P R E S S K I T

A F E A T U R E D O C U M E N T A R Y C E L E B R A T I N G T H E L E G A C Y O F T H E B O L D W O M E N O F T H E W O M E N ’ S L I B E R A T I O N M O V E M E N T W H O R E - I G N I T E D T H E F E M I N I S T R E V O L U T I O N I N A U S T R A L I A .

Written and Directed by Catherine Dwyer Produced by Philippa Campey and Andrea Foxworthy Executive Produced by Sue Maslin | Edited by Rosie Jones Distributed by Film Art Media

International Women’s Day March, , 1975 Photo by Anne Roberts courtesy Mitchell Library, State Library of New South Wales and SEARCH Foundation.

COMING SOON TO CINEMAS brazenhussies.com.au LOG LINE

A feature documentary celebrating the legacy of the bold women of the Women’ s Liberation Movement who re-ignited the feminist revolution in Australia.

SHORT SYNOPSIS

BRAZEN HUSSIES reveals a revolutionary chapter in Australian history, the Women's Liberation Movement (1965 -1975). Interweaving freshly uncovered archival footage, personal photographs, memorabilia and lively personal accounts from activists, BRAZEN HUSSIES shows us how a daring and diverse group of women joined forces to defy the status quo, demand equality and create profound social change - contributing to one of the greatest social movements of the 20th Century. SYNOPSIS

"It was one of those epoch-breaking periods that can only be sustained briefly but, within which, everything is born." SUZANNE BELLAMY

BRAZEN HUSSIES introduces contemporary audiences to the Australian second wave feminists, who declared war on ‘male chauvinism’, traditional sex roles and demanded that women be set free from the ‘chains of femininity’. This feature documentary traces how the Australian Women’s Liberation Movement was born amidst the tumultuous politics of the 1960s, influenced by the anti-war, anti-imperialist, and civil rights movements worldwide. The film combines a treasure trove of startling archive footage with interviews from key activists from around Australia.

From its first stirrings in Brisbane in 1965 to its controversial incursions into the Whitlam government from 1973 to 1975, the film shows how women began organising around issues such as equal pay, reproductive rights, affordable childcare, and the prevention of family violence and rape. As the story unfolds, these issues go from being dismissed as the outrageous demands of a few “brazen hussies’’ to becoming crucial elements on the platforms of Australia’s major political parties.

From the radical arm of the ‘Women’s Libbers’ to the reform-focused groups such as the Women’s Electoral Lobby, BRAZEN HUSSIES shows the diversity of women involved, and the collective power it took to achieve change. The film explores how ASIO spied on the movement, the pushback by the male-dominated media, and the impact of internal struggles within the movement. Tensions emerge over the inclusion of lesbians and the relevance of the movement to Aboriginal women. These struggles are laid bare to show how the activities of a small group of determined women grew into a huge social movement and ultimately changed the lives and opportunities of ALL women.

By going back in time, BRAZEN HUSSIES reveals how the changes demanded by these women 50 years ago, have paved the way for where finds itself today. While the landscape, breadth and diversity of feminism is vastly different today – without this movement and the changes it achieved, we wouldn’t be where we are now. Recording and celebrating this important history, offers a valuable opportunity to reassess and discuss where we are at as a society, what gains have been made, what is at risk and where we are headed. While the struggle is far from over, women and girls today will be inspired by the pioneering efforts of those who came before them and changed the world forever. ABOUT THE FILM

BRAZEN HUSSIES was initiated by Catherine Dwyer, inspired by her years in New York working on the acclaimed feature documentary She’s Beautiful When She’s Angry (directed by Mary Dore). Catherine returned to Australia in 2015 to screen the film here at MIFF, and with a mission to discover Australia’s own history of the Women’s Liberation Movement.

From our first meetings in early 2016, we have worked together through countless pitching proposals, meetings, development rounds and re- writes. All the while Catherine was researching the history of women’s liberation in Australia.

With development investment from Film Victoria in mid-2016, Catherine began connecting with historians, academics, authors, and activists in her research into the movement. With an almost encyclopaedic memory and nous for personal detail, Catherine then crafted a first draft of the feature documentary script. Acclaimed script editor Annette Blonski then joined the team as we developed the film proposal further.

Throughout this time, Producer Andrea Foxworthy has been shaping and driving our philanthropic fundraising. In 2018 we launched a three minute ‘teaser’ to kickstart our crowdfunding campaign. To our astonishment it was enthusiastically embraced and promoted via independent cinemas around Australia. Later that year Andrea was selected for Creative Partnership Australia’s coveted ‘Match Lab’ seminars, that culminated in the project raising over $26,000 through CPA and Australian Cultural Fund’s matched funding scheme. Andrea also participated in Documentary Australia Foundation’s StoryWorks lab in October 2019. To date, the film has secured the support of over 500 philanthropic donors, raising over $134,000 via fundraising events and individual donors from all over Australia giving amounts ranging from $5 to $10,000! We interpreted this enthusiasm for the project as an indication that it was beyond time for the stories from this era to be profiled.

The process of documenting this near-forgotten chapter of Australian social and political history has resulted in us gathering over 4,000 photographs, journals, artworks, and posters and over 800 news clips, documentaries and dramatic films. We interviewed over 25 women and will ensure this archive is preserved for the future.

ABOUT THE FILM (CONT)

We were determined to make the film with a predominantly female identifying or non-binary crew. This included most of our cinematographers, sound recordists, and editing assistants, our researchers, interns, composer, sound designer, animator, editor and colourist.

As we neared the end of the post-production, like everybody else, we were hampered by the global pandemic. The need to suddenly work remotely from each other over the past 5 months has brought its own challenges – not least of which was securing precious archive masters from locked away libraries from the many sources around the country. Collaborating creatively over the internet is not simple, but with the generosity and patience of all of our team, the investors and the contributors, we have a finished film we are proud of.

This film is the story of a generation of women who are now ageing. During the process of production, we have sadly lost a few heroines, too soon. BRAZEN HUSSIES is conceived and produced by women who are daughters of this second wave. We have all benefited directly from the rights they fought so hard for – at great personal cost. We hope that this film – our contribution to the cause - will help to inspire the generations behind us. Without documenting a version of women’s liberation history – there’s a chance the whole story will be lost.

Over the long duration of this production – almost 5 years – we have witnessed a shift in Australia’s positioning of feminism. Since Julia Gillard’s infamous speech in 2013, we’ve seen the rise of the #metoo movement. We’ve witnessed debates between the younger generation of feminists and the second wave women about approaches, gender identity and intersectionality. All of these changes signal a shift that we hope BRAZEN HUSSIES helps to invigorate and support. We hope this film can act as a clarion call that invites discussion, progresses the debate, and ultimately aids the societal change that can improve the lives of all Australians. CATHERINE DWYER

DIRECTOR & WRITER

First time Director, Catherine Dwyer, was inspired to make a film about the history of the Women’s Movement in Australia through her experience working as Associate Producer – Post Production, Researcher and Assistant Editor on Mary Dore’s critically acclaimed and award winning documentary She’s Beautiful When She’s Angry (2014) - the story of the US Women’s Liberation Movement. Catherine was the Impact Producer on Freedom Stories (dir. Steven Thomas 2016), a documentary that explores the achievements and stories of former ‘boat people’ who arrived in Australian waters seeking asylum. Catherine has also directed and edited music videos and shorts. ANDREA FOXWORTHY PRODUCER

Andrea Foxworthy is an experienced Producer and Production Manager based in . At Sensible Films she coordinated post-production of the CinéfestOZ prize-winning Putaparri and the Rainmakers and worked with Impact Producer Julianne Deeb on the festival and impact campaign for the film. In 2010 Andrea first discovered the chutzpa of the second wave activists of the Australian Women’s Movement, when she produced On Her Shoulders (2011) for UN Women, to commemorate the centenary of International Women’s Day. On Her Shoulders was nominated for an ATOM Award (Best Short Documentary), won ‘Best Short’ at the 2011 La Mirada Film Festival, screened at Revelation Perth International Film Festival, was broadcast on ABC TV, distributed to Australian High Schools and has had over 100,600 YouTube views.

At Early Works, Andrea Co-produced Indonesia Calling: Joris Ivens in Australia (2009, ABC TV/MIFF Premiere Fund). As a freelance Production Manager, Andrea has helped ensure the smooth delivery of many broadcast documentaries including Indian Wedding Race (2016, SBS), Sperm Donors Anonymous (2015, ABC), Devil Island (2013, ABC/ITV/France Television /NGTI), Acid Ocean (2013, SBS/ARTE/SVT/ZDF/WGBH/ZED), An Unstoppable Force (2008, ABC), Hidden Treasures Series 2 (2008, ABC), PNG: The Rules of the Game (2007, SBS/ITVS) and Dogstar (2007 & 2012, 9 Network/BBC). PHILIPPA CAMPEY

PRODUCER

Philippa Campey is the founder of Melbourne-based production company Film Camp. Over the past 15 years Film Camp has produced many critically acclaimed and commercially successful feature documentaries including Bastardy, murundak: Songs of Freedom, Iraq, My Country. Her debut feature drama Galore premiered at Berlinale 2014, The Face of Ukraine: Casting Oksana Baiul, won the Short Film Jury Prize at Sundance 2015 and her debut short Clara won the Jury Special Mention in Cannes 2005. Other films have won awards at AFI Fest, FIFO and Seminci Valladolid, and have screened at over 100 festivals in the world including Venice, Berlinale, Telluride, True/False, BFI London and Sheffield Doc/Fest. Philippa has most recently released theatrical documentaries The Leunig Fragments about the acclaimed cartoonist and artist, and No Time for Quiet about Girls Rock!

Philippa was awarded SPA's Independent Documentary Producer of the Year (2008); Film Victoria's Greg Tepper Award (2009); and is an inaugural recipient of Film Victoria's Natalie Miller Fellowship Women in Leadership (2016). SUE MASLIN AO EXECUTIVE PRODUCER

Sue Maslin is one of Australia's most successful film, television and digital content producers with a track record of creating award winning feature and documentary films. Her most recent is the smash hit The Dressmaker, starring Kate Winslet and Judy Davis. It grossed more than $20 million at the box office and garnered the highest number of nominations at the 2015 Australian Academy Awards, winning five including the coveted People's Choice Award for Favourite Australian Film.

Feature credits include Road To Nhill, winner of 2003 Best Feature Film at Thessaloniki International Film Festival; Japanese Story, winner of 2003 AFI Award for Best Feature Film and Hunt Angels, winner of the 2006 AFI Award for Best Feature Documentary Film.

Sue's outstanding 35-year contribution to the Australian screen industry has been recognised in numerous ways. In 2012 she received the inaugural Jill Robb Award for Outstanding Leadership, Achievement and Service to the Victorian Screen Industry. Sue was inducted into the Victorian Honour Roll of Women in 2018 as well as appointed as an Officer (AO) of the Order of Australia in 2019 for distinguished service to the Australian film industry as a producer, and through roles with professional bodies. FILM ART MEDIA

Film Art Media Pty Ltd is a rights management, development and distribution company based in Melbourne, Australia. Principals Daryl Dellora and Sue Maslin AO have a 27-year track record together producing blue chip feature films, television and digital media programs. The establishment of Film Art Media in 2008 represents their broadening vision for development and rights management of quality screen content and enables the self-distribution of their content.

They specialise in screen content that consistently demonstrates high levels of access to unique people, places and institutions; high audience appeal and is at the cutting edge of innovation in screen content and form. Production and distribution credits include Celebrity: Dominick Dunne; The Edge of The Possible –Jorn Utzon and the Sydney Opera House; Michael Kirby – Don’t Forget The Justice Bit and Harry Seidler - Modernist all screening on ABC TV. Recent releases include Other People’s Problems; Behind The Seams – The Making of The Dressmaker; Jill Bilcock – The Art of Editing, Paper Trails – about journalist Anne Deveson, and The Show Must Go On. KEY CREATIVES’ BIOGRAPHIES

EDITOR - ROSIE JONES

Rosie Jones is an award-winning filmmaker with more than 25 years of experience writing, editing and directing in the documentary field. Amongst her recent editing credits are the feature docs Namatjira Project and The Triangle Wars (Best Australian Doc, Antenna) and the short docs Suicide and Me, Queen of the Desert, Westall '66: A Suburban UFO Mystery, Obsessed with Walking, Wedding Sari Showdown and My Brother Vinnie. She moved into directing documentaries with Visions of Yankalilla in 1999; her most recent project was the acclaimed doc series The Cult of The Family for ABC-TV.

COMPOSER – AMANDA BROWN

Amanda Brown has been composing music for stage and screen since 2000 and before that enjoyed a career as a multi-instrumentalist in several bands. She was a member of cherished Australian independent band The Go-Betweens, with whom she recorded two albums (Tallulah and 16 Lovers Lane) and toured the world.

Amanda’s screen music credits include feature films Babyteeth, Kairos, Son of a Lion and Look Both Ways. Feature documentaries include The Family and Red Obsession (with Burkhard Dallwitz). Amanda was the composer on television series The Secrets She Keeps, On The Ropes (with Endorphin), Grace Beside Me and Wonderland (with Smith and Western) and she is the recipient of several screen awards and multiple nominations. In 2019 Amanda won the Soundtrack Stars Critics Award at the Venice Film Festival for Babyteeth. KEY CREATIVES’ BIOGRAPHIES

SOUND DESIGNER – EMMA BORTIGNON

Emma Bortignon’s enthusiasm for sound design developed while studying film at RMIT in the mid 90’s and she quickly became the go-to sound designer amongst her emerging filmmaker peers. In 1998 Emma completed her BA of Communications (Hon) with High Distinctions in Sound Design and went on to work with a highly respected Post Production Facility in Melbourne where she honed her craft for the next 10 years as Sound Designer/Editor/Mixer. Since launching her freelance career in 2009, Emma won her second Best Sound AFI/AACTA Award and has received many award nominations. Emma’s innate approach to sound design and belief that sound should not only function to advance the narrative but to expand and enhance the audiences experience, results in innovative and compelling soundtracks. Emma’s 20-year career has taken her all over the world, she has worked on over 50 feature films with some of Australia’s most celebrated directors and producers. As a respected senior member of The Australian film industry, Emma is often engaged to mentor emerging filmmakers and regularly lectures in Sound Design at Melbourne’s preeminent tertiary film courses. She often sits on industry panels and assists in the adjudication of awards. Emma is also a multi-instrumentalist for the Melbourne band Underground Lovers. KEY CREATIVES’ BIOGRAPHIES

ANIMATOR – JULIET MIRANDA ROWE

Juliet Miranda Rowe is a cross-disciplinary artist, designer, writer, performer. Over the past decade her illustration, sculpture and installation works have featured in exhibitions, including prestigious cultural institutions West Space, Gertrude Contemporary, Bus Projects, Sutton Gallery and NGV International.

The premiere of her debut short film Heavy in 2018, signalled a pivot towards a narrative practice. Predominantly working with digital illustration and 2D Animation methods, Rowe balances her time between personal and commercial endeavours.

With a particular interest in projects that centre around untold Feminist, LGBTQIA, POC & First Nations histories she has provided motion graphics on a range of feature-length and serial documentary film projects. Her debut feature credit I Am No Bird premiered at Sydney Film Festival 2019.

Her portfolio includes a diverse range of lens & screen-based media including; creating a multi-storey projection map for White Night 2018, interning on the creation of stop motion VR experience Passenger (produced by Film Camp) as well as animating an extract of 2019 graphic memoir I don’t know how emotions work by Melbourne poet Fury.

Her work is recognisable by a commitment to diverse character design and ability to translate complex ideas into accessible narratives. DIRECTOR'S STATEMENT

Why the title BRAZEN HUSSIES? To be brazen is to be bold and without shame. To be a hussy is to be a girl or woman who behaves in a disrespectful or inappropriate (read slutty) way. These days it is rarely heard, though women of a certain age who were taught by Catholic nuns will remember it well. It is a term that was turned on those who would use it as an insult and proudly reclaimed by the Women’s Liberation Movement. In , there was a feminist jug band called the Shameless Hussies. Women at marches sang a song that went, “We’re Shameless Hussies and we don’t give a damn” to the tune of “I wish I was in Dixie land.” Our namesake came from Jean Taylor’s combined memoir and history of the Women’s Liberation Movement in Victoria, Brazen Hussies. As Laurel Thatcher Ulrich put it, “Well-behaved women seldom make history”. Much of recorded history would have us believe that women haven’t made history at all. The stories uncovered in this film will surprise many because of how much has now been forgotten.

I am the daughter of a feminist from the second-wave women’s movement. My mother was the first in her family to attend university, and she went on become a social worker in the remote Kimberly area of Western Australia. It was the 1970s and the Aboriginal Land Rights movement was gaining momentum in the region. My parents got involved and they remember it as one of the most exciting times of their lives. They discovered a different reality to the one they had been brought up in. Because of them, I grew up valuing social justice, community, and an appreciation for stories that capture the diversity of lived experiences.

Growing up however, I noticed that women were rarely the heroes in the Hollywood movies I watched. When they did appear, they seldom reflected the actual experience of women's lives. I think this has been changing slowly and steadily, and it is so exciting to connect with characters on screen who share, in whatever small ways, your own experience of the world. Just as importantly, it is vital to see and hear from women who are not all the same, who come from different backgrounds and experiences, who defy expectations, and who are more richly human for it. DIRECTOR'S STATEMENT (CONT) I have always called myself a feminist. But I was shocked when I mentioned this to a friend and her reaction was, “You’re a feminist? But I want to have children and stay at home to raise them and feminists are against that.” I couldn’t believe that is what she thought feminism meant. Was the incredible work done by the feminists of my mother’s generation being erased?

In a way this was the inciting incident which led me to Mary Dore, who was making a documentary about the American Women’s Liberation Movement, She’s Beautiful When She’s Angry (2014). I convinced her to let me join the team, and it was a life changing experience, I had never before been so excited to go to work. I loved hunting down archival treasures from what was (literally in some cases) a buried history. During that time, I kept wondering what had happened in my own country.

With pretty much no directing experience but thrilled and motivated by the critical response to She’s Beautiful, I started to research the Australian Women’s Liberation Movement. I had some early meetings with feminist academics, Alison Bartlett in Perth, Marilyn Lake in Melbourne and Carole Ferrier in Brisbane. Alison kindly gave me a copy of the book she edited with Margaret Henderson, Things That Liberate: An Australian Feminist Wunderkammer. With this, along with Marilyn Lake’s history of Australian feminism, Getting Equal, Jean Taylor’s Brazen Hussies, Anne Summers’ Ducks on the Pond, and Zelda D’Aprano’s autobiography I was on my way to building a picture of what happened in Australia. I built on this through the work of scholars such as Susan Magarey, Ann Curthoys, Jackie Huggins, Michelle Arrow, Sue Wills, Jocelynne Scutt and many more. I am also indebted to The National Library of Australia’s incredible oral history collection. And to the movement women who ensured their history was made accessible in archive collections across Australia.

In 2019, after years of complaining about how hard it was to get all the funding we needed, we finally had the support in place and I fell into greater despondence at the enormity of the challenge I had set for myself. Luckily, I was working with a team of experienced producers and Rosie Jones, an accomplished filmmaker in her own right, came on board as our editor. I knew what I wanted to cover but it was Rosie’s calm, steady and rigorous approach to story-telling that helped the film find its narrative shape and emotional resonance. DIRECTOR'S STATEMENT (CONT) With no one narrator this was no easy feat. And with a trepidatious and anxious director I am so grateful for her patience and fortitude as well as that of my producers Andrea and Pip, who have weathered many storms, provided countless rounds of feedback and been unflagging in their support and commitment. Sue Maslin and Larissa Behrendt have also astonished me with their enthusiasm, generosity and willingness to share their wisdom.

I am also grateful for the incredible support of my script editor, Annette Blonski, the ABC’s Archives researcher, Kate Jarvis, our own researchers, Flora Smith and Sari Braithwaite, the team at the NFSA and the feminist filmmakers who gave us access to their amazing material. The film would also have not been so rich in photographic evidence if not for the prolific and fantastic work of photographer Anne Roberts.

I find it strange that there hadn’t yet been a feature documentary about the Australian experience of one of the greatest social and political movements of the 20th century. Though I know that it wasn’t for lack of trying. There is a lost history of social organising, grass-roots activism and widespread personal and political change that is ripe for reviewing now. Because of this movement, laws were rewritten, language was changed, public space and personal liberties were radically redefined. It wasn’t easy, changing the world rarely is. Many of the women who were active in bringing about the birth of women’s liberation in the early 1970s are now getting on in years and it was so important to record their stories before it was too late. For some, it already was too late, and that sadly too had an impact on what stories we could tell.

There is currently an enormous groundswell of activity around, women’s rights, trans and gender diverse rights, the dismantling of white supremacy and what constitutes feminism itself. I hope that BRAZEN HUSSIES will add to that debate. I also hope that it will show audiences how change is made and act as a call to action for organising and making that change. To quote historian, Clare Wright, “The only way that we will understand that we can make history today, is when we fully appreciate how much we have made history in the past.”

Catherine Dwyer PRODUCERS' STATEMENT

In late 2015 Catherine approached us about her vision to create a documentary that would record and celebrate the history of the Women’s Liberation Movement in Australia, revealing the many achievements of the not-commonly-known activists of that era.

Having both seen at MIFF She’s Beautiful When She’s Angry, the US documentary Catherine worked on, which inspired her to embark on BRAZEN HUSSIES, we agreed it was essential that Australia should have its own filmic record of this tumultuous period of rapid social change.

Catherine’s deep and wide research into the era brought to light the stories of many Australian women whose conviction and courage to shake up the status-quo inspired us greatly and made us wonder why we had not learned about them in the history we had been taught as school students.

We got started on BRAZEN HUSSIES in earnest in early 2016 and along the way we discovered several filmmakers had previously developed projects about Australia’s second wave feminists, but they had not been able to raise the funding needed to complete their films. Meanwhile we were encountering so much enthusiasm for the premise of the film that it was clear the time was right for these stories to be finally told.

It was early development support from Film Victoria and crowd-funding that really gave BRAZEN HUSSIES an unstoppable momentum. By the end of production well over 500 individual donors have thrown their support behind the film.

After half a decade of fundraising, research, filming and editing we are thrilled to launch BRAZEN HUSSIES into the world. We hope it inspires new generations of feminists and provokes many discussions about the legacy of the activists from the Women’s Liberation era and events from this time – including the many stories we were not able to include in the final film.

Andrea Foxworthy & Philippa Campey EXECUTIVE PRODUCER'S STATEMENT

I first met Catherine over four years ago when we were both invited to sit on a panel to discuss feminist filmmaking - Catherine having recently returned from the US with She’s Beautiful When She's Angry (2014)…and me as a result of my first film credit being Thanks Girls and Goodbye (1987) about the Women's Land Army during the Second World War.

I was politicised by the of the late 1970's and that awareness has informed all of my work to date both on and off the screen. Even so, I was hugely surprised that young women in that audience would be so interested in the early feminist movement in Australia. Catherine was equally astounded that no-one had pieced together this history and made a film on the subject. So I encouraged her to take up the gauntlet and tell the story.

I am enormously proud of the work that she, Philippa Campey and Andrea Foxworthy together with editor Rosie Jones have done to tell this complex and inspiring story to a new generation and give voice to many of the women, the brazen hussies, who led the way with the second wave feminist movement.

Sue Maslin AO A NOTE ABOUT GENDER DIVERSITY AND POTENTIAL TRIGGERS

BRAZEN HUSSIES portrays the activities of a social movement during a historically significant period. Some of the language used within the film reflects the attitudes and common understandings of the time. For trans, gender diverse and non-binary viewers the filmmakers acknowledge that some issues and some prominent figures of the movement may be difficult to watch. While we have tried to stay true to the history of the movement and the social context in which it arose, the filmmakers would like to support our gender diverse community by stating that genitals do not equal gender, and that not all women menstruate, or procreate. We have included archival footage that references these body parts or bodily functions, because it was a critical aspect of the Women's Liberation Movement - during a much more gender polarised time - to confront the cultural taboo of cis women talking openly and publicly about their bodies and experiences.

We wish to acknowledge that trans, gender diverse and non-binary people have always existed. We celebrate the activism of their community in breaking through the cultural norms that seek to erase them, and for their continuing work in normalising their lived experience of gender. We do not document these issues in the film as the visible emergence of the trans rights movement in Australia came after the time period we cover. Globally, trans, gender diverse and non-binary people are subject to harassment, violence and murder on a daily basis simply for being who they are. We do not endorse transphobia or vilification of any kind.

BRAZEN HUSSIES also discusses potentially upsetting issues such as forced adoption, abortion, family violence and also rape, via first-hand accounts from interviewees as well as discussion by activists who were advocating on these issues during the Women's Liberation era. Women’s Liberation march [International Women’s Day], 8 March 1975. Photo by Peter Dobrovits, courtesy Mitchell Library, State Library of New South Wales. FEATURED INTERVIEWS

MERLE THORNTON Merle Thornton is an Australian feminist activist, author and academic. She is best known for her 1965 action at the Regatta Hotel where she and Rosalie Bogner chained themselves to a bar rail to protest the exclusion of serving women in public bars in Queensland. This action was one of the earliest recorded events which came to define the direct action of the second wave feminist movement worldwide. Thornton went on to found the Equal Opportunities for Women Association which worked to overturn the law that required women employed in the Public Service to resign upon marriage – known as the Marriage Bar- and was successful in 1966. Thornton helped establish Women’s Studies at the University of Queensland where she continued to advocate for social justice and develop feminist and social theory literature.

MARTHA ANSARA Martha Ansara came to Australia in 1969 with some women’s liberation pamphlets she had picked up at a conference in Boston. She shared them around, soon helping to coordinate the first public Women’s Liberation meeting in Sydney. Martha was a leading member of Sydney Women’s Liberation and was involved in groups such as Words for Women, MeJane, Mabel and the Sydney Women’s Film Group, which developed and promoted women’s and feminist filmmaking. Martha was one of the first women in Australia to work as a cinematographer. She is also a filmmaker whose films on social issues have won international prizes. Martha has been a founding member of a number of cultural, women’s and industry organisations. She is a recipient of the Women’s Electoral Lobby’s Edna Ryan Award in 1999. FEATURED INTERVIEWS SHIRLEY CASTLEY Shirley Castley was a member of the Women's Action Group (HWAG) formed in 1972. That same year they founded the widely-read newsletter Liberaction, which held both a humorous and analytical mirror up to the Australian Women's Movement. The HWAG’s -which included intellectuals such as historian Kay Daniels - also published ‘The Feminist Food Guide’, and a comic strip illustrated by Jenny Coopes, called ‘The Adventures of Super-Fem’. The comic was a satirical critique of the Whitlam government’s engagement with feminism, commenting on the co-option of women into bureaucracies and men's agendas. Shirley delivered a speech at the 1973 Mt Beauty Conference on behalf of HWAG, which called out women’s liberation for discrimination against lesbians. Shirley was on the National Advisory Committee for International Women’s Year 1975 and was part of the Australian delegation to Mexico for the 1975 UN International Women’s Year Conference, where she gave a paper about decriminalising prostitution.

KERRYN HIGGS

Kerryn Higgs is a writer, activist and songwriter. Her novel, All That False Instruction, was a fictionalised memoir and the first out lesbian novel to be published in Australia in 1975. It was the winner of the inaugural Angus & Robertson publishing prize, but until 2001 was published under the pseudonym Elizabeth Riley, due to the threat of legal action by her mother. Kerryn read The Limits to Growth in 1972 and has been an activist and researcher on issues of environment and social-ecological limits ever since. She used her literary prize money to found a women’s land known as Amazon Acres in 1974. It is still active today. Kerryn’s recent book Collision Course, is about the reckless promotion of economic growth despite its disastrous consequences for life on the planet. FEATURED INTERVIEWS

LILLA WATSON Aunt Lilla Watson is a Gangulu woman from Central Queensland. She is an artist, activist, and educator. Aunt Lilla was a member of the Aboriginal Advancement League in Brisbane but left when it became apparent that Aboriginal people could be outvoted by the white majority members. She helped establish the Brisbane Tribal Council where only Aboriginal people could vote. The Tribal Council lay the foundations for Aboriginal run community services that developed in Brisbane in the 1970s such as the medical and legal services, Black housing and childcare. Aunt Lilla developed courses at the University of Queensland which taught Aboriginal Perspectives and Aboriginal Approaches to Knowledge. She was the Inaugural President of the Aboriginal and Islander Child Care Agency, and was a founding member of the Brisbane Indigenous Media Association. She is often credited with the quote "If you have come here to help me, you are wasting your time. But if you have come because your liberation is bound up with mine, then let us work together.” However, she is "not comfortable being credited for something that had been born of a collective process" and prefers that it be credited to "Aboriginal activist group, Queensland, 1970s".

GILLIAN LEAHY As an anthropology student at the , Gillian Leahy was active in the anti-Vietnam war and Women’s Liberation Movements. Gillian went on to become a filmmaker and academic. She has made over 16 films, mostly documentaries. She is best known for her experimental essay documentary, My Life Without Steve (1986). Her recent film Baxter and Me, is an autobiographical memoir which traces her and her dog Baxter’s life over a year and then reflects on Gill’s past dogs, her involvement in the Women’s Liberation Movement, and her past films. From 1983 until recently, she taught filmmaking at the University of Technology, Sydney. FEATURED INTERVIEWS IOLA MATHEWS Iola Mathews was one of the ten women who founded the Women's Electoral Lobby in February 1972. She was a journalist at The Age for many years, writing mainly on Education and Women's Issues. In 1983-4 she helped establish the Action Plan for Women in the Victorian Public Service, and in 1984 was appointed Coordinator of the Action Program for Women Workers at the Australian Council of Trade Unions. As an Industrial officer and advocate, she specialised in women’s employment for which she was awarded an Order of Australia Medal (OAM) She was an advocate in national test cases to improve wages and conditions for women workers, including the parental leave test case and equal pay cases for child care workers and clerical workers. She has published numerous books and articles and in 2006 established Glenfern Writers' Studios in Melbourne.

EVA COX Eva Cox is an Austrian-born Australian writer, feminist, sociologist, social commentator and activist. As a baby, her family escaped Nazi-occupied Vienna and became refugees, eventually settling in Australia. She was a long-term member of the Women's Electoral Lobby (WEL). In 1975, Eva established the first commonwealth funded after-school childcare centre. With a group of migrant women and funding from the Women’s Office in Government she produced a report on unemployment called ‘We Cannot Talk Our Rights’ which identified education and childcare barriers to women migrants. She was a part of the feminist journal Refractory Girl in the 1980s, and is well-known as a social critic. In 1995 she was appointed Officer of the Order of Australia 'for services to women's welfare'. In 1997 the Council of Australian Humanist Societies named her Humanist of the Year. FEATURED INTERVIEWS

ALVA GEIKIE Alva Geikie chained herself to the Commonwealth Arbitration Court in an equal pay protest with Zelda D’Aprano and Thelma Solomon in 1969. Soon after they founded the Melbourne Women’s Action Committee to fight for women’s rights. Alva was involved in many of their radical feminist actions including the Equal Pay Tram Ride (1970), the anti-Miss Teenage Quests (1970 and 1971) and demonstrations at men-only bars. Alva joined various Women’s Liberation collectives such as the Vashti’s Voice Newspaper and The Women’s Abortion Action Campaign. Alva also worked with Sylvie Shaw on a joint submission for the National Equal Pay case of 1972. In 2005, Alva received an Edna Ryan Award in Sydney, NSW, to honour her contribution as a feminist activist over many years.

JENI THORNLEY Jeni Thornley is a feminist filmmaker and writer. She was active in the anti-Vietnam War movement, performing in experimental protest theatre. She joined the Sydney Women’s Liberation Movement, and the Sydney Women's Film Group (SWFG). As a member of SWFG, Thornley appeared in and worked on the 1973 film, A Film for Discussion. She was later a member of the Sydney Filmmakers Co-operative and the Feminist Film Workers Collective. In 1978, Thornley released her first film, Maidens, which captured “the moment of awakened consciousness that characterised 1970s feminism". Jeni co-directed the 1982 feature documentary For Love or Money, a landmark history of women and work in Australia. For Love or Money, received a UN Media Peace prize in 1985. Jeni managed the Women's Film Fund at the Australian Film Commission until 1986 and has worked as an independent writer, director and producer. FEATURED INTERVIEWS

ANNE SUMMERS Anne Summers is a best-selling Australian author and journalist. She was an early member of Adelaide Women’s Liberation, a co-founder of the women studies journal Refractory Girl, and Elsie, the first women’s refuge in Australia. Anne ran the Office for the Status of Women during the Hawke Government (1983-1986). Anne was an advisor to former Prime Minister, Paul Keating during his election campaign in 1993. In 1987, Anne became the editor in chief of Ms. - America’s feminist magazine. She has written several books. Her 1975 book Damned Whores and God’s Police was a landmark piece of Australian writing and has been one of the most influential bestsellers of the past 40 years.

PAT O'SHANE Aunt Pat O’Shane is a Yalangi woman from the Kunjandji clan of Queensland. She has been a trailblazer since becoming the first female Aboriginal teacher in Queensland. She then became the first Aboriginal to earn a law degree; the first Aboriginal barrister; and the first woman and Aboriginal person to be the head of a government department in Australia, the New South Wales Ministry of Aboriginal Affairs. In 1976, Pat published an essay in Refractory Girl entitled “Is there any relevance in the Women’s Movement for Aboriginal Women?” which asked white women to consider black women’s perspectives of oppression, which are different to their own. In 2013 Pat was awarded a Deadly Award for lifetime achievement in leadership. She used the win to call for an end to the Intervention. O'Shane was appointed a Member of the Order of Australia in 1984, for public service in Aboriginal welfare. In 1998, she was voted one of Australia's living treasures by the National Trust. FEATURED INTERVIEWS ELIZABETH REID After surviving a traumatic brain injury in a train crash at 18, Elizabeth Reid was encouraged to give up her studies for knitting, as the mental strain might make her insane. Luckily, Elizabeth did not take up knitting and in 1973, she became the world’s first Advisor on Women's Affairs to a head of government. She brought a revolutionary feminist perspective to government bureaucracy, and worked to make it more accountable to women. During this time she led the Australian Delegation to the 1975 International Women's Year Conference in Mexico City. From 1977 to 1979 she was engaged by Princess Ashraf Pahlavi of Iran, twin sister of the last Shah of Iran, to establish the Asia and Pacific Centre for Women and Development (APCWD) in Tehran. This came to an abrupt end when the Shah was overthrown in late 1979. She later worked for the UN for many years on international development and HIV/AIDS policy. In 2001, Elizabeth was made an Officer of the Order of Australia "for service to international relations, HIV/AIDS policy development and women’s welfare."

SUE JACKSON Sue Jackson was a Women’s Liberation organiser and activist in Melbourne from the tender age of 18. She was recruited into the Monash University Women’s Liberation Club in 1972 and participated in many Women’s Liberation and Gay Liberation demonstrations, protests and zap actions. Sue was a member of Radicalesbians, which grew out of the Melbourne Gay Women’s Group and had links to both Gay Liberation and Women’s Liberation. Radicalesbians organised Melbourne’s first Women’s Dance and the first lesbian-feminist conference in Sorrento in 1973 attended by 60 women from Melbourne, Sydney and . Sue worked at women’s health centres and refuges and with Jenny Pausacker, she founded Victoria’s first Women’s Rape Crisis Centre in 1974. FEATURED INTERVIEWS

BIFF WARD

Biff Ward has led a life of political activism – Ban the Bomb, Vietnam, Right to Choose, Women’s Liberation, Women Against Rape in War, Close Pine Gap, Close Nurrungar, and support for Indigenous causes. Her working career was as an educator – high school teaching (English and History), the School Without Walls (SWOW) in Canberra, Literacy teacher at the Institute for Aboriginal Development in , and then training in harassment prevention, and mental illness education. Biff’s book Father-Daughter Rape (1984), was one of the first major analyses of child sexual abuse. Her memoir, In My Mother's Hands, is about her family's experience of her mother's mental illness and was long listed for the Stella Prize in 2015.

ROSEMARY WEST At the University of Melbourne, Rosemary West joined a group called Student Action, founded by her boyfriend Bill Thomas to protest against the White Australia Policy. Rosemary was pregnant when Bill was tragically killed in a car accident, on his way to ask her parents’ permission to get married. As a result of this unfortunate situation, Rosemary faced social pressure and isolation because there were very few options for ‘unmarried’ women to keep their babies, with many coerced into forced adoption. With her experience in student activism, she formed a lobby group to abolish illegitimacy and advocate for the rights of single mothers. The Council of Single Mothers and Their Children is still active today and recently celebrated their 50th anniversary. Rosemary went on to become a noted journalist, working for The Age for 15 years, and has received the Order of Australia Medal for services to disadvantaged groups in the community and to journalism. Rosemary continues to serve her community as a Councillor for the City of Kingston, Melbourne since 2003. FEATURED INTERVIEWS

ROBIN LAURIE Robin Laurie was part of a community theatre movement in the 1960s and 70s which was interested in taking performance out of buildings and into the streets. As part of Soap Box circus, she performed in anti-Vietnam War street theatre and acrobatics. She was involved in Melbourne’s famous Pram Factory and its subsidiary The Women’s Theatre Group – where, “People (men mostly) said patronisingly what a relief it was that feminists could be funny.” Robin formed ASIF – the Anarcho Surrealist Insurrectionary Feminists! with Margot Nash in 1973. Their film We Aim To Please, about female sexuality and the , won a Jury Prize at L’Homme Regarde Homme film festival in Paris in 1978. As part of the Women’s Theatre Group she toured factories performing The Women and Work Show in Greek, Italian and English for workers during their lunch breaks. Robin was a founding member of the first Women's Circus in Victoria, as well as Circus Oz. Robin believes comedy is vital for survival.

SARA DOWSE

Sara Dowse is an American-born Australian feminist, author, critic, social commentator, and artist. She joined Women’s Liberation as a young mother with 4 children under the age of six. Sara worked in the staff of minister for labour and immigration, where she wrote speeches on equal pay, child care, part- time employment and extending the adult minimum wage to women. Sara was later appointed head of the new women's affairs section in the Prime Minister's department. The section provided bureaucratic support for Elizabeth Reid, the first women’s advisor to the Prime Minister. After Reid’s resignation in October 1975, the section was upgraded to a branch and Sara became the inaugural head of the first women's unit in the Department of Prime Minister and Cabinet, making her Australia’s first ‘femocrat’ (feminist bureaucrat). Her first novel, West Block, is based on her experiences in government. FEATURED INTERVIEWS

SUZANNE BELLAMY Suzanne Bellamy is an activist, historian and artist. She was part of the first group of Women’s Liberation in Sydney 1969. She worked on the first Women’s Liberation newspaper MeJane, taught Women’s Studies and Politics at Macquarie University 1974-80, and was National Convenor of the First Women and Labour Conference in 1978. Suzanne worked with Bessie Guthrie on the child welfare campaigns to close the Parramatta Girls’ Home and end the practice of compulsory ‘Virginity Testing’, as well as many other campaigns. She left academia in 1979 to become a full-time artist and writer. Her notable works include the 1996 art performance/ archive installation The Lost Culture of Women’s Liberation 1969-74, the Pre-Dynastic Phase, an archaeological, activist women’s history project. She credits the ideas which exploded out of early Women’s Liberation in her student days as continuing “to grow and fuse and morph into life and work, direct action and radical form, ecology and sustainability, creating post-patriarchal consciousness in the midst of difficult changing exciting times". She holds "Comic joy and the creative as sacred energies.”

BARBARA CREED Barbara Creed discovered Women’s Liberation via her involvement in the Melbourne Gay Liberation Movement in the early 1970s. Creed co-founded the Melbourne Women’s filmmaking group, and in 1975 made a film called Homosexuality: A Film for Discussion as an education and consciousness-raising tool. Barb is an honorary Professor of Cinema Studies at University of Melbourne, where she specialised in the cinema of horror, feminism and psychoanalysis. She is the author of six books on gender, , and the horror genre. Barbara is known for her film and cultural criticism. FEATURED INTERVIEWS

KATE JENNINGS Kate Jennings grew up on a farm near Griffith, NSW. At University she became an activist in the anti-Vietnam war and the burgeoning Women’s Liberation Movements. She gained notoriety for a provocative Women’s Liberation speech at a Vietnam moratorium protest in 1970. Kate edited the first major anthology of Australian feminist poetry, Mother I'm Rooted (1975), which was the object of much controversy. She moved to in 1979, where she wrote for numerous magazines and newspapers. Her novel Snake was a New York Times Notable Book of the Year, as was Moral Hazard, which was based on her experiences as a Wall Street speech- writer. She has won the prestigious Christina Stead Prize and the Australian Literature Society Gold Medal.

DANIELA TORSH Daniela Torsh is a feminist author, educator, public servant, journalist and filmmaker, who arrived in Australia in 1948 as a two year old refugee from Czechoslovakia. She was a journalist with The Australian in the early 1970s. During this time she formed the Media Women’s Action Group which successfully opened up membership to the Sydney Journalist’s Club to women journalists, lobbied for childcare and better media representation of and by women. Daniela became prominent in women's education policy and acted as consultant for the Commonwealth Schools Commission. In 1976 she published an education resource called Good Morning Boys and Girls: A Women's Education Catalogue. In the 1980s, Daniela served as the executive producer of the Women's Film Unit of Film Australia. FEATURED INTERVIEWS

MARGOT NASH Margot Nash discovered Women’s Liberation via a flyer from America for W.I.T.C.H. (Women’s International Terrorist Conspiracy from Hell). She started her career as an actor, in the Australian Performing Group at the Pram Factory in Melbourne. She also performed in anti-war street theatre in the 1970s. With Robin Laurie, Margot formed ASIF – the Anarcho Surrealist Insurrectionary Feminists! in 1973. Their film We Aim To Please about female sexuality, won a Jury Prize at L’Homme Regarde Homme film festival in Paris in 1978. Margot was co filmmaker and editor on the 1982 feature documentary For Love or Money a landmark history of women and work in Australia. For Love or Money received a UN Media Peace prize in 1985. Margot is also a film educator. She was a consultant and a mentor for Indigenous filmmakers at CAAMA and has worked in the Pacific running documentary training workshops for Pacific Island women television producers. Margot is a Freelance Screenwriter, Director and Script Editor. She has made numerous films including, The Silences, a personal essay film about the unspoken traumas in her family. DIRECTOR Q&A – CATHERINE DWYER 1. You worked on Mary Dore’s acclaimed 2014 documentary She's Beautiful When She's Angry, which chronicles the women’s movement in the U.S. What was that experience like?

That experience was completely life-changing for me. It was the best job I've ever had. I learned everything that I then went on to apply to BRAZEN HUSSIES. She's Beautiful When She's Angry had a Kickstarter campaign that I found out about through Australian Facebook group Destroy the Joint. I got goose bumps when I saw their teaser and I thought “I have got to work on this film!” I wrote a passionate email and somehow convinced Mary Dore to let me work for her. I was living in Brooklyn at the time and that is where the film was based too. I was so excited and wanted to be all over everything. I made myself essential, I guess. I worked on that project for 2.5 years, and the whole time I kept thinking, I wonder what happened in Australia? I knew there was a women’s movement in Australia, but I didn’t know anything about it.

I basically knew how to make one kind of film, and that is an archive documentary about the Women's Movement. So, I took the blueprint of what Mary had done so well, and applied that to Australia. Once I started researching the Australian Women's Movement, I realised I didn’t know anything about it at all. I hadn’t even heard of Anne Summers, the only person I knew was Germaine Greer. I didn’t know anything about Elizabeth Reid. I knew that a lot of social reform happened in the Whitlam era, but that was it. DIRECTOR Q&A – CATHERINE DWYER 2. You have a strong sense of social justice, was documentary filmmaking always in your sights as a way of addressing the issues that mattered to you?

No, it wasn’t. But I do feel very strongly that stories are important to making social change. When you're able to tell stories from perspectives that aren’t those of the majority, or those in power, it’s the most powerful way for people to understand the experience of others. I don’t know if I want to be a documentary filmmaker, but I knew I wanted to tell this story in documentary form.

I was empowered by my experience of working with Mary Dore. I didn’t think I had it in me before that. When I came back to Australia, meeting mentors like Sue Maslin was also hugely important. When I told Sue that I wanted to make this film she took me seriously, met me for a chat and recommended that I get in touch with producer Philippa Campey. At the same time I had also met Andrea Foxworthy at a Women in Film and Television event and she had produced a short film about the women's movement called On Her Shoulders. Andrea and Philippa had worked together before and agreed to co-produce. Our Editor, Rosie Jones is an experienced filmmaker herself, and she was really strong on story and invaluable at helping corral all the layers and complexity of the movement into shape, and in ensuring that it had heart and emotion. I would routinely get overwhelmed at the enormity of the task, but to have a passionate, experienced team who also believed in the project made all the difference. And there has been so much community support, this story is long overdue! DIRECTOR Q&A – CATHERINE DWYER 3. BRAZEN HUSSIES tells the story of the Women’s Movement from a variety of perspectives including those of Indigenous, gay and migrant women. Did you intend to approach the film in this way from the outset, or is it something that evolved during the filmmaking process?

I did intend to include these different perspectives, and that’s from my time working on Mary’s film. I already had a strong idea of how intersectional the issues are. The second wave gets flack for being a very white middle class Movement, and I think that’s a misunderstanding. It definitely captured the hearts and minds of a lot of white middle class women but that’s not all that was going on. It’s important to look at how the movement intersected with other people’s experiences.

4. It is fascinating to hear the direct accounts from so many of the women who pioneered the Movement. Were there any challenges in tracking these women down and convincing them to share their stories?

I think the biggest challenge was deciding who to interview, because there’s just so many stories… and women! There’s no main character. Obviously, Elizabeth Reid made a huge impact and she is emblematic of what happened with the movement, but there are so many more women who did incredible things. I think it's important to remember that, and to know that this is not the definitive story by any means.

Also, there was so much going on in Adelaide, Perth, Brisbane and all over Australia. Unfortunately, there’s not as much film evidence of that, so it was harder to tell that story. We did end up with a lot of Sydney and Melbourne footage, partly because a lot of the women there were filmmakers and gave me access to their films, which was fantastic. DIRECTOR Q&A – CATHERINE DWYER It was challenging to track some of these women down. Kate Jennings now lives in New York. I'm so glad we got her story, because her iconic speech was just so fiery, and I really wanted to get her first-hand account.

We travelled to Queensland, Sydney, Canberra, and regional NSW. We flew people in from Hobart and rural NSW. Zelda D'Aprano sadly passed away before I was able to interview her, and her story is remarkable. And there were so many other women from the Movement who had passed away, particularly the older women who were in the Union of Australian Women. They were an integral part of Women’s Liberation, they came from that older generation and joined the younger women.

I was very pleasantly surprised to track down Alva Geikie. She's the surviving member of the Women’s Action Committee (alongside Zelda D'Aprano, Bon Hull and Thelma Solomon) so it was really important to get her account. Many people think it was just university women but the Women’s Action Committee were central to the Melbourne story and were grassroots working-class women.

5. What are your hopes for the film and the audience it reaches?

I spent a lot of time learning about the and the second wave of the Women's Movement. I knew that this history was there, but it hadn’t been put together in an easily watchable format. DIRECTOR Q&A – CATHERINE DWYER

"It is important to me that the Women's Movement is remembered and not forgotten, that people understand change isn't inevitable, that it’s fought for. Things don’t just get better."

I'm making the film for the women who were there, they deserve to have their story told. I always wanted it to be told in the voices of the women who were there, not to have a narrator.

I made it for them, but I also made it for people my age and younger because it’s so important that we learn where we came from. And we learn how change is made, because if you don’t know how change is made, you’re not really empowered to make change yourself.

It felt to me that a lot of people of my generation felt that women had equality now, that it’s a done thing. I think people feel that way about racism, like “we're aware that we were racist in the past, and now that we know, we’re not racist anymore”. With Black Lives Matter, we’ve become so much more aware of how racism is an ongoing, systemic, institutional thing that’s happening every day.

I've attempted to contextualise what life was like back then. It’s a hard thing to do. I don’t know if you ever really can recapture that. It was just such a different time, the way that society thought about women and the role they played. Sexism was so much more blatant, and for the women of this time to challenge that and to think the world can be different, is inspiring. When those young women looked around and thought, hey you know what, we deserve better than this. That was such an exciting thing for me, anything was possible. Woman at International Women's Day March, Melbourne, 2017. Image: Stuart Mannion, courtesy Film Camp BILLING BLOCK SCREEN AUSTRALIA and FILM ART MEDIA present in association with THE AUSTRALIAN BROADCASTING CORPORATION and FILM VICTORIA a FILM CAMP production BRAZEN HUSSIES

Featuring ALVA GEIKIE, ANNE SUMMERS, BARBARA CREED, BIFF WARD, DANIELA TORSH, ELIZABETH REID, EVA COX, GILLIAN LEAHY, IOLA MATHEWS, JENI THORNLEY, KATE JENNINGS, KERRYN HIGGS, LILLA WATSON, MARGOT NASH, MARTHA ANSARA, MERLE THORNTON, PAT O'SHANE, ROBIN LAURIE, ROSEMARY WEST, SARA DOWSE, SHIRLEY CASTLEY, SUE JACKSON and SUZANNE BELLAMY

WRITTEN & DIRECTED BY CATHERINE DWYER FILM EDITOR: ROSIE JONES | SCRIPT EDITOR: ANNETTE BLONSKI SOUND DESIGNER: EMMA BORTIGNON | ANIMATOR: JULIET MIRANDA ROWE DIRECTORS OF PHOTOGRAPHY: ANNA HOWARD, ERIKA ADDIS & SKY DAVIES COMPOSER: AMANDA BROWN | PRODUCTION MANAGER: SAMANTHA DINNING PRODUCERS: PHILIPPA CAMPEY & ANDREA FOXWORTHY EXECUTIVE PRODUCER: SUE MASLIN

© 2020 Film Camp Pty Ltd, Orange Entertainment Pty Ltd, Australian Broadcasting Corporation TECHNICAL INFORMATION Format DCP / ProRes Genre Documentary Feature Country of Production Australia Year of Production 2020 Running time 90 minutes Ratio 16:9 Language English

KEY CONTACTS Production Company: Distributor: Publicity: Philippa Campey & Andrea Foxworthy Sue Maslin Nicole Hurren FILM CAMP PTY LTD FILM ART MEDIA [email protected] Level 1, 274 Barkly Street PO Box 1312 Phone: 0420 538 200 Brunswick VIC 3056 Collingwood VIC 3066 Phone: 0410 665 032 / 0405 091 853 Phone: 0417 346 287 Email: [email protected] Email: [email protected] filmcamp.com.au filmartmedia.com