Stars Shine at 2Nd AACTA Awards
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AACTA Announces Short Film Nominees for the 4Th AACTA Awards
MEDIA RELEASE Strictly embargoed until Wednesday 3rd September, 2014. AUSTRALIAN ACADEMY ANNOUNCES FIRST NOMINEES FOR 4TH AACTA AWARDS The countdown to Australia’s top screen Awards has officially started, with the first nominees for the 4th Australian Academy of Cinema and Television Arts (AACTA) Awards announced today. Nominees were announced in the Best Short Animation and Best Short Fiction Film categories for the 4th AACTA Awards, which will also see Australia’s best film, television and documentaries awarded in Sydney in January 2015. Feature Films in Competition and nominees for the AACTA Award for Best Feature Length Documentary for the 4th AACTA Awards will be announced in the coming weeks, and all Feature Film, Television and the remaining Documentary nominees will be announced later in 2014. NOMINEES FOR THE AACTA AWARD FOR BEST SHORT ANIMATION • GOD SQUAD. Nicholas Kempt, Troy Zafer • Grace Under Water. Anthony Lawrence • Love In The Time Of March Madness. Robertino Zambrano, Melissa Johnston • The Video Dating Tape of Desmondo Ray, Aged 33 & 3/4. Steve Baker This year’s Best Short Animation nominees arrive at the AACTA Awards with a host of Festival screenings behind them, both national and international. The Video Dating Tape of Desmondo Ray, Aged 33 & 3/4, which screened at SXSW 2014 and St Kilda Film Festival 2014, is by writer-director Steve Baker, a previous Tropfest and AFI Award winner. This darkly funny short film portrays Raymond, a loner with a penchant for peeing in the rain, as a likeable, if not likely, dating prospect. Also funny and touching is Love In The Time Of March Madness - a ‘tall short’ about a 6’4” woman whose success on the basketball court is at odds with her luck in love. -
10 –19 January
29TH INTERNATIONAL SHORT FILM FESTIVAL ELECTRIFYING SHORT FILMS 10 –19 JANUARY BONDI PAVILION, BONDI BEACH As Australia’s leading Academy® accredited Affairs And Trade, and Australia now ASEAN short film festival, the shorts in competition at 2019, European Union Delegation to Australia, Flickerfest are fiercely vying for a number of and Screen NSW. prestigious prizes including the Flickerfest Award I would also like to extend an enormous thanks for Best International Short Film, the Yoram to our major government partner Screen Gross Award for Best International Animation, Australia who supports both our festival, and the the Flickerfest Award for Best Australian Short national tour, and who has been a continuous Film, and for Best Documentary. Plus a host of source of encouragement as we strive to deliver other hotly contested prizes, which recognise the our vision of providing a platform that nurtures various craft areas inherent in making a great and supports Australian Filmmakers, and in turn short film. provides Australian audiences with access to 2020 will bring over 23 different short film inspirational storytelling from their own backyard programmes across the 10-day festival and beyond. season. We are proud to announce that BRONWYN KIDD To all our partners who are acknowledged in due to the outstanding home grown talent FESTIVAL DIRECTOR this programme, I am extremely grateful for the and creativity received this year, we will essential and ongoing support they provide. We Welcome to the 29th Flickerfest International be screening 7 Australian competitive thank them enormously for their belief in us, Short Film Festival. As we move forward into programmes in addition to the 5 international which assists us in maintaining Flickerfest as one another film filled and jam packed festival, I am and 2 documentary programmes, which of the best short film competitions in the world. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
In the Winter Dark Tail Credits
Tail voice over: After Maurice has shot his wife Ida, he heads up the hill to his dying wife. He holds her in his arms and sobs as she dies. Jacob gets Ronnie out of the vehicle and pushes the flat bed Toyota upright. Maurice grabs a shovel and begins to dig a grave for his wife. Jacob carries Ronnie to the truck, and they drive off into the darkness, while Maurice begins the job of digging a hole, pausing to watch the Toyota disappear into the night. Then the image cuts to Maurice sitting on the verandah of his home in pre-dawn light, at first in close up. As his voice over unfolds, the camera pulls back to offer a wide shot of him on the verandah : Maurice (v/o): “Some nights I sit here and talk and stare, and stay out until the break of day …waiting, hoping. There’s been no blue lights, no detectives, no sign of Jacob or Ronnie or her musician boyfriend … and it’s been almost a year… (A kookaburra begins to sound over a wide shot of the dawn light falling on the pasture and the bush). … Sometimes I see a shadow … (ECU of his eyes) …between the trees. But I know to leave these things alone now …(back to a wide shot of him on the verandah, now with dawn light on it) …I make my confession, wait for redemption …or punishment …(a shot of the sun rising over a distant hill, bathing the screen in a yellow hazy glow) …but there’s only the sun rise … Music swells, fade to black, and end credits begin to roll .. -
By Network Page 1 of 2
2ND AACTA AWARDS WINNERS BY TELEVISION NETWORK ABC1 (9 Awards) Redfern Now – 2 Awards • AACTA Award for Best Screenplay in Television - Episode 6 'Pretty Boy Blue' • AACTA Award for Best Lead Actress in a Television Drama - Leah Purcell - Episode 1 'Family' A Moody Christmas – 1 Award • AACTA Award for Best Performance in a Television Comedy - Patrick Brammall Agony Aunts – 1 Award • AACTA Award for Best Light Entertainment Television Series Dr Sarmast's Music School – 1 Award • AACTA Award for Best Sound in a Documentary Jack Irish: Bad Debts – 1 Award • AACTA Award for Best Direction in Television Lowdown - Season 2 – 1 Award • AACTA Award for Best Television Comedy Series Rake - Season 2 – 1 Award • AACTA Award for Best Lead Actor in a Television Drama - Richard Roxburgh Then The Wind Changed – 1 Award • AACTA Award for Best Documentary Under One Hour ABC3 (1 Award) The Adventures of Figaro Pho – 1 Award • AACTA Award for Best Children's Television Series FOXTEL - MOVIE NETWORK (2 Awards) Fighting Fear – 2 Awards • AACTA Award for Best Direction in a Documentary • AACTA Award for Best Cinematography in a Documentary 2nd AACTA Awards_Winners By Network Page 1 of 2 NINE NETWORK (3 Awards) Howzat! Kerry Packer's War – 2 Awards • AACTA Award for Best Telefeature or Mini Series • AACTA Award for Best Guest or Supporting Actress in a Television Drama - Mandy McElhinney - Part 2 Underbelly Badness – 1 Award • Award for Best Guest or Supporting Actor in a Television Drama - Aaron Jeffery - Episode 3 'The Loaded Dog’ NETWORK TEN (1 Award) Puberty Blues – 1 Award • AACTA Award for Best Television Drama Series SBS (2 Awards) Go Back To Where You Came From • AACTA Award for Best Documentary Series – 1 Award Once Upon A Time In Cabramatta – 1 Award • AACTA Award for Best Editing in a Documentary - Episode 1 SEVEN NETWORK (1 Award) The Amazing Race Australia – 1 Award • AACTA Award for Best Reality Television Series --End-- Details subject to change at the discretion of AFI | AACTA 2nd AACTA Awards_Winners By Network Page 2 of 2 . -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Inclusive and Values Education Resources
INCLUSIVE AND VALUES EDUCATION RESOURCES Television, lm and multimedia have important roles to play in learning outcomes across the curriculum. The ACTF programs featured above can be used in multiple education settings to support the teaching of English, Arts (lm/media studies), Science, Technology, Indigenous education, Environment, HPE (personal development) and Values education. Each ACTF production is supported with teaching resources; either freely available online through the Learning Centre or on DVD ROM, purchased with the production. Visit the ACTF online catalogue at www.actf.com.au for the latest programs, teaching resources, lesson plans, teaching kits, CD and DVD materials. AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION Level 3, 145 Smith Street Fitzroy | Victoria 3065 | AUSTRALIA ph: +61 3 9419 8800 | fx: +61 3 9419 0660 DATE TIME VENUE COST Friday 23rd October, 7.45pm for an The Plaza Ballroom, Regent Theatre Adult $75 + GST 2009 8.00pm start Collins Street, Melbourne Junior (under 15) $35 + GST Brought to you by Australian and New Zealand Cinema 8 Shortcuts TINA KAUFMAN 10 A Matter of Trust: Last Ride CARLY MILLAR 14 'Letting Things Breathe': Glendyn Ivin, Hugo Weaving and Tom Russell on Last Ride TOM REDWOOD 18 Tests of Endurance: Love, Faith and Family in My Year Without Sex ANNA ZAGALA 24 Swimming with Sharks: A Conversation with Sarah Watt DAVE HOSKIN 30 A Matter of Interpretation: Disgrace Documentary BRIAN MCFARLANE 36 The Birth of a Nation: Living on the Land in 76 Eyes on the World: Australian Documentary at Lucky -
The Silences PRESS KIT 24 Oct 2016
PRESS KIT Distributed by Ronin Films: PO Box 680 Mitchell ACT 2911 www.roninfilms.com.au Ph: 02 6248 0851Fax: 02 6249 1640 Synopsis: A film about family secrets and the ties of love, loss and kinship between a mother and daughter. The Silences is a personal essay documentary about the tangled bonds, secret histories and unspoken traumas of family life that stretches from New Zealand to the Australian suburbs. It is an exploration of early childhood and the “silences” of the past that resonate in the present. It draws upon a wealth of photographs, letters, oral histories, documentary footage and clips from the filmmaker’s previous work. It unfolds a mother’s story of lost opportunities, lost love and grief; a father’s story of work, mental illness and war; and a daughter’s story of trying to piece together a more complex picture of the confusing ties of love, loss and kinship between a mother and daughter. Festivals, Awards and Events Awards 2016 AWGIE AWARD Documentary Broadcast or Exhibition Best Feature - 2nd Reel Sydney Festival of World Cinema Trophy Award- WAYMI (World Association of Young People who have a Mentally Ill Parent) Finalist Australian Directors Guild Awards – Feature Documentary 2015 Finalist Australian Teachers of Media Awards - Documentary Biography Festivals and screenings 2016 Soroptimist Int – fundraiser – Zenith Theatre Chatswood, Queensland Film Festival Griffith University – research seminar screening, Reel Sydney Festival of World Cinema – opening night film American Documentary Film Festival, Palm Springs – -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
The 65Th Sydney Film Festival Begins 06/06/2018
MEDIA RELEASE: 09:00pm WEDNESDAY 6 JUNE 2018 THE 65th SYDNEY FILM FESTIVAL BEGINS The 65th Sydney Film Festival (6 – 17 June) opened tonight at the State Theatre with the Australian premiere of New Zealand film The Breaker Upperers. Festival Director Nashen Moodley was pleased to open his seventh Festival to a packed auditorium including the film’s writers-directors-stars Jackie van Beek and Madeleine Sami, alongside Australian actress Celia Pacquola and New Zealand actress Ana Scotney, who feature in the film. NSW Minister for the Arts Don Harwin said at the Opening Night Gala, “With some of the very best in visual storytelling from Australia and around the world, the 65th Sydney Film Festival promises to deliver something for every screen enthusiast this winter. Attending the cinema and taking in a film that captures your imagination is an enriching experience and judging by this year’s line-up, festival- goers have a lot to be excited about. I look forward to seeing Sydney’s cinemas buzzing this month as we enjoy another year of this brilliant festival in our city. All you have to do is sit back, relax, and enjoy the show.” Lord Mayor of Sydney, Clover Moore also spoke, welcoming audiences to come and experience all the Festival has to offer. “The City of Sydney is proud to continue our support for the Sydney Film Festival – one of the world’s oldest, continuous celebrations of film. As a global city, it’s essential that our residents and visitors have the opportunity to engage with stories and cultures from around the world – as well as promoting the work of our talented home-grown filmmakers.” “We are also proud to once again offer the Sydney Film Festival a home for The Hub in Lower Town Hall – where you can meet friends (and strangers!) to discuss the films you’ve seen, attend one of the brilliant talks or panels with filmmakers, or experience the best new Virtual Reality projects on offer,” she said. -
Press Release
4.1.2016 PRESS RELEASE THE WHITNEY MUSEUM OF AMERICAN ART ANNOUNCE THE WORLD PREMIERE OF FEATURE FILM THE SILENT EYE FEATURING CECIL TAYLOR & MIN TANAKA & DIRECTED BY ACCLAIMED AUSTRALIAN FILMMAKER AND ARTIST AMIEL COURTIN-WILSON. http://whitney.org/Exhibitions/OpenPlanCecilTaylor THE SILENT EYE is the World Premiere of a new feature length performance film by Amiel Courtin-Wilson featuring Min Tanaka and Cecil Taylor. Shot in Cecil Taylor’s home over three days in January 2016, the film is a highly intimate, impressionistic portrait of the unspoken rapport between two masters of their form. Shot by Sundance award winning cinematographer Germain McMicking and featuring sublime slow motion cinematography of Cecil and Min at work together, the film plays out like a timeless, elegant conversation between the two men- at once meditative and highly moving. The Robert D. Bielecki Foundation have just announced their generous support of the completion of the film and Robert had this to say about the project. “Filmmaker Amiel Courtin-Wilson's THE SILENT EYE is a marvel of time expanded and contracted. He captures a journey between old friends filled with prescient reminiscence - a meditation in sound and movement between two masters catching up, rewinding, and spinning forward the way ocean currents undulate when kissed by the wind.” Amiel is also thrilled to be working with the Robert D. Bielecki Foundation. “It is a humbling and deeply inspiring experience to be supported to create such a singular and specific film.” Acclaimed director Amiel Courtin-Wilson's feature films have screened and won awards at Venice Film Festival (HAIL, 2011 RUIN, 2013) Cannes (CICADA, 2009) and Sundance (CHASING BUDDHA, 2000). -
MIFF 37ºsouth MARKET SENDS PRODUCERS to LONDON and KICKS-‐OFF WENDALL THOMAS &
MIFF 37ºSouth MARKET SENDS PRODUCERS TO LONDON AND KICKS-OFF WENDALL THOMAS & ADRIAN WOOTTON SEMINAR SERIES MELBOURNE: MIFF 37ºSouth Market, the film co-financinG event during the opening days of the Melbourne International Film Festival (MIFF), closed its sixth edition on Sunday with the announcement of the producers who were awarded the MIFF 37ºSouth Market Alliance places at the UK’s Production Finance Market (PFM). MIFF 37ºSouth Market is the exclusive Australia/NZ partner of the prestigious London Production Finance Market (PFM). Under this alliance, the only three Guaranteed Australia/NZ PFM places are reserved for producers attendinG MIFF 37ºSouth Market. Selection for the three 37ºSouth places at PFM is Guided by the votes of international financiers/buyers at MIFF 37ºSouth Market. This year, thanks to sponsor Film Finances, one of the three producers selected for the October PFM received a fliGht voucher of A$2,000 towards their trip. The producer winninG the PFM place and fliGht coupon was Jamie Hilton from New South Wales. The other two producers to win places at the PFM were Stephen Van Mil from Western Australia and Tainui Stephens from New Zealand. MIFF 37ºSouth Market, Australia’s only film co-financinG market to be held at a film festival, this year hosted a record 49 film financiers/buyers includinG Shoreline (USA), Svensk (Europe), K5 (USA), Trust Nordisk (Europe), Sierra/Affinity (USA), Beta (Europe), CarGo (USA), Yellow (Europe), XYZ-Celluloid (USA), Ingenious-Fox (Europe), eOne (Canada), West End (Europe), Aver (Canada), AV (Europe), Hyde Park-ImaGeNation (Asia/USA), NonStop (Europe), Roadshow (Australia), Level K (Europe), Fulcrum (Australia), Fortissimo (Europe), EFIC (Australia), JinGa (Europe), Transmission (Australia) and The Works (Europe).