Black and White Tail Credits
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Bofa 2018 Program
DOCUMENTARY BOFA 2O18. BRINGING GREAT STORIES TOGETHER The Tasmanian Breath of Fresh Air (BOFA) Film Choose and enjoy your favourite stories from: IF YOU ARE A TRAVELLER NOT A TOURIST, A Festival brings great stories and people together. “ DOER NOT A COUCH POTATO AND SOMEONE“ We’ve searched the world for stories that intrigue, FEATURES: Outstanding features from the world’s inspire and invite conversation. best film festivals WHO LOVES MIXING WITH PEOPLE LIKE YOU, THEN JOIN US FOR BOFA 2O18! The best of Australian and Tasmanian BOFA is about ideas and change. We’ve found films OUR STORIES: films telling our stories that question today’s world and how we, its citizens, choose to live in it. DOCUMENTARIES: Docos that will provoke, inspire and entertain. CONTACT BOFA BOFA is about personal challenge. We’ve gathered stories of the ways we test ourselves in life, in love EAT/DRINK/LIVE: From the vineyards of France to and in the wild. sustainable living in Australia. Owen Tilbury BOFA is serious about having fun. Join us at the CALL OF THE WILD: Stories of extreme adventures Festival Director, in the mountains, the sea and air Village Cinemas, in the heart of Launceston. We’re [email protected] laying out the red carpet, putting on parties every DISRUPTIVE: Tales of terrorism, social media, gender night and screening in comfortable theatres with M. 0407 501 287 identity and the future of work! the highest quality projection. 2 BOFA 1 FESTIVAL PRECINCT DRYSDALE CAMPUS DRYSDALE 2 VILLAGE CINEMAS 6 75 BRISBANE STREET MALL 163 Brisbane St, Launceston TAS 7250 BRISBANE STREET THE KINGSWAY Kingsway St, Launceston TAS 7250 STREET WELLINGTON 4 PARKING VILLAGE CINEMAS KING STREET 1 KINGSWAY FOOD OUTLETS 1 PATERSONPATTERSON STREET STREET CAR CAR PARK PARK 1 COFFEE & BURGERS 2 WELLINGTON STREET CAR PARK 2 2 EARTHY EATS SHOPS 1 3 KINGSWAY WHISKYBAR BAR 1 KATHMANDU 2 4 FOOD HALL 2 SALVOS 3 3 5 PLOUGH INN 3 MACPAC 6 PIZZA CAPERS 4 ISHKA 4 7 MAD HATTERS BP SERVICE STATION YORK STREET BOFA FILM FESTIVAL 2O18 3 DOCUMENTARY FEATURES FEATURES are supported by S. -
J I N D a B Y N
A film by Ray Lawrence Laura Linney Gabriel Byrne j i n d a b y n e Canadian Distribution Mongrel Media 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Canadian Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] Press Book April Films Design & Artwork Halcyon Pratt Stills Photography Anthony Browell, Matt Nettheim, John Tsiavis On Set at Jindabyne Catherine Mckinnon © April Films (Jindabyne) Pty Ltd 2006 j i n d a b y n e A film by Ray Lawrence 4 SYNOPSIS Synopsis On an annual fishing trip, in isolated all of this which disturbs her deeply. high country, Stewart, Carl, Rocco and Stewart is not convinced that he has Billy (‘the Kid’) find a girl’s body in the done anything wrong. Claire’s faith in river. It’s too late in the day for them to her relationship with her husband is hike back to the road and report their shaken to the core. tragic find. Next morning, instead of making the long trek back, they spend The fishermen, their wives and their the day fishing. Their decision to stay on children are suddenly haunted by their at the river is a little mysterious—almost own bad spirits. As public opinion builds as if the place itself is exerting some against the actions of the men, their kind of magic over them. certainty about themselves and the deci- sion they made at the river is challenged. -
Shine Tail Credits
With thanks to David and Gillian Helfgott for their assistance and co-operation in the making of this film Cast (in order of appearance) David as an adult Geoffrey Rush Tony Justin Braine Sylvia Sonia Todd Sam Chris Haywood David as a child Alex Rafalowicz Eisteddfod Presenter Gordon Poole Peter Armin Mueller-Stahl Ben Rosen Nicholas Bell Suzie as a child Danielle Cox Margaret Rebecca Gooden Rachel Marta Kaczmarek Jim Minogue John Cousins David as an adolescent Noah Taylor State Champion Announcer Paul Linkson Isaac Stern Randall Berger Boy Next Door Ian Welbourn Louise as a baby Kelly Bottrill Rabbi Beverley Vaughan Synagogue Secretary Phyllis Burford Society Hostess Daphne Grey Soviet Society Secretary Edwin Hodgeman Katharine Susannah Prichard Googie Withers Sonia Maria Dafnero Postman Reis Porter Roger Woodward (younger) Stephen Sheehan Announcer Brenton Whittle Suzie as a teenager Marianna Doherty Louse as a child Camilla James Cecil Parkes John Gielgud Viney David King Registrar Danny Davies Sarah Helen Dowell Muriel Louise Dorling Student Sean Carlsen Ashley Richard Hansell Robert Robert Hands Ray Marc Warren RCOM Conductor Neil Thomson Suzie as an adult Joey Kennedy Nurse Ellen Cressey Beryl Alcott Beverley Dunn Bar Customer Andy Seymour Gillian Lynn Redgrave Jessica Ella Scott Lynch Rowan Jethro Heysen-Hicks Roger Woodward (older) John Martin Celebrant Bill Boyley Opera singers Teresa La Rocca Lindsey Day Grant Doyle Musicians Leah Jennings Kathy Monaghan Mark Lawrence Gordon Coombes Luke Dollman Margaret Stone Tom Carrig Helen Ayres Vocalists Suzi Jarratt Samantha McDonald Hand double for Noah Taylor Martin Cousin Hand double for Alex Rafalowicz Simon Tedeschi Hand double for Geoffrey Rush Himself Standin for Sir John Gielgud Ronald Markham (UK) Standin for Mr. -
David Rivett
DAVID RIVETT: FIGHTER FOR AUSTRALIAN SCIENCE OTHER WORKS OF ROHAN RIVETT Behind Bamboo. 1946 Three Cricket Booklets. 1948-52 The Community and the Migrant. 1957 Australian Citizen: Herbert Brookes 1867-1963. 1966 Australia (The Oxford Modern World Series). 1968 Writing About Australia. 1970 This page intentionally left blank David Rivett as painted by Max Meldrum. This portrait hangs at the Commonwealth Scientific and Industrial Research Organisation's headquarters in Canberra. ROHAN RIVETT David Rivett: FIGHTER FOR AUSTRALIAN SCIENCE RIVETT First published 1972 All rights reserved No part of this book may be reproduced in any form without permission © Rohan Rivett, 1972 Printed in Australia at The Dominion Press, North Blackburn, Victoria Registered in Australia for transmission by post as a book Contents Foreword Vll Acknowledgments Xl The Attack 1 Carving the Path 15 Australian at Edwardian Oxford 28 1912 to 1925 54 Launching C.S.I.R. for Australia 81 Interludes Without Playtime 120 The Thirties 126 Through the War-And Afterwards 172 Index 219 v This page intentionally left blank Foreword By Baron Casey of Berwick and of the City of Westminster K.G., P.C., G.C.M.G., C.H., D.S.a., M.C., M.A., F.A.A. The framework and content of David Rivett's life, unusual though it was, can be briefly stated as it was dominated by some simple and most unusual principles. He and I met frequently in the early 1930's and discussed what we were both aiming to do in our respective fields. He was a man of the most rigid integrity and way of life. -
Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. -
Sydney Film Festival Award Winners Announced at Closing Night Gala 19/06/2016
MEDIA RELEASE EMBARGOED UNTIL 08:30PM SUNDAY 19 JUNE 2016 SYDNEY FILM FESTIVAL AWARD WINNERS ANNOUNCED AT CLOSING NIGHT GALA The 63rd Sydney Film Festival tonight awarded Aquarius, directed by Kleber Mendonça Filho, the prestigious Sydney Film Prize, out of a selection of 12 Official Competition films. The $63,000 cash prize was awarded at the Festival’s Closing Night Gala awards ceremony and event: the Australian premiere screening of Whit Stillman’s Love & Friendship, held at the State Theatre. Sydney filmmaker Dan Jackson was awarded the Documentary Australia Foundation Award for Australian Documentary, a $15,000 cash prize, for In the Shadow of the Hill; with a special mention going to Destination Arnold directed by Sascha Ettinger Epstein. The Dendy Awards for Australian Short Films were announced; awarding Slapper, directed and written by Luci Schroder, The Dendy Live Action Short Award; The Crossing, directed and written by Marieka Walsh, The Yoram Gross Animation Award; and Goran Stolevski, the Rouben Mamoulian Award for Best Director, for You Deserve Everything. The Event Cinema Australian Short Screenplay Award was awarded to Spice Sisters, written and directed by Sheila Jayadev, who received a $5,000 cash prize, with a special mention to Matthew Vesely for My Best Friend Is Stuck On The Ceiling. The new annual Sydney UNESCO City of Film Prize was awarded to Ms Lynette Wallworth, who received $10,000 prize awarded by Screen NSW, presented by Margaret Pomeranz AM. Sydney Film Festival CEO Leigh Small said, “Cinemas were full again this year with an average of 73% capacity across all sessions and more sellouts than ever before. -
Networked Knowledge Media Briefing Rupert Max Stuart Homepage This
Networked Knowledge Media Briefing Rupert Max Stuart Homepage This page setup by Dr Robert N Moles Black And White Review / Margaret Pomeranz and David Stratton Comments by Margaret Pomeranz In 1959 an aboriginal man Max Stuart was arrested for the rape and murder of a young girl on the beach at Ceduna South Australia. His trial and subsequent appeals became a cause celebre... it was never a case of black and white... When lawyer David O'Sullivan (Robert Carlyle) is assigned to defend Max Stuart (David Ngoombujarra), he has no idea that his involvement will lead him on a collision course with the police and with the justice system. He learns that Max's confession has been beaten out of him, that his confession is one he could not possibly have made, this with the help of Father Tom Dixon (Colin Friels). But the entrenched racism of the times makes Max's conviction a foregone conclusion, particularly with that bastion of the establishment, Crown Solicitor Roderic Chamberlain (Charles Dance) leading the case for the prosecution. O'Sullivan's refusal to accept the verdict, his desperate search for a basis for appeal will not only involve his law partner Helen Devaney (Kerry Fox) and the young Rupert Murdoch (Ben Mendelsohn) and Rohan Rivett (John Gregg), the editor of the Adelaide Advertiser, but will take him on a journey to the highest court in the system – the Privy Council in England. Black and White explores this fascinating and seminal piece of Australian history in a rather old-fashioned way. Dialogue is delivered in a declamatory style that just seems clunky, giving scenes a distinct lack of credibility. -
Dislocating the Frontier Essaying the Mystique of the Outback
Dislocating the frontier Essaying the mystique of the outback Dislocating the frontier Essaying the mystique of the outback Edited by Deborah Bird Rose and Richard Davis Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Dislocating the frontier : essaying the mystique of the outback. Includes index ISBN 1 920942 36 X ISBN 1 920942 37 8 (online) 1. Frontier and pioneer life - Australia. 2. Australia - Historiography. 3. Australia - History - Philosophy. I. Rose, Deborah Bird. II. Davis, Richard, 1965- . 994.0072 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Indexed by Barry Howarth. Cover design by Brendon McKinley with a photograph by Jeff Carter, ‘Dismounted, Saxby Roundup’, http://nla.gov.au/nla.pic-vn3108448, National Library of Australia. Reproduced by kind permission of the photographer. This edition © 2005 ANU E Press Table of Contents I. Preface, Introduction and Historical Overview ......................................... 1 Preface: Deborah Bird Rose and Richard Davis .................................... iii 1. Introduction: transforming the frontier in contemporary Australia: Richard Davis .................................................................................... 7 2. -
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 -
David Rivett: FIGHTER for AUSTRALIAN SCIENCE
DAVID RIVETT: FIGHTER FOR AUSTRALIAN SCIENCE OTHER WORKS OF ROHAN RIVETT Behind Bamboo. 1946 Three Cricket Booklets. 1948-52 The Community and the Migrant. 1957 Australian Citizen: Herbert Brookes 1867-1963. 1966 Australia (The Oxford Modern World Series). 1968 Writing About Australia. 1970 This page intentionally left blank David Rivett as painted by Max Meldrum. This portrait hangs at the Commonwealth Scientific and Industrial Research Organisation's headquarters in Canberra. ROHAN RIVETT David Rivett: FIGHTER FOR AUSTRALIAN SCIENCE RIVETT First published 1972 All rights reserved No part of this book may be reproduced in any form without permission © Rohan Rivett, 1972 Printed in Australia at The Dominion Press, North Blackburn, Victoria Registered in Australia for transmission by post as a book Contents Foreword Vll Acknowledgments Xl The Attack 1 Carving the Path 15 Australian at Edwardian Oxford 28 1912 to 1925 54 Launching C.S.I.R. for Australia 81 Interludes Without Playtime 120 The Thirties 126 Through the War-And Afterwards 172 Index 219 v This page intentionally left blank Foreword By Baron Casey of Berwick and of the City of Westminster K.G., P.C., G.C.M.G., C.H., D.S.a., M.C., M.A., F.A.A. The framework and content of David Rivett's life, unusual though it was, can be briefly stated as it was dominated by some simple and most unusual principles. He and I met frequently in the early 1930's and discussed what we were both aiming to do in our respective fields. He was a man of the most rigid integrity and way of life. -
Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers. -
Critical and Creative Approaches Ed. Jan Shaw, Philippa Kelly, LE Semler
Published in Storytelling: Critical and Creative Approaches ed. Jan Shaw, Philippa Kelly, L. E. Semler (Basingstoke: Palgrave, 2013), pp. 83-113. Transnational Glamour, National Allure: Community, Change and Cliché in Baz Luhrmann’s Australia. Meaghan Morris What are the links between stories and the wider social world—the contextual conditions for stories to be told and for stories to be received? What brings people to give voice to a story at a particular historical moment? … and as the historical moment shifts, what stories may lose their significance and what stories may gain in tellability? (Plummer 25). The vantage points from which we customarily view the world are, as William James puts it, ‘fringed forever by a more’ that outstrips and outruns them (Jackson 23-24). Poetry from the future interrupts the habitual formation of bodies, and it is an index of a time to come in which what today exists potently—even if not (yet) effectively— but escapes us will find its time. (Keeling, ‘Looking for M—’ 567) 1 The first time I saw Baz Luhrmann’s Australia I laughed till I cried. To be exact, I cried laughing at dinner after watching the film with a group of old friends at an inner suburban cinema in Sydney. During the screening itself I laughed and I cried. As so often in the movies, our laughter was public and my tears were private, left to dry on my face lest the dabbing of a tissue or an audible gulp should give my emotion away. The theatre was packed that night with a raucously critical audience groaning at the dialogue, hooting at moments of high melodrama (especially Jack Thompson’s convulsive death by stampeding cattle) and cracking jokes at travesties of history perceived on screen.