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NEWSLETTER ISSN 1443-4962 No
AUSTRALIAN NEWSPAPER HISTORY GROUP NEWSLETTER ISSN 1443-4962 No. 25 December 2003 Compiled for the ANHG by Rod Kirkpatrick, 13 Sumac Street, Middle Park, Qld, 4074, 07-3279 2279, [email protected] 25.1 COPY DEADLINE AND WEBSITE ADDRESS Deadline for next Newsletter: 15 February 2004. Subscription details appear at end of Newsletter. [Number 1 appeared October 1999.] The Newsletter is online through the “Publications” link from the University of Queensland’s School of Journalism & Communication Website at www.uq.edu.au/journ-comm/ and through the ePrint Archives at the University of Queensland at http://eprint.uq.edu.au/), 25.2 SISTER ACT: BRISBANE BROADSHEET THINKS TABLOID Queensland Newspapers Pty Ltd is watching the progress of the so-called “mini-Indy”, the tabloid version of London’s broadsheet Independent, with a view to attempting a “mini-Mail”, a tabloid version of the Courier-Mail. The tabloid Indy exceeded expectations when it boosted overall sales of the Independent by 30,000 on its first day. It sold 42,000 copies of an 80,000 print run while sales of the broadsheet dipped 12,000. Queensland Newspapers managing director Jerry Harris believes the broadsheet/tabloid sister act could give the company the best of both worlds and act as a disincentive to Fairfax ambitions in the north. It could assist the company in some of the lower-circulation areas for the Courier-Mail, such as Brisbane’s south-west and regional Queensland (David Nason, ‘Independent’s tabloid turnaround gets Brisbane broadsheet thinking’, Australian, Media liftout, 30 October 2003, p.3). -
2016 Quill Awards Finalists
2016 QUILL AWARDS FINALISTS ARTWORK Joe Benke (Sunday Age) The Butterfly Effect (Muhammad Ali) Matt Davidson (The Age) Lipstick on a pig Andrew Dyson (The Age) Elbow room Peter Nicholson (The Australian) Courtroom Fashions BREAKING NEWS COVERAGE Natalie Kotsios (weeklytimesnow.com.au) Tense Murray-Darling Basin politics James Massola, Richard Willingham & Fergus Hunter (The Age) David Feeney residence scandal Melina Sarris (Seven News) Moomba Riots Brianna Travers (Sunday Herald Sun) Battle Zone – Moomba riots BUSINESS FEATURE Ben Butler (The Weekend Australian Magazine) Keeping Up with the Oswals Melissa Fyfe (Good Weekend Magazine) The Undoing of Slater & Gordon Sue Neales (The Weekend Australian) Murray Goulburn dairy crisis John Stensholt (Australian Financial Review) Turnbull, Greiner and the $US1 million loan BUSINESS NEWS Adele Ferguson, Klaus Toft & Mario Christodoulou (The Age) CommInsure Scandal Nick McKenzie, Richard Baker & Michael Bachelard (The Age) Corruption coverage Philip Wen (The Age) Crown Resorts detentions in China CAMERA WORK Phil Loschiavo (Seven News) Crane Blaze John Parsons (Nine News) West Gate Bridge police chase Damian Shine (Seven News) Porsche Thieves CARTOON Mark Knight (Herald Sun) Hair Force One Peter Nicholson (Australian Financial Review) Budget Deficit Won't Go Away Ron Tandberg (The Age) Trump Declares War Chris Taylor (Herald Sun) Hanson Snack Pack COVERAGE OF AN ISSUE OR EVENT- Seamus Bradley, Nick Place, Meredith O'Shea & Miguel Rios (RACV Royal Auto Magazine) Impact Chris Johnston & Nino Bucci -
Nearly All About Kevin: the Election As Drawn by Australian Cartoonists
10. Nearly All About Kevin: The election as drawn by Australian cartoonists Haydon Manning and Robert Phiddian In her account of the Danish cartoon furore of 2005, Klausen (2009: 6) notes that ‘political cartoons tell a story or make a comment on current events’, and ‘use exaggerated physiognomic features to make a statement about the fundamental nature of a person or thing’. On the subject of ‘person’, it is our contention that the cartoons of the 2013 election broadly mirrored the wider campaign, particularly in focusing on the nature and antics of Prime Minister Rudd and less on those of his challenger, Tony Abbott. To all dispassionate spectators, 2013 was an election where a change of government was all but guaranteed, but the newly reminted PM clearly believed that a miracle resurrection of Labor’s fortunes was possible. As Peter Hartcher (2013), a regular media confidant of Rudd, wrote after the election: ‘He did not insist that he would challenge only if election victory were guaranteed; he told his most senior supporters that he was prepared to run if Labor had a 30 per cent chance of winning the election’. Whether or not this was a realistic possibility, the cartoonists (in their role as instant graphic historians in the wide range of capital city and regional newspapers surveyed for this chapter) duly told the story that Rudd tried and failed to make the running while Abbott mostly succeeded in playing the disciplined small target. So in relation to the lower house contest the cartoonists generally told an accurate if unsurprising story centred on personalities. -
Australian Centre for the Moving Image
AUSTRALIAN CENTRE FOR THE MOVING IMAGE IMAGE THE MOVING CENTRE FOR AUSTRALIAN Australian Centre for the Moving Image — Annual Report 2013/2014 ANNUAL REPORT 2013/14 REPORT ANNUAL Accountable Officer’s Declaration In accordance with the Financial Management Act 1994 I am pleased to present the Report of Operations for the Board of the Australian Centre for the Moving Image (ACMI) for 2013/14. Antony G Sweeney Chief Executive Officer and Director 30 June 2014 In accordance with the Victorian Government’s FRD30A Standard Requirements for the Design and Production of agency Annual Reports, this publication has been designed and produced to minimise environmental Australian Centre for the Moving Image impacts. Federation Square, Melbourne Phone 61 3 8663 2200 Fax 61 3 8663 2498 Email [email protected] Web www.acmi.net.au Mail PO Box 14 Flinders Lane Victoria 8009 Australia Art, Film, & Digital Culture 02 Introduction 05 Highlights 06 From the President and Director 08 Exhibitions 12 Film Programs 18 Public and Education Programs 32 Outreach, Online and Resources 36 Our Audiences 38 Development and Partnerships 40 Diversity 42 Commercial and Operations 46 Performance Summary 48 Administrative Reporting Requirements 56 Disclosure Index Introduction Our Vision We are a leading international cultural The moving image is a powerful organisation with a unique content expression of human experience and imagination. Capturing ideas, memories range and powerful capabilities for and reality through stories and images helps us make sense of ourselves and the contemporary era of digital and our world. creative arts. We see the moving image as a unique arena for dynamic cultural and creative exchange. -
Australian Centre for the Moving Image
Australian Centre for the Moving Image 02 Introduction 03 Our Mission 04 Our Vision 05 Our Values 06 From the Board President 07 From the Director and CEO 08 ACMI by Numbers 12 Corporate Goals—Think Holistically 18 Corporate Goals—Build Our Brand 28 Corporate Goals—Leverage Our Assets 34 Corporate Goals—Build Sustainability 40 The Credits 42 Administrative Reporting Requirements 43 Performance Summary 56 Disclosure Index 1 Annual Report 2015—16 Introduction With over 1.45 million visitors annually, We support innovation through we are the world’s most visited moving collaboration with practitioners and image museum. industry, helping make creative ideas a reality and bringing them to the attention From the heart of Melbourne’s of audiences. cultural district, we give Australian and international audiences unsurpassed We engage the public and practitioners in ways to engage with the moving image. screen culture through a vibrant calendar of exhibitions, films, festivals, live events, On the big screen and in the pocket, in creative workshops, talks, education person and online, we celebrate, explore programs, conferences and more. and promote the moving image in all its forms - film, television, gaming, interaction There is no place like ACMI. design and digital culture. 2 Australian Centre for the Moving Image Our Mission To enrich our lives and foster our creative industries by illuminating the moving images and technologies that define our age. 3 Annual Report 2015—16 Our Vision To be the leading global museum of the moving image across -
Annual Report 2021
The Royal Agricultural Society of Victoria Society Agricultural Royal The Limited Limited Annual Report 2021 Report Annual ANNUAL REPORT 2021 THE ROYAL AGRICULTURAL SOCIETY OF VICTORIA LIMITED rasv.com.au ©The Royal Agricultural Society of Victoria Limited. All rights reserved 2021 All imagesAll images supplied supplied by by CraigCr aig Moodie Moodie RASV 2021 OFFICE BEARERS Patron Her Excellency the Honourable Linda Dessau AC – Governor of Victoria President MJ (Matthew) Coleman Board of Directors MJ (Matthew) Coleman (Chairman) Dr. CGV (Catherine) Ainsworth (Deputy Chair) D (Darrin) Grimsey Dr P (Peter) Hertan NE (Noelene) King OAM R (Robert) Millar PJB (Jason) Ronald OAM Chief Executive Offi cer B (Brad) Jenkins Company Secretary D (Darryl) Ferris Registered Offi ce Melbourne Showgrounds Epsom Road, Ascot Vale 3032 Victoria Australia Telephone +61 3 9281 7444 Auditors BDO Chartered Accountants Level 18, 727 Collins Street Melbourne 3008 Victoria Australia Bankers National Australia Bank Limited Level 28, 500 Bourke Street Melbourne 3000 Victoria Australia RASV Introduction 2 President’s Message 6 CEO’s Message 10 Celebrating the Show Online 16 2020 Australian Distilled Spirits Awards 18 Advancing Agriculture 20 Melbourne Showgrounds 22 2020/2021 Summary of Awards 24 RASV Staff 27 RASV Volunteers 28 Industry Advisory Groups & Committees 29 Membership 30 Vale 32 RASV Medal Recipients 33 Corporate Governance 34 Financial Reports 37 Annual Report 2021 1 RASV INTRODUCTION The Royal Agricultural Society of Victoria Limited (RASV) has a long -
Sexism and the Cartoonists' Licence
1 Sexism and the Cartoonists' Licence Abstract Australian cartoonists are occasionally criticised for using sexist stereotypes in their caricatures of women politicians. A few years ago, Labor’s current Deputy Leader, Jenny Macklin, was scathing in her criticism of the way cartoonists depicted Meg Lees during her negotiations with Prime Minister Howard over the passage of the GST during 1999 and the defection of Cheryl Kernot to the ALP in 1997. A number of cartoons, particularly those by Bill Leak and Mark Knight, implied that it was Lees and Kernot's sexual persona rather than their capacity for rational argument that won over the male politicians with whom they dealt. This article focuses on the predominately middle aged Australian male editorial cartoonists’ who grapple with developing suitable caricatures of women politician and asks whether sexist stereotypes tend to define their work. 2 Sexism and the Cartoonists' Licence Are the cartoons below offensive and demeaning to the women politicians they depict? Labor’s current deputy leader, Jenny Macklin, argues they are and has chastised cartoonists for their lack of imagination and frequent use of sexist caricatures. Cartoon 1 Senator Meg Lees with the Prime Minister Mark Knight, Herald Sun, 29 May 1999 3 Cartoon 2 Senator Meg Lees holding the “whip hand” with the Prime Minister Bill Leak, The Weekend Australian, 22-23 May 1999 Cartoon 3 Cheryl Kernot in bed with Labor leader Beazley and his deputy, Evans 4 Bill Leak, The Weekend Australian, 18-19 October 1997 Over the last decade or so increasing numbers of women entered our parliaments, made their mark as ministers, a couple became state premiers and, in general, wielded legislative power with sufficient frequency to become household names. -
A REPORT on MEDIA SHAMING for MINOR CRIMES in VICTORIA KRISTY HESS and LISA WALLER, DEAKIN UNIVERSITY 2014 Prepared for the Victoria Law Foundation
NAMING & SHAMING A REPORT ON MEDIA SHAMING FOR MINOR CRIMES IN VICTORIA KRISTY HESS AND LISA WALLER, DEAKIN UNIVERSITY 2014 Prepared for the Victoria Law Foundation Deakin University CRICOS Provider Code: 00113B 1 NAMING & SHAMING: Hess and Waller Contents Executive Summary ................................................................................................ 2 Background 3 Shaming: Definitions and Debate ........................................................................... 4 An ancient cultural practice .......................................................................................................................... 4 Defining ‘ordinary’ people ............................................................................................................................. 5 The Right to be Forgotten .............................................................................................................................. 5 The Study 6 Methods .................................................................................................................................................................. 6 Findings 7 Crime and Punishment .................................................................................................................................... 7 Ramifications of media shaming ............................................................................................................... 10 Reporting non-convictions online versus print ................................................................................. -
Front Rhodes.Qxd
10 Australian Election Campaign Cartooning—1983 to 2004 Haydon Manning Cartoons offer a marvellous means of chronicling any election campaign through their capacity to provide a compact and pungent summary of, and commentary on, issues, events and characters. Graphic islands in a sea of words, political cartoons frequently capture a campaign’s ebb and flow. Certainly they can over-simplify complexity, but they can also cut through the persiflage that is particularly abundant during campaigns. The editors of this collection have been analysing the cartoons in Australian federal campaigns since 19961, so it is time to present some broader observations about election cartooning in this country. In each campaign since 1996 we have collected the bulk of cartooning in metropolitan and some regional newspapers, and from 1983 to 1993 we have collected cartoons from the major broadsheets, the Australian, Age and Sydney Morning Herald. The question that underlies our campaign cartoon research, and which we are addressing directly here, is: If cartoons provide a distinctive window on a campaign, what is the nature of that window, and what can one see through it? Cartoons are distinctive in newspapers because of their mixture of images and words, because of their licence to be satirical, comic, and even outrageous, and because they seek to present an outsider, ‘ordinary voter’ perspective on politics and society. In recent Australian campaigns, cartoonists have focused almost overwhelmingly on the Party leaders from the Liberals and the ALP (minor parties are nearly invisible in election cartoons). They are Archived at Flinders University: dspace.flinders.edu.au 150 Comic Commentators clearly irritated by the caution and spin of modern campaigning and do not always, as a group, tell the received story of the campaign as narrated by the press gallery and the major opinion writers. -
Australian Centre for the Moving Image
Australian Centre for the Moving Image — 20142014Annual Report 2014/2015 20152015– 2014201420142014 –201520152015 Accountable Officer’s Declaration In accordance with the Financial Management Act 1994 I am pleased to present the Report of Operations for the Board of the Australian Centre for the Moving Image (ACMI) for 2014-15. Katrina Sedgwick Director and Chief Executive Officer 30 June 2015 In accordance with the Victorian Government’s FRD30B Standard Requirements for the Design and Production of agency Annual Reports, this publication has been designed and produced to minimise environmental impacts. Art, Film, & Digital Culture 02 Introduction 05 Highlights 06 From the President and Director 08 Exhibitions & Collections 12 Film Programs 18 Public Programs 28 Digital programs 30 Education Programs 40 Audiences & Brand 42 Development and Partnerships 46 Diversity 48 Commercial and Operations 52 Performance Summary 54 Administrative Reporting Requirements 62 Disclosure Index Introduction In our homes, our workplaces, our ACMI celebrates the moving image in its schools, in our cinemas and in our myriad forms. We’re a major, publicly- pockets, in galleries, theatres and arenas, on large screens and small, the moving funded museum situated in the heart image is everywhere. Spanning popular culture from the everyday to the avant- of Melbourne in Federation Square, garde, the niche to the mainstream – through film & TV and the intimate hosting exhibition spaces, galleries, two portraits we create of ourselves, in games state of the art cinemas, access to our and galleries and every corner of the web, and increasingly across all the arts Collections and archive plus a shop and - screen culture is a fundamental part of our lives and is a dynamic driver of the cafe. -
Sydney Football League • Sydney Football Association
SYDNEY FOOTBALL LEAGUE • SYDNEY FOOTBALL ASSOCIATION SYDNEY FOOTBALL LEAGUE SYDNEY FOOTBALL ASSOCIATION Balmain • Baulkham Hills Bankstown • Blacktown Campbelltown • East Sydney Camden • Hawkesbury Holroyd-Parramatta Liverpool Anzacs • Wollongong North Shore • Pennant Hills Macquarie University St. George • Sydney University Manly Warringah • Penrith Western Suburbs Penshurst • Sutherland University of NSW Sat.-Sun. SYDNO FOOTBAll lEAGUE-1994 FIXTURES · June 18-19, 1994 Edition No. 11 $1.00 ROUND ONE· Salurday April 9 ROl)ID 1O • Sunday June 19 Holroyd Parramalta 23.27·166 v Balmain 9.7-G1 104pls Bslmain v Holr<7fd Piwranata OrulffllC7fne Oval - .. CampbelHown 12.1 &.88 v East Sydney 13.~ Spls Western Suburbs v SI George Wagener Oval Norlh Shore 19.13-127v Pennanl Hills 10.16-76 51pls B111lklurn Hills v Uri MclaJgNin Reserve S1George24.12-156vWestern Suburbs 12.13-85 71pls East Sydney v C llown TnJll1ler Piii< Sunday April 10 Pennanl Hills v Nalh= Shore Ern Holmes Oval Sydney lkli 21.17-143v Bllllklurn Hills 10.21-81 62pls POWERFUL WINS FOR BLUES, ROl)ID 11 • Salurday June 25 • ROUND TWO· Salurday Aprll 16 Sydney Uri v East Sydney Sydney Uri No. 1 Sunday June 26 East Sydney 17.19-121 v Sydney Uri 10.14·74 47pls SI George v Bllllklurn Hills WEST, SAINTS AND DEMONS Sund:Aprll 17 OdsPlll< Car¢e!Hown v Pennan Hills Raids Road Res- Western Subs 20.1&-1 v Hol.Piwrirnata 14.15-99 37pls Norlh Shore v Bslmain B111lklurn Hills 12.15-87 v S1George23.22·160 73pla Gore Hill Oval Pennan Hills 13.!l-87 v CampbtlHown 24.22-166 79pla ROl)ID 12 • Salurd1y July 2 Continuing fine weather conditions set up a feast for SFL forwards in the ninth Bslmain 14.17·101 v North Short 21.19-145 44pls Bllllklurn Hilla v Holrcvd P'malla MclaJgNin Reserve round of fixtures played on last Monday's Queen's Birthdaypublic holiday. -
Moad Is Giving Visitors an All Access Pass to Enjoy the Witty
J3543 - MoAD BTL 2019_CW full page ad_PRESS.indd 1 5/12/19 3:53 pm MEDIA RELEASE Friday, 6 December 2019 MoAD is giving visitors an all access pass to enjoy the witty political cartoons of the year that was Behind the Lines: The year’s best political cartoons 2019 opens at MoAD Framed by the world of rock music and under this year’s theme song of The Greatest Hits Tour, Australia’s leading political cartoonists amped up the satire on 2019’s greatest political hits. MoAD’s director, Daryl Karp, notes that a free press is important for a healthy democracy, and political cartoons have a part to play. “Behind the Lines celebrates Australia’s long and proud history of political cartooning, a vital part of a free press,” explained MoAD Director, Daryl Karp. “There is a clear link between a free press and healthy democracy. The Behind the Lines exhibition is one demonstration of this, but this theme is also explored in our new Truth, Power and a Free Press exhibition. “Each year the Behind the Lines exhibition captures the story of the entire year through humour, wit and striking visuals. At a time when news media in Australia is dramatically changing, it is reassuring that our political cartoonists are still ready, pen in hand, to make us laugh or cry over the politics of the day,” Ms Karp continued. Jennifer Forest, the curator of the 2019 iteration of Behind the Lines, said that the theme for this year’s exhibition is grounded in the musical undertones of many of the political cartoons featured in the exhibition.