Picnic at Hanging Rock
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Bruce Beresford's Breaker Morant Re-Viewed
FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam. -
Contrasting Cultural Landscapes and Spaces in Peter Weir's Film Picnic At
Coolabah, No.11, 2013, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Contrasting cultural landscapes and spaces in Peter Weir’s film Picnic at Hanging Rock (1975), based on Joan Lindsay’s 1967 novel with the same title 1 Jytte Holmqvist Copyright©2013 Jytte Holmqvist. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract: The following essay explores the relationship between contrasting cultures and cultural spaces within a rural Australian, Victorian, context, with reference to the narrated cultural landscape in Joan Lindsay’s novel Picnic at Hanging Rock (1967) and in the film based on the novel, by Peter Weir (1975). In the analysis of the five first scenes of the film, the focus will be on the notion of scenic- and human- beauty that is at once arresting and foreboding, and the various contrasting and parallel spaces that characterise the structure of book and film. The article will draw from a number of additional secondary sources, including various cultural readings which offer alternative methodological approaches to the works analysed, and recorded 1970s interviews with the author and the filmmaker. *** This essay explores the relationship between contrasting cultural spaces within a rural Australian context, with reference to Joan Lindsay’s 1967 novel Picnic at Hanging Rock and in Peter Weir’s film based on the novel (1975). The original novel may or may not be based on the real disappearance of three young girls in the Macedon area in 1867. -
Every Moment an Amazing Story MESSAGE from the CHAIRMAN, DR GRAEME L BLACKMAN OAM
VICTORIA ISSUE 1 FEB/MAR/APR 2015 National Trust of Australia (Victoria) AUS:$7.00 9 772204 397002 > Every moment an amazing story MESSAGE FROM THE CHAIRMAN, DR GRAEME L BLACKMAN OAM Welcome to our fi rst issue of National Trust, heralding a new look for our fl agship membership publication which has grown to refl ect our vision for the Trust as a leader and innovator in the custodianship and interpretation of heritage places. As well as featuring stories from the Trust showcasing our fascinating properties, collections and programs, National Trust includes new contributors bringing you stories from the rich world of history and heritage in Victoria and beyond. In 2015 Australia begins a four-year commemoration of the Centenary of Anzac, during which the National Trust will off er a number of public programs and tell some of the incredible wartime stories from our properties. Our National Trust Heritage Festival, themed Confl ict and Compassion (see pages 6–9), will highlight some of these stories, with an exhibition at Como exploring the impact of World War I on the Armytage family (see page 11). One of my personal highlights of 2014 was participating in the fi rst commemorative planting for the Gallipoli Oaks project at the Royal Botanic Gardens by the Governor General Sir Peter Cosgrove in November (see p 21). From now until 2018, the Trust will be delivering Gallipoli Oak saplings with an accompanying education kit to over 500 schools across Victoria to provide a new generation with a living link to Gallipoli. I hope that you are able to join us at a National Trust Heritage Festival event this year. -
One of New Zealand's Most Famous Exports, Sam Neill Returned to His
cheers! Actor and winemaker Sam Neill proudly presents his very own pinot noir one of New Zealand’s most famous exports, Sam Neill returned to his family’s homeland in 1993 to put a stake, literally, in the ground at his Two Paddocks vineyard. The veteran actor shares the fruits of his frustrating, yet ultimately rewarding, labour with Hong Kong Tatler A Vintage Career by Robby Nimmo hong kong tatler september 2009 Ireland for the first time a couple of years ago, from Ivanhoe co-star James Mason, whom he it was wonderful to return to the place where I Neill’s describes as “a friend and mentor.” The advice spent the first seven years of my life. I felt incon- movie fits with the self-effacing New Zealand psyche. spicuous there until a woman handed me a cup of Strip “He taught me never, never act. Just be. I think coffee in a small restaurant and whispered, ‘We’re the ‘be’ thing is important. Just inhabit the role. very proud of you around here’. I nearly cried.” Don’t go showing off. Showing off is bad.” The self-effacing streak runs thick in Neill’s reilly: ace of Neill is as laconic and low key as he is driven. spies veins and, indeed, in New Zealand’s national directed by Jim His sartorial elegance is also understated. The psyche. “The New Zealand self-effacing thing is a Goddard and Martin wardrobe choice for this interview is Neill de double-edged sword that can have a downside. It Campbell (1983) rigueur: a simple, well-cut light-coloured linen can often go with undervaluing and underselling suit that would look at home beneath a straw your own culture and your own worth. -
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 -
Gillian Armstrong Gillian Armstong Came to Prominence in the 1970S
Gillian Armstrong Gillian Armstong came to prominence in the 1970s as an outstanding young Australian film director, who has gone on to achieve sustained international success. Alongside filmmakers like Bruce Beresford, John Duigan, Phil Noyce, Fred Schepisi and Peter Weir, her early work was supported by a new national film industry, giving expression to an individual creative vision and an Australian content. Gillian Armstrong’s father was an amateur photographer, and as she grew up, she had her own camera and interest in photography. She studied a Diploma of Art (Film and Television) at Swinburne Technical College, graduating in 1971, Originally enrolled in costume design, she started attending the film course and became entranced with the medium and with the work the students were doing ... turning more and more to still photography and then to film’ (Stratton 1980, p.213). It was the first course in film and television in Australia, initially offered by Swinburne Art School within the Department of Graphic Design. Armstrong ‘experienced great stimulus from the art side of the course — for her the philosophy of film as a means of expression and vision came from the first two years of the course in art and graphic design’ (Paterson 1996, p.46). She graduated with the experimental film The Roof Needs Mowing , 1970. Brian Robinson, first head of the Swinburne Film School, was significant in the development and operation of this innovative course, and the creative learning experience of the small student intake. Regarding them as artists being trained in the technical skills of filmmaking, he thought they should all ‘aim at being producers and directors’ (Paterson 1996, p. -
AACTA Announces Return to Channel Seven, New Hair and Makeup Award for Sixth Awards Season
MEDIA RELEASE – STRICTLY EMBARGOED UNTIL 12:01AM THURSDAY 14 APRIL, 2016 AACTA Announces Return to Channel Seven, new Hair and Makeup Award for Sixth Awards Season • Film, Documentary and Short Film Entries Now Open • Applications for Juries Across All Categories Now Open The Australian Academy of Cinema and Television Arts (AACTA) today announced that it will return to Channel Seven in December, following record viewers for the nation’s top screen awards which moved to Seven last year. The 6th AACTA Awards Ceremony presented by Presto will be held on Wednesday 7 December at The Star Event Centre in Sydney, again capitalising on a primetime telecast and driving great awareness for Australia’s top film and television productions awarded ahead of the Christmas and holiday period. An extended version of the Ceremony will again encore on Foxtel. Launching its sixth awards season, AACTA today announced a new award - the AACTA Award for Best Hair and Makeup, which encompasses film and television - and said a host of new television awards will be announced next month as a result of its new partnership with ASTRA. AACTA today called for entries across feature film, documentary and short film award categories, and jurors across all awards categories, with this year seeing more than 45 peer-assessed awards presented, celebrating Australian stories, culture and creativity captured on the big and small screens. All television entries, as well as jurors for new television categories, will be called for when the newly- expanded television awards are announced in May. AACTA also today announced the date of the industry-exclusive 6th AACTA Awards presented by Presto Industry Luncheon, which will be held on Monday 5 December at The Star Event Centre in Sydney. -
Driving Miss Daisy
COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is. -
Film at Lincoln Center New Releases Series & Festivals March 2020
Film at Lincoln Center March 2020 New Releases The Whistlers Bacurau The Truth The Traitor Series & Festivals Rendez-Vous with French Cinema Mapping Bacurau New Directors/ New Films Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY FESTIVAL Rendez-Vous with French Cinema MARCH 5–15 Co-presented with UniFrance, the 25th edition of Rendez-Vous demonstrates that the landscape of French cinema is as fertile, inspiring, and distinct as ever. Organized by Florence Almozini with UniFrance. ( In-Person Appearance) Special Student Savings! $50 All-Access Pass NEW YORK PREMIERE Deerskin Quentin Dupieux, France, 2019, 77m Oscar- winner Jean Dujardin and Adèle Haenel star in a rollicking take on the midlife crisis movie, directed by Rendez-Vous mainstay Quentin Dupieux. A Greenwich Entertainment release. Sunday, March 8, 9:15pm Saturday, March 14, 9:00pm NORTH AMERICAN PREMIERE An Easy Girl Rebecca Zlotowski, France, 2019, 92m Cuties Rebecca Zlotowski’s fourth feature taps into the universal hunger of adolescence, and OPENING NIGHT • NEW YORK PREMIERE U.S. PREMIERE imbues an empathetic coming-of-age story The Truth Burning Ghost with a sharp class critique. A Netflix release. Hirokazu Kore-eda, France/Japan, 2019, 106m Stéphane Batut, France, 2019, 104m Winner of Saturday, March 7, 9:00pm In his follow-up to the Palme d’Or–winning the prestigious Prix Jean Vigo, this smoldering Thursday, March 12, 4:00pm Shoplifters, Hirokazu Kore-eda casts two titans feature debut from Stéphane Batut is an of French cinema, Catherine Deneuve and entrancing tale of aching romanticism on the NEW YORK PREMIERE Juliette Binoche, in a film structured around the precipice of life and death. -
John ASHBERY, Poet (1927–2017)
XXXXX SIZE: 170x170 Cuneiform tablet c. 2050 BCE Southern Mesopotamia (modern-day Iraq) RARES 099 C89 Cuneiform writing, developed by the ancient culture of Sumer, was one of the world’s first scripts. It was written on clay tablets using a wedged stick (cunea is Latin for ‘wedge’); the tablets were then sun-dried or fired. The earliest tablets (c. 3400 BCE) record economic transactions. This tablet records taxes paid in sheep and goats in the tenth month of the 46th year of Shulgi, second king of the Third Dynasty of Ur. BOOKS AND IDEAS ‘[T]he book is an extension of the eye …’ Marshall McLuha n The history of ideas is mirrored in the history of the book. Books have altered the course of history itself, through the dissemination of ideas that have changed how we think about the world and ourselves. In many cultures across different eras, books have played a highly symbolic and iconic role. There was a time when it was thought that the world’s knowledge could be collected between the covers of a book. The information explosion of recent times now makes it impossible to contain the world’s knowledge within one library, let alone in one book, yet books continue to be a powerful means of informing and inspiring new generations. XXXXX SIZE: 170x170 Leaf from an antiphonal showing the Office for Pope Gregory the Great England (?), c. 1400 Gift of Meredith Sherlock RAREP 782.324 C2862O CASE: XX SIZE: 150x 150 Claudius PTOLEMY (c. 100–170 CE) Ptolomaeus Almagestus (Ptolemy’s Greatest Work) Translated from Arabic into Latin by Gerardus Cremonensis Northern Italy, 1200–25 RARES 091 P95A Greek-born scholar Claudius Ptolemy lived in Roman-ruled Egypt, contributing significantly in the fields of philosophy, astronomy, mathematics and geography. -
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. -
Attack Force Z Head Credits
Opening titles: Z Special Force was a secret operations unit of the Australian Armed Services in World War Two. It was made up of volunteers from all branches of the Allied Forces and came under the direct command of General Douglas Macarthur. Z Special carried out two hundred and eighty- four war time missions in the Pacific. The most publicised of these were the successful canoe raid on Singapore harbour from the 'Krait' and the subsequent Rimau raid in which all twenty- three participants were either killed in action or executed. The events depicted in this film are an honest and unflinching account of the type of operation carried out by our unit during the war. John L. Gardner (signature) President Z Special Force Association of New South Wales 10th January, 1945. Straits of Sembalang South West Pacific John McCallum Productions Central Motion Picture Corporation presents JOHN PHILLIP LAW Lieutenant J. A. Veitch Army of the Netherland East Indies MEL GIBSON Captain P. G. Kelly Australian Imperial Forces SAM NEILL Sergeant D. J. Costello D.C.M. Australian Imperial Forces CHRIS HAYWOOD Able Seaman A.D. Bird Royal Navy JOHN WATERS Sub Lieutenant E. P. King Royal New Zealand Navy ATTACK FORCE Z (with logo sword penetrating Z) also starring KOO CHUAN-HSIUNG Lin Chan-Lang SYLVIA CHAN Chien Hua O TI Shaw Hu Executive Producers John McCallum George F. Chang Screenplay Roger Marshall Director of Photography Lin Hun-Chung Editor David Stiven Music Eric Jupp Produced by Lee Robinson Directed by Tim Burstall.