 28– 27– BBC First November November 18 18 Jewish JIFF Distribution Israeli and November October International Director Eddie Tamir Jewish-themed 4–29 28– Film Festival fi lms November 18 Serbian Film Serbian fi lm festival Serbian fi lms November October Festival Inc Curator Nenad 8–19 29–8 Dukic November Sydney Science Presented by Screen Science fi ction and October Fiction Film My Shorts Inc. fantasy fi lms 30– Festival Director Tom Papas November 1 Singapore Film Temasek Club Singaporean October 31 Festival (NSW) cinema Australia Latin American Latin American Latin American October November Film Festival in Embassies in cinema 17– 1 Australia Australia, 2015 November –December co-ordinator: 7 13 Embassy of Uruguay Pacifi ca Film Director Kalo Fainu Pacifi c region fi lms November Festival 4–8 (continued) 232 APPENDIX 4: FILM FESTIVALS IN MELBOURNE AND SYDNEY, 2015

(continued)

Event name Organisers/director Types of fi lms Melbourne Sydney programmed dates dates

Viva Mexico Director Sarah Contemporary November Film Festival Connor Mexican Cinema 11–15 Japanese Film The Japan Japanese Cinema November November Festival Foundation Director 26– 5–15 Masafumi Konomi December 6 Palestinian Presented by Cultural Palestinian Cinema November November Film Festival Media Director Naser 20–22 19–22 Shakhtour Baltic Film Director Klara Baltic region November Festival Bruveris cinema 14–15 International President Lanwei Chinese Cinema November November Chinese Film Gong 21–28 21–28 Festival A Night of Director Dr Dean Horror, fantasy, November Horror Film Bertram sci-fi 26– Festival December 6 Hollywood Margaret Pomeranz Classic Hollywood November November Retro Film fi lms 26– 26– Festival December 3 December 13 Made In Director Ivan Melbourne-made November Melbourne Malekin fi lms 26–29 Film Festival Monster Fest Director Kier-La Horror, fantasy, November Janisse science-fi ction, 26–29 action, animation and erotica Perv Queerotic Queerotica November Film Festival 26–29 Wordless Cinewest Films without November International dialogue or text 28–29 Short Film Festival 2015 Sydney Cinewest Curator Transgender fi lms December Transgender Vahid Vahed 2–9 International Film Festival Indievillage IndieVillage Director Documentary fi lms December Documentary Michael McIntyre 4–6 Film Festival NOTES

1. The MFF changed its name to Melbourne International Film Festival (MIFF) in 1989. It also temporarily used alternative names in 1952—when it was called the Olinda Film Festival—and 1984— when it became Melbourne International Film Festival for a single year. This book will use both the abbreviations MFF and MIFF to refer to the single historical entity of the Melbourne-based fi lm festival. An effort has been made to apply these abbreviations in a historically accurate manner with minimal overlap in their application; however, as exemplifi ed in Chap. 5 , case studies within this book will directly address the period during which the festival’s name change occurred. Throughout such case studies, both abbre- viated forms will be used. 2. The AFI ran Australian fi lm festivals through the 1990s, which showcased fi lms up for the annual AFI Awards, while more recently two events operated briefl y in Sydney over the past decade— Australian Film Festival (2009–2012) and Australian International Film Festival (2006). Internationally, events have included the London Australian Film Festival (1994–c.2012, as Film Fest Australia in its fi nal year) as well as the Australian Film Festival of India (2011–). 3. See Robert Allen and Douglas Gomery, Film History: Theory and Practice, New York: Knopf (1985 ) for a comprehensive overview

of the New Film Historicism. See also work by Gunning, Hansen and Staiger on early American cinema in Thomas Elsaesser & Adam Barker (eds), Early Cinema: Space, Frame, Narrative , London: British Film Institute (1990 ). 4. Mostra Internazionale d’Art Cinematografi ca di Venezia . 5. Both the Sydney University Film Group and Melbourne University Film Society held in-house festivals on their respective university campuses from 1949 to 1953. A typical example of the trade events was MGM’s 30th anniversary World-wide Film Festival held in February 1954 at Metro theatre locations around Australia. These trade events, however, were not festivals as we have come to under- stand the term and were more accurately weeklong previews of distributor holdings staged to generate interest among local exhibitors to rent the fi lms for longer seasons. 6. Full details of fi lms screened at Olinda, as well as in subsequent MFFs, can be viewed on MFF’s 60th anniversary archive, available at http://miff.com.au/festival-archive/ . A summary of key features and shorts programmes is also contained in Appendix 1. 7. Twice awards were presented in association with the early MFF: the Jubilee Awards presented at Olinda in 1952; the Australian Film Awards, run by the AFI, staged in 1958. However, these awards were externally run and separate to the Festival’s programme. 8. Each of these fi lms also appeared within MFF’s programme, either in 1954 or earlier as part of the 1953 event. From late 1954 MFF and SFF agreed to offi cially co-operate and share fi lms to alleviate costs for both festivals. See Appendix 1 for a list of key crossover titles in the early festivals. Full details of fi lms screened in SFF programmes are available via the SFF 60th anniversary living archive ‘Sydney Film Festival 1954 to Now’ located at http://online.sffarchive.org.au/# 9. In contrast to the Film Weekly report released at the time, the oral history of SFF compiled for its 40th anniversary listed the 1954 event as a sell-out, with all 1200 tickets available sold (SFF and Gillan 1993 : 4). As the whereabouts of the minutes and festival documents pertaining to the 1954 event are unknown, there is no way to determine exactly which account is true. However, given the span of time that had passed prior to the oral history being produced, it is reasonable to assume that the Film Weekly report was closer to the truth. NOTES 235

10. See O’Hanlon and Luckins’ edited collection Go! Melbourne: Melbourne in the Sixties ( 2005 ) for greater discussion of the changes that took effect in that city over the decade. See also Robinson and Ustinoff’s anthology Australia in the 1960s: People, Power and Politics (2012 ). 11. See, for example, Stratton (1980 ), Dermody and Jacka (1987 , 1988 ), Bertrand (1989 ), and Shirley and Adams (1989 ), among others who have written on the Australian fi lm revival of the 1970s. 12. The issue would be raised in several letters exchanged between Erwin Rado at MFF and Alphonse Brisson at FIAPF in particular throughout the 1960s. Copies of these letters along with numerous copies of FIAPF regulations sent as fi rm ‘reminders’ of MFF’s obligations to FIAPF are contained in the Papers of Melbourne Film Festival Records (MFF: Correspondence—FIAPF 1959– 1972). In 1979, following renewed efforts by Brisson to stop MFF and SFF sharing their programmes, FIAPF fi nally succeeded in separating the two events. MFF and SFF agreed to share no more than 30 % of their programmes and, after Rado retired following the 1979 MFF, the relationship between the two festivals largely fell away (Webber 2005 : 183). 13. The ‘£10 Pom’ scheme was the colloquial name given to an assisted migration scheme introduced in Australia following the Second World War that was intended to boost Australia’s population against fears of a Japanese invasion. Aimed primarily at white British citizens under the age of 45, although open to people from all British Commonwealth countries, the scheme enabled adults to obtain passage to Australia for the cost £10 each with children travelling free. On the scheme migrants were required to stay in Australia for a minimum of two years (Immigration Museum 2009 ). 14. As both Harant ( 2001 : 95) and Bennett ( 1980b: 10) have observed, Rado wielded considerable power and infl uence over MFF and was ultimately the leading voice in the articulation of the festival’s programmes over the duration of his tenure as director. 15. A more tangible benefi t came from the university providing its venues gratis to the festival through its early years (Hope and Dickerson 2006a ), in large thanks to the involvement of Professor Alan Stout on the festival committee and the honorary SFF Vice Presidency granted to the University’s Vice Chancellor. 236 NOTES

16. The use of the Sydney Opera House had been the longstanding goal for SFF committees, however, changes to the design of the Opera House meant that from the late 1960s it was clear SFF could no longer expect to utilise this site as a venue (Stratton 2008 : 101, 142). 17. Although each State Government also controls what can be printed or screened in their respective jurisdictions, the Australian censorship codes, especially through the 1960s and 1970s, operate with an implicit reliance on each state delegating some or all of their censorship powers to the Australian Commonwealth, which man- dates through the customs offi ce what can enter the country and in what form (Marr 2013 ). 18. In Australian colloquial parlance a wowser is someone who attempts to force their own rigid morality on everyone. 19. Rado, like Klava, had seen the strict censorship in Australia as an inevitable truth rather than a battlefront. Thanks to the programme- sharing arrangement between MFF and SFF, any move by SFF to protest the censors also had implications for MFF requiring Stratton to obtain Rado’s support on the issue. Despite initial reservations about taking on the customs offi ce and fearing backlash from Chief Censor Richard Prowse, Rado was ultimately persuaded to join in SFF’s fi ght (Stratton 2008 : 106). 20. SFF did screen at least two censored fi lms in its 1969 programme: cuts had been made unbeknownst to SFF to the print of If… (1968) that screened as the opening-night fi lm; and Puss och Kram (1967) was also cut but was screened in the festival with a large ‘censored’ title card inserted in place of the deleted sequences (Stratton 2008 : 162–163). 21. Ultimate resolution on this front would not appear until 1983 when an incoming Labour Federal Government ratifi ed a formal policy of exemption for SFF. More comprehensive accounts of the various battles fought by SFF and others against fi lm censorship through the 1960s, 1970s and beyond can be found in Kaufman (1996 ), Webber (2005 ), Stratton (2008 ), Hope and Dickerson (2012 ), and Marr (2013 ). 22. After an early commitment to Australian-made fi lms in its early years through the amateur programmes of 1954–1964, from 1965 onwards the place of Australian fi lms had diminished with low production and questionable quality posing problems for the event’s NOTES 237

programmes and headaches for programmers, especially Stratton, who were often faced with fi lmmakers irate over both the inclusion and exclusion of Australian short fi lms (Stratton 2008 : 190). 23. See discussion in Chap. 2 . 24. Over the course of Rado’s time as director, Godard’s work appeared only twice in MFF programmes: Bande Ã Part (1964) at MFF 1965 and Wind from the East (1970) at MFF 1971. In contrast, SFF programmed fi ve Godard fi lms over this same period despite sharing fi lms in its programme with MFF at this time: Bande Ã Part (SFF 1965), Alphaville (1965, SFF 1967), Pierrot le Fou (1965, SFF 1968), Wind From The East (SFF 1971), Numéro Deux (1975, SFF 1977). It is also noteworthy that while Wind From The East appeared in both MFF and SFF in 1971, it was Stratton, not Rado, who travelled overseas in 1970 to select fi lms for these events. 25. Refer Chap. 2 of this book for discussion. 26. The international fi lm festival continued to operate as a feature of the Festival of Perth in one form or another, albeit with differing levels of visibility and attendance, through to the 1980s. 27. See also Appendix 2 for timeline of events and fi lm exhibition activities. 28. See Peter Maudie’s Ubu Films: Sydney Underground Movies, 1965– 1970 (1997 ) for a discussion and history of this group. 29. The Hoyts, Village, Greater Union triumvirate own and operate the majority of cinema screens in Australia. They further operate distribution arms and maintain close relationships with the major Hollywood studios, effectively controlling the distribution and exhibition of mainstream Hollywood cinema in Australia. These powerful commercial chains have dictated much of Australia’s experience with fi lm exhibition since the 1920s (initially Greater Union and Hoyts, with Village emerging in the 1960s). For a full discussion of the impact of these corporations, see Susan Dermody and Elizabeth Jacka, The Screening of Australia Vol. 1 ( 1987 : 108– 134) and Diane Collins, Hollywood Down Under (1987 ). 30. Others working in the fi eld of fi lm festival studies share De Valck’s recognition of the 1980s as a pivotal moment: see, for example, Stringer (2001 ), Iordanova and Rhyne (2009 ), Segal (2010 ), and Wong (2011 ) for further discussion of the global developments initiated within this decade. 238 NOTES

31. While information on many of these festivals remains scarce due to the ephemeral nature of most festival documentation, the existence of these events is supported by a collection of programmes, newspaper clippings, posters, AFI newsletters, event announcements and invitations contained within the clippings collection at AFIRC. See in particular the AFIRC fi les: ‘AUS.Australian Film Institute. Weeks, Film’ for years 1982, 1986, 1987, and 1989; ‘FES.Festivals.Australia’; ‘FES.Festivals.Perth’; ‘FES.Festivals. Adelaide [Various]’; ‘FES.Festivals.Australia [Various]’; FES. Festivals.Syndey.Super 8’; ‘FES.Festivals.Perth.WA Film & Video’; ‘FES.Festivals.Sydney.Australian Video’; among numerous others for original documents and press coverage of these events. 32. This brief chronology of Melbourne festivals has been pieced together from documents and ephemera contained within the AFIRC’s festival catalogue and subject clippings collections, as well as through research in newspaper repositories and digitised archives. Event programmes exist for several of these festivals, including St Kilda, Melbourne Super-8, International Anarchist, Experimenta, White Gloves, and Quick Draws, among others. However, for some events (Film Nouveau, Soviet Sci-fi , Italian, Sweet Decadence) information was scarcer, with newspaper clippings providing the only trace of their operation. 33. For more detailed accounts of the changing Australian fi lm production environment of the 1970s and 1980s see, for example, Dermody and Jacka (1987 ), Bertrand (1989 ), or Hughes (2015 ), among others, as well as the relevance of festivals to this see ‘from the cutting-room fl oor’ in Filmnews (April 1987, 4) and O’Regan ( 1996 ). 34. Advertisements for NFTA seasons were circulated to the organisation’s membership as well as posted in relevant publications, including the annual Sydney Film Festival programme booklets through the 1970s. 35. More detailed accounts of the Sydney and Melbourne fi lmmakers’ co-operatives can be found in JB Hodsdon ( 2001 : 89–109) and Hughes (2015 ). 36. As technology developed and became more portable and afford- able other screen activities also developed at the community level through the 1960s and 1970s. Amateur super-8 hobby groups fl ourished in Australia’s cities, mainly dedicated to producing and NOTES 239

sharing home videos and travelogues of members’ holidays. Alongside this a thriving surf fi lm subculture also emerged through the 1960s, forming an independent production, distribution and exhibition network run out of makeshift venues and surf clubs around the country (Barnden and Berryman 1989 : 312). 37. Very little direct research exists into fi lm societies, particularly during the 1980s and 1990s. In 1989 Bertrand noted that, over the span of the late 1970s and 1980s, ‘the number of fi lm societies continued to decline as did also the membership of those that sur- vived’ (331). Similarly, O’Regan writing in 1985 (42) noted the impact of colour television and younger audiences had on the declining appeal of Perth fi lm societies. Yet, despite these contemporary reports, there is very little empirical data available to provide an accurate picture of how many fi lm societies disappeared over this period. 38. Noel King, Constantine Verevis, and Deane Williams provide a detailed account of the development of Australia’s critical and aca- demic fi lm publications within this context in their 2013 book Australian Film Theory & Criticism . 39. Further promotional and press materials highlighting the different terminology used in promoting the festival and fi lm week iterations of these programmes can be found in the AFIRC clippings fi les: AUS.Australian Film Institute. Weeks, Film. 1982, 1986, and 1987, along with FES.Festivals.Australia’ and ‘FES.Festivals. Australia [various]. 40. For further discussion of the use of culture as a tool for urban regeneration, see Zukin (1995 ), McDonald (1999 ), Lowes (2002 ), Abrahamson (2004 ), and Gibson (2004 ). 41. Notably, these documents included the series of reports produced for the Melbourne Metropolitan Board of Works in 1977, the highly infl uential City of Melbourne 1985 Strategy Plan , the major projects and events policies of the Kennett Coalition Government (1992–1999), as well as the Department of Infrastructure’s From Doughnut City to Café Society ( 1998 ) and Melbourne 2030 (2002). 42. Melbourne’s creative city strategies were well in place even before Florida’s theories on the importance of the creative class emerged in 2002 . As Frost et al. observe, however, Florida’s work on the creative class was ‘enthusiastically embraced by policy makers in 240 NOTES

Melbourne’ (2010 : 107), contributing further to the city’s planning policy since 2002. 43. The Victorian State Government department responsible for devel- oping and implementing planning policy underwent a series of name changes through the 1990s, existing over this period as: Department of Planning and Housing, Department of Planning and Development, and Department of Infrastructure. 44. Refer to discussion of emerging Melbourne fi lm festivals in ‘Few to Many’ section of this chapter, as well as the list in Appendix 3. 45. In Melbourne, as elsewhere, art-house, specialty-, and indepen- dently run cinemas have tended to be located in inner suburban and urban areas, compared to the larger commercial cinemas and multiplex venues which are more likely to develop in suburban areas (see Wilinsky 2001 ). Several of the city’s independent and art-house cinemas played host to fi lm festivals, see Appendix 3 for examples. 46. Writing on the case of the Melbourne Queer Film Festival through the 1990s, Searle (1996 ) offers an account of the operating conditions typical to many of Melbourne’s fi lm festivals. 47. Companies that regularly appear within festival programmes include: The Age Newspaper, AvantCard (publisher), Palace Cinemas, Stella Artois and Price Waterhouse Cooper (as Cooper Lybrand) among numerous others. 48. There are of course some exceptions to this. The FVFS supported the growth of festivals in regional Victoria with the Halls Gap Film Festival beginning in 1980, an event in Warburton commencing 1983, and the Buninyong Film Festival starting in 1993. However, through the 1980s the festival scene in Australia was largely con- centrated in urban areas, with more regional and rural events devel- oping later through the 1990s and 2000s as the role of festivals in place-making strategies increasingly gained traction in these areas. See in particular Derrett (2003 ) and Gibson and Stewart (2009 ) for discussion of growth of arts and culture festivals in rural and regional Australia. 49. Refer to Chap. 2 for discussion. 50. See Chap. 3 for discussion of Rado’s disinterest in programming the works of Jean-Luc Godard in particular. 51. Many of these same criticisms were directed at the Sydney Film Festival as well, with both MFF and SFF often painted with the NOTES 241

same brush despite the festivals having ceased their formerly close association following the 1979 events. 52. Musumeci replace Paul Coulter as festival director following the 1985 event. 53. Treasury cinema was the venue operated by the State Film Centre Victoria and later Cinemedia, which formed after SFC merged with Film Victoria during the 1990s. From its launch in 2001, the Australian Centre for the Moving Image (ACMI) largely replaced this venue, taking on the exhibition and lending services that had previously been handled by SFC. 54. Given the impact MIFF’s venues have had on the events fortunes over its long history, it is signifi cant that these remain an important part of its identity up to the present. Not only signifi cant for MIFF audiences, the access to appropriate venues remains a major con- cern for festival organisers. In a public interview staged at ACMI in the lead-up to the 2015 festival, MIFF’s artistic director Michelle Carey identifi ed the challenge that accessing the many historic and prestigious venues utilised by the event posed for running the festival. She explained (2015a ): ‘every year we seem to be faced with some venues not available or closed down or might be undergoing restoration, so I think that’s always a big [challenge] … Yes, we could go out to other venues in the suburbs but I just don’t think that would be MIFF anymore.’ 55. Details of MIFF programmes, including the numbers of shorts and features programmed each year can be accessed through the MIFF 60 online archive: http://miff.com.au/festival-archive/ 56. As explored in the previous chapter fi lm festivals must still look to their own economic viability as well as more artistic concerns to ensure their ongoing survival, if not necessarily their success. 57. The 2010 MIFF programme included features such as Scott Pilgrim vs. The World (Wright 2010) and Despicable Me 3D (Coffi n and Renaud 2010). Both of these features experienced wide release in commercial theatres including through the commercial chains of Hoyts and Village Cinemas in Victoria. 58. ‘Only the best fi lms make the cut’ remained MIFF’s slogan throughout both the 2012 and 2013 editions. 59. Elsaesser (2005 ), de Valck (2007 ), and Lloyd (2011 ), among many others, have examined the rise in power of programmers and cura- tors within fi lm festivals that occurred over the early 1970s as a 242 NOTES

direct result of protests at Cannes in 1968 and other European festivals in subsequent years. Although MIFF had already been operating under a programming director since 1957, prior to the changes within the European events, the rise to prominence of the festival director in the European tradition nevertheless had an important impact on the development of the format internationally. In particular, the rise of the auteur as the central fi gure within European festivals and their programming philosophy had wide- reaching effects on the types of fi lms favoured within the global festival circuit. 60. Krischok’s data corresponds with a range of data published on festival audiences in Australia more broadly, including that collected and collated by Iain Mason for the 43rd MIFF in 1994. Mason (1997 : 42–50) similarly observed that fi lm festival audiences refl ect higher than average levels of education, are young to middle-aged (with the majority of attendees below 40 years of age), earn higher than average incomes, and include a predominance of female spec- tators. Two decades later, Mason’s fi ndings continue to ring true at MIFF, with the festival publishing fi ndings from Roy Morgan Research in 2013 that indicate MIFF’s audience is 66 % female, 60 % fully employed, composed of 72 % of people aged from 25 years to 54 years and characteristically tertiary educated, high earners and big spenders (MIFF 2014 : 6–7). 61. More recently retrospectives at MIFF have included seasons devoted to thematic retrospectives alongside traditional director- and actor-based programmes. Since 2008, MIFF’s retrospectives have included programmes devoted to: George A. Romero (2008), Anna Karina (2009), as well as ‘American 70s neurotic comedy’ (2012), Italian Giallo fi lms (2013), 1960s European avant-garde psychedelia (2015) as well as work by contemporary fi lmmakers Sebastián Silva and Josh and Benny Safdie (2015). These retrospectives fi t, as Michelle Carey explains, in what has become MIFF’s enduring role in providing ‘a chance for Melbournians, primarily, to get together and celebrate new fi lm, and crazy fi lm, and fi lms they won’t see for the most part during the year while also celebrating history of fi lm and fi lm culture’ (2015b ). 62. A complete list of events operating in Melbourne and Sydney in 2015 is contained in Appendix 4. NOTES 243

63. In The Cult Film Reader , Ernest Mathijs and Xavier Mendik dis- cuss the notion of ‘liveness’ in relation to cult fi lm consumption. They argue that the ‘being there’ and ‘being part’ of a cult screening become the defi ning attributes of the cult experience, with ‘technological accidents (like a screening being interrupted) enhance[ing] the ‘lived’ aspect of the screening’ (Mathijs and Mendik 2008 : 4). Similar to this understanding of cult fi lm consumption, fi lm festival screenings gain importance through their ‘liveness.’ It is the appeal of being part of the festival that lends importance to the fi lms screened and accounts in part for why fi lms that attract large audiences at festivals might fail to do so with a commercial theatre release. 64. The function of the international fi lm festival circuit as an alternative distribution system has been extensively explored in fi lm festival studies literature. See, for example, de Valck (2007 ), Elsaesser (2005 ), and Iordanova and Rhyne (2009 ), for discussion on this topic. 65. Refer to Chap. 6 for expanded discussion of event programming. 66. In Victoria, the Palace chain includes: Balwyn, Brighton Bay, Como, Dendy Brighton, Kino, and Westgarth cinemas, along with the recently acquired Astor repertory cinema. The chain also lists three venues in Sydney, one in Byron Bay on NSW north coast, two in Brisbane, and one each in Canberra, Adelaide and Perth. These venues share the screenings of all fi lm festivals for which Palace is an exhibition partner. 67. Several festivals run by Palace now fi t this model, while other local festivals have developed similar relationships with distributors— such as the Jewish International Film Festival, which is run by distributor Champion Pictures Pty Ltd (since renamed JIFF Distribution). 68. The streaming option was available to people watching from NSW, Queensland, Northern Territory, South Australia, and the Australian Capital Territory. Audiences in Western Australia, Victoria, and Tasmania were excluded from the service, with the fi lm slated for a festival appearance at MIFF and other events in these states after its Sydney premiere. ARCHIVES AND RESEARCH COLLECTIONS

AFIRC—Australian Film Institute Research Collection AUS: Australian Film Institute. Weeks, Film. 1982. Subject Clippings File. AUS: Australian Film Institute. Weeks, Film. 1986. Subject Clippings File. AUS: Australian Film Institute. Weeks, Film. 1987. Subject Clippings File. AUS: Australian Film Institute. Weeks, Film. 1989. Subject Clippings File. FES: Festivals. Adelaide [Various]. Subject Clippings File. FES: Festivals. Australia. Subject Clippings File. FES: Festivals. Australia [Various]. Subject Clippings File. FES: Festivals. Perth. Subject Clippings File. FES: Festivals. Perth. WA Film & Video. Subject Clippings File. FES: Festivals. Sydney. Super 8. Subject Clippings File. FES: Festivals. Sydney. Australian Video. Subject Clippings File FVFS (Federation of Victorian Film Societies). 1999. 50th Anniversary 1949 – 1999: Presenting quality fi lms to millions of Victorians [pamphlet]. Fitzroy, Vic: FVFS. FED: Federation of Victorian Film Societies. Subject Clippings File. National Film Theatre: Program for Jan-Feb-March 1982 [poster]. 1982. Australian Film Institute. AUS: Australian Film Institute. Weeks, Film. 1982. Subject Clippings File.

MFF—Melbourne Film Festival Records MS8383. Papers of Melbourne Film Festival Records, Australian Manuscripts Collection, State Library of Victoria, Melbourne. ‘1987 Annual General Meeting Report.’ 1987. AGM 1987–1988. MS 8383, Box 130. Brisson, Andre. 1966. Letter to Erwin Rado. December 12. MS 8383, Box 36. Budgets and Financial Statements. 1984. MS 8383, Box 104. Correspondence—Adelaide Film Festival. 1964–1968. MS8383, Boxes 28, 30, 43. Correspondence—FIAPF. 1959–72. MS8383, Box 36. Correspondence—Sydney Film Festival. 1966–1971. MS8383, Boxes 30, 35, 40, 46, 55. Düby, Oscar. 1962a. Letter to Erwin Rado. February 14. MS8383, Box 36. Düby, Oscar. 1962b. Letter to Erwin Rado. 15 Mar. MS8383, Box 36. Edgeworth, Patrick. 1984. Letter to Sally Semmens and Melbourne Film Festival Working Party. September 25. MS 8383, Box 107. FIAPF (Fédération Internationale des Associations de Producteurs de Films). 1958. Bulletin Mensuel D’information. 12 June. MS8383, Box 36. Fournier, R. 1958. Letter to Erwin Rado. 19 Dec. MS 8383, Box 36. Fournier, R. 1959a. Letter to Erwin Rado. 30 Apr. MS 8383, Box 36. Fournier, R. 1959b. Letter to Erwin Rado. 14 May. MS 8383, Box 36. Fournier, R. 1960. Letter to Erwin Rado. 20 Jan. MS 8383, Box 36. Harant, Gerry. 1984. Letter to Provisional Committee for a Melbourne Film Festival with Technical Report on 1984 Festival and Victorian Arts Centre. September 23. MS 8383, Box 107. McArthur, John. 1984. ‘Analysis of Present Financial Situation Following 1984 Festival.’ 26 Sept. MS 8383, Box 107. Menzies, Bryce. 1989. Melbourne Film Festival Newsletter—August ’89 . Melbourne: Melbourne Intl. Film Festival and Filmdest Ltd. August. MS 8383, Box 130. MFF (Melbourne Film Festival). 1983. Melbourne Film Festival Announces Mainstream Films and Cheap Subscriptions at Festival . Carlton, Vic.: Melbourne Film Festival 1983. MS 8383, Box 100. Minutes of fi lm festival organising committee. 1952–1955. MS8383, Box 1. Minutes of fi lm festival organising committee. 1966–1977. MS 8383, Box 33. ARCHIVES AND RESEARCH COLLECTIONS 247

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A At The Movies , 160 ACMI . See Australian Centre for the Australian Amateur Cine Society, 41 Moving Image (ACMI) Australian Broadcasting Corporation ACOFS . See Australian Council of (ABC), 194 Film Societies (ACOFS) Australian Censorship Board, 36 . See Adelaide Film Festival, 57, 67, 196, also censorship 204 Australian Centre for the Moving AFC . See Australian Film Commission Image (ACMI), 128, 241n53, (AFC) 241n54 AFI Jewish Film Festival, 84 Australian Council of Film Societies AFI . See Australian Film Institute (ACOFS), 23, 27, 32, 41, 69 . See (AFI) also fi lm society Ai No Korîda , 58 Australian Film Commission (AFC), Alice Springs Film Festival, 68 83, 88, 100 Allen, Robert, 11 Australian Film Festival, 36 Als Twee Druppels Water , 55 Australian Film Institute (AFI), 12, Alvin, Rebecca, 187 34, 238n31, 239n39 Andrews, David, 188 AFI exhibition, 72 Antonioni, Michelangelo, 55 Australian Film Institute Research Archive Project , 12 Collection (AFIRC) 12 art-house cinema, 73 Australian fi lm revival, 48, 84, Astor Theatre, 125 235n11

Note: Page numbers with “n” denote notes.

Australian International Video Festival, 74, 91, 129, 145, 146, 148, 153, 82 180, 182, 193, 195, 196, 242 awards, 1, 26, 39, 60, 61, 80, 145, Carey, Michelle, 133, 150, 157, 194, 155, 169, 193, 233n2, 234n7 203, 241n.54, 242n61 Carlton fi lmmakers, 70, 71 Carlton + Godard = Cinema , 12 B Carnivale Film Festival, 81–2 Back of Beyond , 41 Caputo, Raffaele, 75 Badjar Ogilvy, 161 Celluloid Closset, 89, 91 Barber, Lynden, 1, 128, 132–4, 174, Censors, 55–7, 236 . See also 180 censorship Barnden, Richard, 72 censorship, 8, 21, 36, 37, 49, 55–9, Bazin, Andre, 143 73, 236n17, 236n19, 236n21 BBC First British Film Festival, 191 Chauvel cinema, 90 Bennett, Colin, 109, 113, 114, Cinéfondation, 196 235n14 Cinemedia . See Film Victoria Berlin Film Festival, 2–4, 17, 18, 30, cinephilia, cinephile(s), 14, 58, 70, 76, 48, 49, 64, 68, 83, 145, 146, 91, 111, 117, 130, 142, 148, 153, 195, 196, 206 157, 163–9, 187, 192 Bertrand, Ina, 87 city marketing, 15, 93 Birth of a Festival , 12 cold war, 38, 47 Björkman, Stig, 55, 57, 58 Collins, Diane, 9 Blainey, Geoffrey, 28 Commonwealth Film Censorship A Blonde in Love , 57 Board , 21 . See also Australian Boehringer, Kathe, 115, 116 Censorship Board; censorship Bourdieu, Pierre, 140, 145, 151, 156, community, 21, 23, 25, 33, 41, 43–6, 157, 159, 162, 163, 166 49, 62, 88, 92, 99, 101, 106, Brady, Tait, 125, 127, 129 108, 111, 112, 117, 121–3, 131, Branchage Jersey Film Festival, 175 132, 135, 139, 153, 187, 191, Brisbane Film Festival, 68 238n36 Brisson, Alphonse, 38, 235n12 Commonwealth Film Festival, 82 British Film Institute, 34 Commonwealth Film Unit, 41 Buesst, Nigel, 12 Commonwealth Jubilee Film Awards, Burgos, Sergi Mesonero, 175, 176, 26 177, 192 Corrigan, Timothy, 152 creative city, 94, 97, 239n42 Creative Development Branch, C 88. Canberra Film Festival, 27, 36, 57, 68, criticism(s), 43, 67, 107, 113, 122, 71, 90, 243n66 149, 150, 162, 163, 240n51 Cannes Film Festival, 2–4, 9, 17, 18, Crofts, Steven, 115, 116 20, 29, 30, 38, 39, 48, 49, 64, 68, Cup, The , 1 INDEX 265

Czach, Liz, 143 Federation of Victorian Film Societies Czech and Slovak Film Festival, 185 (FVFS), 23, 25, 27, 32–4, 36, 70, 111, 117, 213, 240n48 . See also fi lm societies D Feest , 57 Der Blaue Engel , 55 Fell , 204 Die Abenteuer Werner Holt , 57 festival fi lm(s), 56, 57, 144, 155, 185, distribution, distributors, 4, 10, 27, 188, 203 35, 36, 40, 44, 45, 49, 50, festival fund, 72, 87, 195–8 69–74, 76, 81, 83, 85, 88, 103, festivalisation, 15, 93, 95 119, 123, 148, 181, 188–91, Festival of German Films, 91 193, 194, 196, 197, 204, Festival of Jewish Cinema, 84 237n29, 239n36, 243n64, Festival of Perth, 27 243n67 festum, 142, 143 Dodes’Ka-Den , 75 FIAPF . See Fédération Internationale Dolgopolov, Greg, 191 des Associations de Producteurs de Donaldson, David, 41, 43, 51, 207–8 Films (FIAPF) Dovey, Lindiwe, 4, 5, 6, 193 Film and Television Board, 88 fi lm as art, 9, 28, 29, 43, 147, 148 fi lm culture, 5, 21, 22, 26, 27, 33, 34, E 45, 48, 50, 62, 64, 71, 72, 86, Edinburgh International Film Festival, 88, 90–5, 102–7, 109–13, 19, 29, 116 115–17, 120–4, 130, 132–6, 138, Elsaesser, Thomas, 94, 98, 148, 149, 139, 154, 163, 187, 213–43 . See 168, 177, 181, 195, 234n3, also Screen Culture 241n59, 243n64 fi lm exhibition, 6, 9, 13, 14, 16, ethnic cinemas, 73 47–77, 86–8, 92, 100, 115, 119, event culture, 96, 99, 102, 171–99 174, 184, 185, 191, 193, 198, Everyone’s a Critic, 159, 160, 162, 201, 202, 237n29 Experimenta Film Festival, 85 Filmfest, 122 Experimental Film Fund, 72 fi lm festival and advertising, 15, 110, 113, 118, 159, 160, 162, 168, 171, 175, F 194, 195 Fédération Internationale des audiences, 2, 4–7, 12, 15, 19, 20, Associations de Producteurs de 27, 29, 31, 36, 44, 45, 47–77, Films (FIAPF), 14, 34–40, 79, 80, 82, 83, 85–7, 89, 91, 49–51, 60, 61, 67–9, 125, 175, 92, 95, 100, 105–69, 171–99, 176, 235n12 201, 202, 204, 242n60, Brisson, Alphonse, 38 243n63, 243n68 Düby, Oscar, 35 circuit(s), 2, 4, 14, 18, 59, 73, Fournier, R., 40 79–81, 87, 89, 133, 146–8, 266 INDEX fi lm festival (cont.) Film Victoria, 100, 121, 122, 241n53 167, 168, 176–84, 188, 193–5, fi lm weeks, 79–104 198, 201, 243n64 FFVF . See Fringe Film and Video community-level, 99 Festival (FFVF) defi nition, 15, 90–2, 106, 107, 155, Florida, Richard, 94 165, 169, 182 French, Lisa, 34 digital , 203 Fringe Film and Video Festival funding, 25, 59, 79, 82, 85, 88, 90, (FFVF), 83, 85, 217 95, 99–103, 121, 122, 177, FOCO Club, 70–1 181, 198 Fournier, R., 36, 40 as national showcases, 20, 30–1, 48 FVFS . See Federation of Victorian Film ‘Olympics of Film’, 38 Societies (FVFS) as producer, 192–98 production funds, 195 saturation, 15, 174, 177, 179–83, G 198 Gardner, Geoffrey, 62, 63, 74, 111, sponsors, 82 117, 134 success, 15, 59, 106, 107, 120, 125, Gass, Lars Henrik, 185, 191–3, 198, 133, 186, 198 gay fi lm festival . See also fi lm weeks and taste, 139 Melbourne, 82, 83, 90, 91 temporality, 142 Sydney , 83, 90, 91 venues, 3, 9, 10, 25, 35, 42, 43, Gay Film Week, 90, 91, 219 49, 50, 54, 61, 70–6, 87, 89, The General , 42 100, 112, 118, 126, 128, Ginnane, Antony I., 63 129, 131, 132, 150, 174, globalisation, 13, 93, 100 181, 185, 187, 190, 191, Godard, Jean-Luc, 63, 64, 70, 75, 203, 235n15, 240n45, 237n24 241n54, 243n66 Gomery, Douglas, 11 Filmfest Ltd, 123, 125 grass-roots, 25, 46, 70 fi lmmakers co-operatives, 71, 86–9, Greek Film Festival, 100 112, 214, 238n35 Gunning, Tom , 11 Film Nouveau festival, 83 Film societies, 9, 12, 20, 21, 23, 25, 26, 28, 29, 41, 52, 66, 70, 72, H 87, 104, 117, 239n37 Hagener, Malte, 164 ACOFS see Australian Council of Hansen, Miriam, 11 Film Societies (ACOFS) Harant, Gerry, 21, 32, 35, 36, 38, 39, Federation of NSW Film Societies, 109, 119, 120, 134, 235n14 22 Hardy, Forsythe, 29 FVFS see Federation of Victorian Hawes, Stanley, 41 Film Societies (FVFS) Heyer, John, 41, 42, 207 movement, 21 Hinde, John , 6, 9 fi lm trade, 4, 18, 42, 45, 49, 191 Hitters, Eric, 93 INDEX 267

Hobart Film Festival, 68 Korean Film Festival in Australia, Hodsdon, Bruce, 132 185 Hodsdon, J. Barrett , 9, 22, 70, 71, 88, Krischok, Klaus, 156, 157, 190, 132, 238n35 242n60 Hope, Cathy, 10, 26, 60, and Adam Dickerson, 10, 26 Hubert Bals Fund, 195 L Hughes, John, 12, 238n33 La Passion de Jeanne d’Arc , 42 Latin American Film Festival, 82 Le Mépris , 75 I Little Big Shots, 183 I Love, You Love , 57, 58. ( See also Locarno Film Festival, 2, 17, 18, 30, censorship) 153 IFFR . See International Film Festival London Film Festival, 19, 29 Rotterdam (IFFR) Luckins, Tanja, 47 Il Conformista , 75 International Anarchist Film Festival, 83 M International Film Festival India, 19 MacAloon, John, 142, 186 International Film Festival Rotterdam Mar del Plata International Film (IFFR), 134 Festival, 19 In The Bin Short Film Festival, 175 Marr, David, 58 Iordanova, Dina, 175, 194, 237n30, Martin, Adrian, 112, 130, 133, 243n64 Mason, Iain, 10, 130, 242n60 McPherson, Ian, 58 Melbourne (city), 99, 126, 137 J creative city, 97 Jillett, Neil, 113, 114, 130 strategic revival, 96 Jinruigaku nyûmon , 57 Melbourne Film Festival (MFF), 2, 10, Jones, Alice, 187 12, 27, 32–40, 105, 114, 117, Jour de Fete , 42 119, 122, 185, 201, 235n12, 240n44 audiences, 61 K bankruptcy, 107 Kalina, Paul, 62, 105–6, and FIAPF accreditation, 36 Kammermeier, Medard, 176 programming, 139 Kärlek 65 , 57 Short Film Awards, 60 Karlovy Vary Film Festival, 2, 17, 18, venues, 33 ; Astor, 125 ; Forum 30, Cinemas, 124 ; Melbourne Kaufman, Tina, 101, 236n21 Exhibition Building, 32 ; Metro Kingsford-Smith, John, 41 Malvern Theatre , 111 ; MidCity , Klava, Ian, 44, 51, 52, 55, 56, 124 ; Palais Theatre, 60 ; Regent 236n19 Theatre , 127 ; Union Theatre, 268 INDEX

Melbourne Film Festival (MFF) (cont.) new cinema(s), 11, 16, 116, 172, 174, Melbourne University , 33 ; 184–92, 199 Victorian Arts Centre, 119 NFTA . See National Film Theatre Melbourne Filmmakers’ co-operative, Australia (NFTA) 88, 112, 214, 238n35 . See also niches , 80, 132, 133, 135, 171–99 fi lmmakers co-operatives Nicholls, Frank, 34 Melbourne Gay Film Festival. 91 . See Nichols, Bill, 149 also Gay Film Week The Night of the Hunter , 55 Melbourne International Film Festival Nobi , 57 (MIFF) . See also Melbourne Film Noosa Film Festival, 1 Festival Nouvelle Vague , 62–4, 70, 110 Accelerator, 197 NSW International Film Festival, 68 Premiere Fund, 197 37° South market, 197 Melbourne Miracle, 95 O Melbourne Queer Film Festival, 84, O’Hanlon, Sean, 47 100, 221, 226, 230, 240n46 Olinda Film Festival, 14, 18–28, 31, Melbourne Super-8 Film Festival, 83, 32, 34, 40–2, 45, 116, 233n1, 85 234n6, 234n7 Melbourne Super-8 Group, 83 O’Regan, Tom, 66, 238n33, 239n37 Melbourne Underground Film Ostrowska, Dorota, 196 Festivals, 179 Out of the Frying Pan Film Festival, 84 Melbourne University, 33, 60, 234n5 Melbourne University Film Society (MUFS), 33, 34, 64, 110, 117 P MFF . See Melbourne Film Festival Palais Theatre, 60, 108, 111 (MFF) Papas, Michael, 57 microcinema(s), 187, 188 Paris, Texas , 119 MIFF . See Melbourne International Peranson, Mark, 4, 92, 180, Film Festival (MIFF) Perth International Film Festival, 68, Moran, Albert, 9 69, 204 MUFS . See Melbourne University Film politics des auteurs , 155 Society (MUFS) Pomeranz, Margaret, 160, 255 Müller, Marco, 153, 154, 181 Portable Film Festival, 203 Musumeci, Santina, 124, 125, 241n52 Private Right , 57 programming as criticism, 43, 67, 107, 113, 122, N 149, 150, 163 National Film Theatre Australia and curation, 49, 153 (NFTA) , 71, 72, 86–9, 104, 112, curatorial style, 153 238n34 specialised/thematic programming, New Adelaide Film and Video Festival, 81, 100, 171, 182, 183, 82 242n61 INDEX 269

and taste, 39, 62, 63, 106, 109, Shirley, Graham and Brian Adams, 9 115–18, 133, 137–69, 186 Silent Night, Deadly Night , 75 Sölter, Arpad-Andreas, 190 Soviet Sci-Fi Festival, 83 Q Special Broadcasting Service (SBS), Quick Draws Australian/International 74, 75, 89, 112, 204 Animation Festival, 83 spectacle(s), 3, 38, 46, 96, 99, 104, Quintín , 30, 166, 177, 185, 188–9, 115, 116, 173, 184–8, 192 193, sponsorship, 1, 85, 101–3, 121, 130, 131, 180, 181, 195 Staiger, Janet, 11, 146, 163, R State Film Centre Victoria, 25, 34, 83, Rado, Erwin, 34, 36, 39, 40, 43, 52, 241n53 53, 57, 61, 63, 67, 68, 72, 107, Stern, Lesley, 115, 116, 133 109, 110, 112–14, 235n12, St Kilda Film Festival, 83, 100 235n14, 236n19, 237n24, Stratton, David, 9, 43, 44, 52–9, 68, 240n50 74, 75, 89, 144, 160, 235n11, Ray, Satyajit, 55 236n16, 236n19–21, 237n22, Rectanus, Mark, 101 237n24 Rhyne, Ragan, 176 Stringer, Julian, 95, 178 rituals, 143 subsidy/subvention, 42, 85, 100, 131, Room at the Top , 55 180, 192, 195 SUFG . See Sydney University Film Group (SUFG) S Suna No Onna , 55 sales agents, 4, 178, 193 Sundance Film Festival, 2, 4, 91, 145, Sam-Yong , 57 195, 196, San Francisco International Film Sydney Film Festival (SFF), 2, 8, 9, Festival, 19 14, 26, 27, 40–5, 50, 205–11, Sassen, Saskia, 93 234n8, 238n34, 240n51 SA Young Filmmakers Festival, 82 FIAPF accreditation, 36 SBS . See Special Broadcasting Service invited guests, 54 (SBS) Travelling Film Festival, 59 Schefferle, Edwin, 34 University of Sydney, 42 Schulte-Strathaus, Stephanie, 151 Sydney Filmmakers’ Co-operative, 87, screen culture(s), 34, 50, 74, 88, 89, 88 . See also fi lmmakers 174 . See also fi lm culture co-operatives Sdraulig, Sandra, 129 Sydney Film Society, 41 Segal, Jerome, 92, 156, Sydney Gay Film Week, 97, 219 . See Seniors Film Festival, 185 also Gay Film Week Seto, Paul, 118–20 Sydney Super-8 Film Festival, 9 SFF . See Sydney Film Festival (SFF) Sydney Underground Film Festival, Shell Film Unit, 41 175 270 INDEX

Sydney University, 40, 234n5 V Sydney University Film Group value adding (tion), 146, 150, 159, (SUFG), 40, 234n5 193 Venice Film Festival, 1–3, 7, 17, 18, 29, 30, 38, 39, 41, 48, 49, 64, T 99, 146, 153, 154, 179, 180 television, 50, 74–6, 88, 112, 160, vertical integration, 171–99 185, 188, 192, 239n37 video on demand, 203 temporality, 142, 177, 178 video(s), 75, 82, 83, 87, 100, 112, 10 Conditions of Love , 160 182, 203, 238n31, 239n36 Tirez Sur Le Pianiste , 55 Village Roadshow, 74 To Australia with Love , 58 Vincent Library, 72 Toronto International Film Festival, 2, Viridiana , 55 145, 149, 150, 193, tourism, 96, 172, 179, 182 Tribeca Film Festival, 203 W Truffaut, François, 64 WA Film and Video Festival, 7, 29, Turan, Kenneth, 177 107, 82 Warrambeen Film Festival, 171 Week End , 63 U White Gloves Film Festival, 83 UBU fi lms , 70, 71 A Whole World of Movies , 74 UNESCO . See United Nations Williams, Eric, 67 Educational, Scientifi c and Wolf, Reinhard, 176 Cultural Organisation Women in Motion Film Festival, 84 (UNESCO) Women’s International Film Festival, Unifrance, 50 82 Unitalia, 50 Wong, Cindy Hing-Yuk, 7, 28, 29, United Nations Educational, Scientifi c 107 and Cultural Organisation Woodward, Ian, 92 (UNESCO), 21 urban planning policy, 93, 97 . See also Melbourne (city) Y Yallingup Surf Film Festival, 174