Annual Report 1997-1998
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Making Our Own—Two Ethnographies of the Vernacular in New Zealand Music: Tramping Club Singsongs and the Māori Guitar Strumming Style
Making our own—two ethnographies of the vernacular in New Zealand music: tramping club singsongs and the Māori guitar strumming style by Michael Brown A thesis submitted to Victoria University of Wellington/Massey University in fulfilment of the requirements for the degree of Doctor of Philosophy in Music New Zealand School of Music 2012 ii Abstract This work presents two ethnographies of the vernacular in New Zealand music. The ethnographies are centred on the Wellington region, and deal respectively with tramping club singsongs and the Māori guitar strumming style. As the first studies to be made of these topics, they support an overall argument outlined in the Introduction, that the concept of ―vernacular‖ is a valuable way of identifying and understanding some significant musical phenomena hitherto neglected in New Zealand music studies. ―Vernacular‖ is conceptualised as an informal, homemade approach that enables people to customise music-making, just as language is casually manipulated in vernacular speech. The different theories and applications which contribute to this perspective, taken from music studies and other disciplines, are examined in Chapter 1. A review of relevant New Zealand music literature, along with a methodological overview of the ethnographies is presented in Chapter 2. Each study is based upon different mixtures of techniques, including participant-observer fieldwork, oral history, interviews, and archival research. They can be summarised as follows: Tramping club singsongs: a medium of informal self-entertainment among New Zealand wilderness recreationists in the mid-twentieth century. The ethnography focuses on two clubs in the Wellington region, the Tararua Tramping Club and the Victoria University College Tramping Club, during the 1940s-1960s period, when changing social mores, tramping‘s camaraderie and individualism, and the clubs‘ different approaches, gave their singsongs a distinctive character. -
Submission by Ausfilm to the House of Representatives Standing Committee on Communications, Information Technology and the Arts
c~~CT\~c\ct\~1 ~brnission No. Aus’FILM Submission by AusFILM to the House of Representatives Standing Committee on Communications, Information Technology and the Arts Inquiry into the Future Opportunities for Australia’s Film, Animation, Special Effects and Electronic Games Industries July 2003 AusFILM is a unique collaboration between seventy corporate companies providing film, television and commercial production services, the seven state film agencies, the Department of Communications, IT and the Arts and DFAT through Austrade. Our mission is to position and market Australia as the world’s best destination and environment for film, television, commercials and other screen production. AusFILM International Inc Austrade Fox Studios Australia #12 Century Plaza Towers Driver Avenue 2049 Century Park East, 19~Floor Moore Park NSW 1363 Los Angeles, California 90067 Australia USA Tel: (+61 2)93834192 Fax: (+61 2)93834190 Tel: (+1 310) 229 4833 Fax: (+1 310) 277 2258 Email: [email protected] Email: [email protected] The greatest actors in the world now are Australian. / love the fact / have great crews there, the locations are fantastic, the soundstages are great.... I would shoot everything here.” - Joel Silver, Producer The Matrixtrilogy, two television pilots in 2003 “We had a great time at the studio. The sophistication of running the production was equalto anything that I have experienced anywhere in the world.” - George Lucas, Director, Star Wars “I.. .really enjoy working with the Australlan postproduction companies. [In 2002] we dedicated the post production work of all ourprojects to Australian companies as we trust they could produce the bestquality. -
David Gulpilil, AM
David Gulpilil, AM Born 1953, Gulparil, near Ramingining, Northern Territory. Lives Darwin, N.T. David Gulpilil’s full name is David Gulpilil Ridjimiraril Dalaithngu. Gulpilil is also spelt Gulparil, which is the name of his Country near Ramingining, central Arnhem Land, N.T. When, as a seventeen year-old, David Gulpilil lit up the cinema screen in the film, Walkabout, he did more than play a role. The performance was so strong, so imbued with a new type of graceful naturalism, that it re-defined perceptions of Aboriginality, especially in the field of screen acting. Over the next decade, David became the iconic Aboriginal actor of his generation, paving the way in the resurgence of the Australian film industry for more parts to be written for Aboriginal people, for more Aboriginal stories to be told. His charismatic, engaging and unforgettable performances in films like Storm Boy (1976, dir. Henri Safran), The Last Wave (1977, dir. Peter Weir) and Crocodile Dundee (1986, dir. Peter Faiman) helped bring Aboriginality into the mainstream of the screen arts. In his later work, including Rabbit-Proof Fence (2002, dir. Philip Noyce), The Tracker (2002, dir. Rolf de Heer), Australia (2008, dir. Baz Luhrmann) and the soon to be released Charlie's Country (2013, dir. Rolf de Heer), Gulpilil has brought tremendous dignity to the depiction of what it is to be Aboriginal. Through his art he has brought an incalculable amount of self-esteem to his community. Since the early 1970s, Gulpilil has earned more than 30 film credits, and performed alongside Dennis Hopper, Jack Thompson, Miles Davis, Nicole Kidman, Hugh Jackman, Kenneth Branagh, William Hurt, Richard Chamberlain, Guy Pearce, Paul Hogan, and Ernie Dingo, under acclaimed directors such as Peter Weir, Baz Lurhman, Philip Noyce, Wim Wenders and Rolf de Heer. -
David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor -
Appeared in - the Australian Adelaide Film Festival Shedding Light and Casting Shadows
8 March 2002 Cinematic Focus Richly Rewarded Appeared in - The Australian Adelaide Film Festival Shedding Light and Casting Shadows. Australian films commissioned by Adelaide Festival and SBS Independent. Her Majesty’s Theatre, Adelaide. Until 7 March. Regional South Australian tour until 14 March. The Adelaide Festival films have always been one of Peter Sellars’ pet ideas, and they have turned out to be among his best. With various fund- ing, including $1.5m from the Festival, Shedding Light Director and SBS Independent executive, Bridget Ikin produced four features which pre- miered this week. Three of the four have Indigenous perspectives focusing on Truth and Reconciliation - as does the fifth in the series, Beneath Clouds, not a commission, but a debut feature by Ivan Sen, also shown for the first time. Before the season began there was concern that the films would sit uneas- ily with the rest of the program, adrift from the live performance menu. The reverse has been the case. Because the Indigenous themes of the Festi- val have been so ubiquitous, events interact in chain reactions. Whether visiting Ian Abdulla’s evocative paintings at Flinders University’s Grote Street Gallery, seeing The Tracker a hundred metres further down at Her Majesty’s Theatre, or walking back to the square at night in time to see women from the Anangu Pitjantjatjara lands dancing beside the statue of Queen Victoria, the experiences reverberate. But they also need grounding, something which the strong discourses in the films provide. Rolf de Heer said of The Tracker that he made the film with the context of a Festival premiere in mind. -
Festival 30000 LP SERIES 1961-1989
AUSTRALIAN RECORD LABELS FESTIVAL 30,000 LP SERIES 1961-1989 COMPILED BY MICHAEL DE LOOPER AUGUST 2020 Festival 30,000 LP series FESTIVAL LP LABEL ABBREVIATIONS, 1961 TO 1973 AML, SAML, SML, SAM A&M SINL INFINITY SODL A&M - ODE SITFL INTERFUSION SASL A&M - SUSSEX SIVL INVICTUS SARL AMARET SIL ISLAND ML, SML AMPAR, ABC PARAMOUNT, KL KOMMOTION GRAND AWARD LL LEEDON SAT, SATAL ATA SLHL LEE HAZLEWOOD INTERNATIONAL AL, SAL ATLANTIC LYL, SLYL, SLY LIBERTY SAVL AVCO EMBASSY DL LINDA LEE SBNL BANNER SML, SMML METROMEDIA BCL, SBCL BARCLAY PL, SPL MONUMENT BBC BBC MRL MUSHROOM SBTL BLUE THUMB SPGL PAGE ONE BL BRUNSWICK PML, SPML PARAMOUNT CBYL, SCBYL CARNABY SPFL PENNY FARTHING SCHL CHART PJL, SPJL PROJECT 3 SCYL CHRYSALIS RGL REG GRUNDY MCL CLARION RL REX NDL, SNDL, SNC COMMAND JL, SJL SCEPTER SCUL COMMONWEALTH UNITED SKL STAX CML, CML, CMC CONCERT-DISC SBL STEADY CL, SCL CORAL NL, SNL SUN DDL, SDDL DAFFODIL QL, SQL SUNSHINE SDJL DJM EL, SEL SPIN ZL, SZL DOT TRL, STRL TOP RANK DML, SDML DU MONDE TAL, STAL TRANSATLANTIC SDRL DURIUM TL, STL 20TH CENTURY-FOX EL EMBER UAL, SUAL, SUL UNITED ARTISTS EC, SEC, EL, SEL EVEREST SVHL VIOLETS HOLIDAY SFYL FANTASY VL VOCALION DL, SDL FESTIVAL SVL VOGUE FC FESTIVAL APL VOX FL, SFL FESTIVAL WA WALLIS GNPL, SGNPL GNP CRESCENDO APC, WC, SWC WESTMINSTER HVL, SHVL HISPAVOX SWWL WHITE WHALE SHWL HOT WAX IRL, SIRL IMPERIAL IL IMPULSE 2 Festival 30,000 LP series FL 30,001 THE BEST OF THE TRAPP FAMILY SINGERS, RECORD 1 TRAPP FAMILY SINGERS FL 30,002 THE BEST OF THE TRAPP FAMILY SINGERS, RECORD 2 TRAPP FAMILY SINGERS SFL 930,003 BRAZAN BRASS HENRY JEROME ORCHESTRA SEC 930,004 THE LITTLE TRAIN OF THE CAIPIRA LONDON SYMPHONY ORCHESTRA SFL 930,005 CONCERTO FLAMENCO VINCENTE GOMEZ SFL 930,006 IRISH SING-ALONG BILL SHEPHERD SINGERS FL 30,007 FACE TO FACE, RECORD 1 INTERVIEWS BY PETE MARTIN FL 30,008 FACE TO FACE, RECORD 2 INTERVIEWS BY PETE MARTIN SCL 930,009 LIBERACE AT THE PALLADIUM LIBERACE RL 30,010 RENDEZVOUS WITH NOELINE BATLEY AUS NOELEEN BATLEY 6.61 30,011 30,012 RL 30,013 MORIAH COLLEGE JUNIOR CHOIR AUS ARR. -
Australian Content Standard for Television & Paragraph 160(D) Of
Parliament of the Commonwealth of Australia Australian Content Standard for Television & Paragraph 160(d) of the Broadcasting Services Act 1992 Report by the Senate Environment, Communications, Information Technology and the Arts Legislation Committee February 1999 © Copyright Commonwealth of Australia 1998 ISSN 1441-9920 This document was produced from camera ready copy prepared by the Senate Environment, Communications, Information Technology and the Arts Legislation Committee and printed by the Senate Printing Unit, Parliament House, Canberra iii ENVIRONMENT, COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS LEGISLATION COMMITTEE MEMBERSHIP 1. Members Senator A Eggleston, Chair (LP, WA) Senator M Bishop, Deputy Chair (ALP, WA) Senator L Allison (AD, VIC) Senator the Hon N Bolkus (ALP, SA) Senator M Payne (LP, NSW) Senator J Tierney (LP, NSW) 2. Substitute Members Senator N Stott Despoja (AD, SA) to substitute for Senator Allison for matters relating to Information Technology 3. Participating Members Senator E Abetz (LP, TAS) Senator A Bartlett (AD, QLD) Senator R Boswell (NPA, QLD) Senator V Bourne (AD, NSW) Senator B Brown (AG, TAS) Senator D Brownhill (NPA, NSW) Senator G Campbell (ALP, NSW) Senator K Carr (ALP, VIC) Senator M Colston (IND, QLD) Senator H Coonan (LP, NSW) Senator B Harradine (IND, TAS) Senator M Lees (AD, SA) iv Senator K Lundy (ALP, ACT) Senator D Margetts (GWA, WA) Senator the Hon C Schacht (ALP, SA) 4. Committee Secretariat Ms Roxane Le Guen, Secretary Mr Geoff Dawson, Principal Research Officer Ms Tara Ducker, -
Aacta Award Winners
Media Release: Strictly embargoed until 4.00pm Tuesday 28th January 2014. THE AUSTRALIAN ACADEMY ANNOUNCES THE FIRST GROUP OF 3RDAACTA AWARD WINNERS A full list of nominees and winners announced today can be found at the end of this document. The 3rd AACTA Awards Luncheon presented by Deluxe was held today at Sydney’s The Star Event Centre, where the Australian Academy of Cinema and Television Arts (AACTA) announced the first group of the 3rd AACTA Awards winners. The charming and often hilarious actor Patrick Brammall, who won the AACTA Award for Best Performance in a Television Comedy for his depiction of entrepreneur Sean Moody in ABC1’s comedy series A MOODY CHRISTMAS in 2013, hosted the sold out event. The group of awards presented at the 3rd AACTA Awards Luncheon presented by Deluxe recognised the talent and innovation of practitioners working across television, documentary, short fiction film, short animation and feature film categories. Joining Brammall to present the day’s 22 Awards was AACTA President Geoffrey Rush, and actors Richard Cawthorne & Damian Walshe-Howling (BIKIE WARS), Glen McMillan from WONDERLAND, Abby Earl and Arianwen Parkes-Lockwood (A PLACE TO CALL HOME). WENTWORTH’S Leanna Walsman, and BETTER MAN’s, Remy Hii - just to name a few. 3rd AACTA Awards Winners Announced The Australian feature film category was dominated by BaZ Luhrmann’s THE GREAT GATSBY which won each of the six Awards for which it was nominated, including Best Cinematography, Best Production Design, Best Costume Design, Best Editing, Best Sound, Best Original Music Score presented by APRA AMCOS and the AACTA Award for Outstanding Achievement in Visual Effects. -
TAJEMNICA ALEKSANDRY Pressbook
Tajemnica Aleksandry (Alexandra’s Project) RE ŻYSERIA ROLF DE HEER W KINACH OD 23 STYCZNIA 2004 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (+4822) 536 92 00, fax: (+4822) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl re żyseria Rolf de Heer scenariusz Rolf de Heer zdj ęcia Ian Jones muzyka Graham Tardif monta ż Tania Nehme dźwi ęk James Currie scenografia Ian Jobson Phil MacPherson kostiumy Beverley Freeman wyst ępuj ą Gary Sweet Steve Helen Buday Aleksandra Bogdan Koca Bill Samantha Knigge Emma Jack Christie Sam Eillen Darley Christine Geoff Revell Rodney producenci Julie Ryan Dominco Procacci Rolf de Heer film wyprodukowany przez Fandango Australia Palace Films Hendon Studios South Australian Film Corporation Vertigo Productions Pty. Ltd. Australian Film Commission nagrody Montréal World Film Festival 2003 – Golden Zenith za najlepszy film z Oceanii Australia rok produkcji: 2003 czas trwania: 103 minuty kolor – Dolby Digital – 1:1,85 Tajemnica Aleksandry to thriller psychologiczo-erotyczny, opowiadaj ący w przewrotny sposób o instytucji mał żeństwa i odwiecznej wojnie płci. Dzi ęki klaustrofobicznym uj ęciom, niepokoj ącej ście żce d źwi ękowej oraz realistycznej grze aktorów, de Heerowi udało si ę uzyska ć nastrój znany z ostatnich filmów Davida Lyncha. Światowa premiera Tajemnicy Aleksandry miała miejsce w konkursie festiwalu filmowego w Berlinie w 2003. Film radykalnie podzielił publiczno ść i sprowokował burzliw ą dyskusj ę na temat współczesnego mał żeństwa, a tak że relacji mi ędzy męż czyzn ą i kobiet ą. Urodziny Steve’a (Gary Sweet), przeci ętnego czterdziestolatka zajmuj ącego kierownicze stanowisko w wielkiej korporacji, zapowiadaj ą si ę wyj ątkowo. -
APPENDIX DD Heritage Interpretation Strategy
APPENDIX DD APPENDIX 218948 Heritage Interpretation Strategy Curio Projects Heritage Interpretation Strategy SYDNEY FOOTBALL STADIUM, REDEVELOPMENT STAGE 2 SSDA MAY 2019 Prepared by Curio Projects for Infrastructure NSW FINAL REPORT [email protected] | P 0412 737 196 | Suite 9/17 Thurlow Street, Redfern NSW 2016 | ABN 79139184035 Curio noun cu·rio \kyur-ē-ˌō\: any unusual article, object of art, etc., valued as a curiosity Curio Projects Archaeology | Built Heritage Assessments | Heritage Feasibility Reviews | Interpretation | Archival Recordings | Adaptive Reuse Projects Document Information Citation Curio Projects 2019, Sydney Football Stadium, Stage 2 Development—Interpretation Strategy, prepared for INSW Local Government Area City of Sydney Council Cover Image Future Stadium—Community Space View (Source: Cox Architecture 2019) ISSUE ISSUE VERSION NOTES/COMMENTS AUTHOR REVIEWED No. DATE 1 26.02.19 Draft Draft for Client Review Claire Natalie Vinton Hickson 2 17.05.19 Final Draft Client changes Claire Sam Cooling incorporated Hickson 3 31.05.2019 Final For SSDA Submission Claire Sam Cooling Hickson This report has been prepared based on research by Curio Projects specialists. Historical sources and reference material used in the preparation of this report are acknowledged and referenced at the end of each section and/or in figure captions. Unless otherwise specified or agreed, copyright in intellectual property of this report vests jointly in Curio Projects Pty Ltd. Curio Projects Pty Ltd Suite 9/17 Thurlow Street Redfern NSW 2016 Australia Interpretation Strategy, Sydney Football Stadium Redevelopment, Stage 2 DA | INSW | May 2019 Curio Projects Pty Ltd 2 Curio Projects Archaeology | Built Heritage Assessments | Heritage Feasibility Reviews | Interpretation | Archival Recordings | Adaptive Reuse Projects Contents Document Information .............................................................................................................................................................. -
News Corporation 1 News Corporation
News Corporation 1 News Corporation News Corporation Type Public [1] [2] [3] [4] Traded as ASX: NWS ASX: NWSLV NASDAQ: NWS NASDAQ: NWSA Industry Media conglomerate [5] [6] Founded Adelaide, Australia (1979) Founder(s) Rupert Murdoch Headquarters 1211 Avenue of the Americas New York City, New York 10036 U.S Area served Worldwide Key people Rupert Murdoch (Chairman & CEO) Chase Carey (President & COO) Products Films, Television, Cable Programming, Satellite Television, Magazines, Newspapers, Books, Sporting Events, Websites [7] Revenue US$ 32.778 billion (2010) [7] Operating income US$ 3.703 billion (2010) [7] Net income US$ 2.539 billion (2010) [7] Total assets US$ 54.384 billion (2010) [7] Total equity US$ 25.113 billion (2010) [8] Employees 51,000 (2010) Subsidiaries List of acquisitions [9] Website www.newscorp.com News Corporation 2 News Corporation (NASDAQ: NWS [3], NASDAQ: NWSA [4], ASX: NWS [1], ASX: NWSLV [2]), often abbreviated to News Corp., is the world's third-largest media conglomerate (behind The Walt Disney Company and Time Warner) as of 2008, and the world's third largest in entertainment as of 2009.[10] [11] [12] [13] The company's Chairman & Chief Executive Officer is Rupert Murdoch. News Corporation is a publicly traded company listed on the NASDAQ, with secondary listings on the Australian Securities Exchange. Formerly incorporated in South Australia, the company was re-incorporated under Delaware General Corporation Law after a majority of shareholders approved the move on November 12, 2004. At present, News Corporation is headquartered at 1211 Avenue of the Americas (Sixth Ave.), in New York City, in the newer 1960s-1970s corridor of the Rockefeller Center complex. -
LOCOMOTIVES and STARGATES Inner-City Studio Complexes in Sydney, Melbourne and Toronto
LOCOMOTIVES AND STARGATES Inner-city studio complexes in Sydney, Melbourne and Toronto Ben Goldsmith and Tom O’Regan FBGMI1021STGn0apaeoCtac.20yenel1rUudc840rlc0onlis-0hLta8r6amy0l0t62&iI4o/30ots1hf20nsF0uA4ar2(0elap8r3nJtr6s.oicsn6Giugst3r)m0ni/Lf14aft4ld2it70oh70fU- 0C22n8u1i3lv2t3ue3r(1seoi9tnPyloNinliaect)yhanQLD 4111Australia+61 7 3875 [email protected] This article examines the place of large studio complexes in plans for the regeneration of inner- city areas of Sydney, Melbourne and Toronto. Recent developments in each city are placed in the context of international audiovisual production dynamics, and are considered in terms of the ways they inter- sect with a range of policy thinking. They are at once part of particular urban revitalisation agendas, industry development planning, city branding and image-making strategies, and new thinking about film policy at national and sub-national levels. The article views studio complexes through four frames: as particular kinds of studio complex development; as “locomotives” driving a variety of related industries; as “stargates” enabling a variety of transformations, including the remediation of contaminated, derelict or outmoded land controlled by public authorities or their agents close to the centre of each city; and as components of the entrepreneurial, internationally oriented city. KEYWORDS urban regeneration; film studios; city branding; film policy; cultural policy; screen production This article focuses on the recent transformation of large, inner-urban spaces in