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Presents a Film by TRACEY DEER 92 Mins, Canada, 2020 Language: English with Some French
Presents a film by TRACEY DEER 92 mins, Canada, 2020 Language: English with some French Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com BEANS Festivals, Achievements and Awards Awards & Achievements DGC Discovery Award – 2020 WGC Screenwriting Award, Feature Film – 2021 Canadian Screen Awards – 2021 Best Motion Picture, Winner John Dunning Best First Feature Film Award, Winner Achievement in Casting, Nomination Achievement in Sound Mixing, Nomination Achievement in Cinematography, Nomination Vancouver Films Critics Circle – 2021 One to Watch: Kiawentiio Best Supporting Actress: Rainbow Dickerson Festivals Berlinale, Generation Kplus, Germany – 2021 Crystal Bear for Best Film Toronto International Film Festival, Canada – 2020 TIFF Emerging Talent Award: Tracey Deer TIFF Rising Stars: Rainbow Dickerson TIFF’s Canada’s Top Ten Vancouver International Film Festival, Canada – 2020 Best Canadian Film Yukon Available Light Film Festival, Canada – 2021 Made in the North Award for Best Canadian Feature Film Audience Choice Best Canadian Feature Fiction Kingston Canadian Film Festival, Canada – 2021 Limestone Financial People’s Choice Award Minneapolis St. Paul International Film Festival, USA – 2021 Audience Choice Award: Nextwave Global Features Provincetown Film Festival - 2021 NY Women in Film & Television Award for Excellence -
READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ¨ No þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Fiona Tan Coming Home
Fiona Tan Sherman Art Foundation Contemporary Coming Home Fiona Tan Coming Home Sherman Contemporary Art Foundation Contents in association with the National Art School 12 Preface Anita Taylor Fiona Tan 14 Introduction Gene Sherman Coming Home 19 Colour Plates A Lapse of Memory 47 Disorient 74 Essay Infinite Crossroads Juliana Engberg 82 Production Credits 84 Artist Biography 88 Artist Bibliography 92 Contributors 94 Acknowledgements 13 It is with enormous pleasure that the National The extension of the project to include the Preface Art School (NAS) joins with Sherman NAS Gallery is a direct outcome of discussions Contemporary Art Foundation (SCAF) to involving the Deans/Directors of the three present ‘Fiona Tan: Coming Home’. The major art schools in Sydney in May 2009, held proposal to extend the project – commissioned at the invitation of Dr Gene Sherman, in which Anita Taylor by SCAF – across our two venues represents a Gene and her team at SCAF proposed an Director significant new partnership for NAS. I believe ongoing dialogue to explore opportunities to National Art School the opportunity afforded by this collaboration engage more extensively with the art students establishes an exciting new direction for both of Sydney. Most importantly, SCAF and NAS our organisations. share a commitment to supporting outstanding The two Sydney venues are each hosting a exhibitions that underscore the value of art and separate body of work: Disorient, 2009, first culture in our society. shown to great acclaim in the Dutch Pavilion at The hard work, commitment and dedication the 53rd Venice Biennale, is screening at SCAF in of a number of individuals are required to Paddington, and A Lapse of Memory, 2007, is deliver an exhibition of this scope. -
Concert and Music Performances Ps48
J S Battye Library of West Australian History Collection CONCERT AND MUSIC PERFORMANCES PS48 This collection of posters is available to view at the State Library of Western Australia. To view items in this list, contact the State Library of Western Australia Search the State Library of Western Australia’s catalogue Date PS number Venue Title Performers Series or notes Size D 1975 April - September 1975 PS48/1975/1 Perth Concert Hall ABC 1975 Youth Concerts Various Reverse: artists 91 x 30 cm appearing and programme 1979 7 - 8 September 1979 PS48/1979/1 Perth Concert Hall NHK Symphony Orchestra The Symphony Orchestra of Presented by The 78 x 56 cm the Japan Broadcasting Japan Foundation and Corporation the Western Australia150th Anniversary Board in association with the Consulate-General of Japan, NHK and Hoso- Bunka Foundation. 1981 16 October 1981 PS48/1981/1 Octagon Theatre Best of Polish variety (in Paulos Raptis, Irena Santor, Three hours of 79 x 59 cm Polish) Karol Nicze, Tadeusz Ross. beautiful songs, music and humour 1989 31 December 1989 PS48/1989/1 Perth Concert Hall Vienna Pops Concert Perth Pops Orchestra, Musical director John Vienna Singers. Elisa Wilson Embleton (soprano), John Kessey (tenor) Date PS number Venue Title Performers Series or notes Size D 1990 7, 20 April 1990 PS48/1990/1 Art Gallery and Fly Artists in Sound “from the Ros Bandt & Sasha EVOS New Music By Night greenhouse” Bodganowitsch series 31 December 1990 PS48/1990/2 Perth Concert Hall Vienna Pops Concert Perth Pops Orchestra, Musical director John Vienna Singers. Emma Embleton Lyons & Lisa Brown (soprano), Anson Austin (tenor), Earl Reeve (compere) 2 November 1990 PS48/1990/3 Aquinas College Sounds of peace Nawang Khechog (Tibetan Tour of the 14th Dalai 42 x 30 cm Chapel bamboo flute & didjeridoo Lama player). -
View Annual Report
VILLAGE ROADSHOW LIMITED 1999 Annual Report Founder’s Report Contents Dear Shareholders Founder’s Report My purpose in creating Village Roadshow in the 1950s was to build a company with 2 Corporate Overview strong foundations for the long term. I have seen and been part of many difficult 4 Summary of Major Business Units periods of this industry in my career. It is pleasing that your management team has brought the Company through this tough period recently with stronger results in most 6 Financial Highlights areas other than Cinema Exhibition. This says much about the powerful foundations 8 Ten Year Financial Summary of today’s Village Roadshow– its strength in radio, distribution, film production and 10 Chairman’s Report theme parks. And its management depth of talent and dedication. These assets, with the immediate outlook of better film product, demonstrates to me that the foundations 12 Managing Director’s Report for growth are strong indeed. 14 Board of Directors As a shareholder, and as one who knows the Company well, I am confident that the 16 Senior Executive Team Company is well positioned to deliver increased shareholder value in the future; the 18 Exhibition foundations are in place to allow me to share my confidence with you. 22 Distribution Roc Kirby AM 23 Production 24 Radio 25 Theme Parks 26 Corporate Governance 29 Financial Statements 30 Directors’ Report 34 Profit and Loss Statement 35 Balance Sheet 36 Statement of Cash Flows 37 Notes to the Financial Statements 76 Directors’ Declaration 76 Independent Audit Report 77 Additional Information 78 Actual Group EBITDA by Division 79 Significant Differences between Australian GAAP and US GAAP 82 Share Register Information and Directory Front cover: The Matrix Village Roadshow Limited ACN 010 672 054 1 Corporate Overview Objectives Strategies Highlights Village Roadshow’s primary aim To achieve the Company’s Increased cinema circuit by 416 is the maximisation of long-term objectives, the following strategies screens and 85 sites since the last shareholder value. -
Living Blues 2021 Festival Guide
Compiled by Melanie Young Specific dates are provided where possible. However, some festivals had not set their 2021 dates at press time. Due to COVID-19, some dates are tentative. Please contact the festivals directly for the latest information. You can also view this list year-round at www.LivingBlues.com. Living Blues Festival Guide ALABAMA Foley BBQ & Blues Cook-Off March 13, 2021 Blues, Bikes & BBQ Festival Juneau Jazz & Classics Heritage Park TBA TBA Foley, Alabama Alabama International Dragway Juneau, Alaska 251.943.5590 2021Steele, Alabama 907.463.3378 www.foleybbqandblues.net www.bluesbikesbbqfestival.eventbrite.com jazzandclassics.org W.C. Handy Music Festival Johnny Shines Blues Festival Spenard Jazz Fest July 16-27, 2021 TBA TBA Florence, Alabama McAbee Activity Center Anchorage, Alaska 256.766.7642 Tuscaloosa, Alabama spenardjazzfest.org wchandymusicfestival.com 205.887.6859 23rd Annual Gulf Coast Ethnic & Heritage Jazz Black Belt Folk Roots Festival ARIZONA Festival TBA Chandler Jazz Festival July 30-August 1, 2021 Historic Greene County Courthouse Square Mobile, Alabama April 8-10, 2021 Eutaw, Alabama Chandler, Arizona 251.478.4027 205.372.0525 gcehjazzfest.org 480.782.2000 blackbeltfolkrootsfestival.weebly.com chandleraz.gov/special-events Spring Fling Cruise 2021 Alabama Blues Week October 3-10, 2021 Woodystock Blues Festival TBA May 8-9, 2021 Carnival Glory Cruise from New Orleans, Louisiana Tuscaloosa, Alabama to Montego Bay, Jamaica, Grand Cayman Islands, Davis Camp Park 205.752.6263 Bullhead City, Arizona and Cozumel, -
Marketing Communications Approval Report - February 2019
MARKETING COMMUNICATIONS APPROVAL REPORT - FEBRUARY 2019 CAMPAIGNS Proposed Budget ID Campaign Title Department Start Date End Date Approval Date Synopsis exGST ($) 18-176 Regional Driver Safety Motor Accident Commission 3/02/2019 2/03/2019 9/01/2019 $190,590 Public education campaign to arrest road trauma experienced in regional South Australia. 18-177 Drug Driving Motor Accident Commission 17/02/2019 27/04/2019 23/01/2019 $259,598 Public education campaign targeting drug driving on South Australian roads. EVALUATIONS Proposed Evaluation Actual Expenditure ID Campaign Title Department Start Date End Date Expenditure Approval Date exGST ($) exGST ($) 18-108 Sydney Roosters (2018) South Australian Tourism Commission 15/05/2018 29/06/2018 25/02/2019 $135,000 $92,775 18-90 Hybrid World Adelaide 2018 Adelaide Film Festival 30/04/2018 27/07/2018 13/02/2019 $349,500 $348,664 18-106 Food and Wine South Australian Tourism Commission 1/07/2018 31/08/2018 21/02/2019 $799,048 $764,278 18-104 2018 Adelaide Fashion Festival Events South Australia 7/08/2018 21/10/2018 10/02/2019 Redacted - Commercial in Confidence 18-129 2018 Credit Union Christmas Pageant South Australian Tourism Commission 14/10/2018 9/11/2018 21/02/2019 $88,000 $75,791 18-118 Short Courses for Anyone and Everyone TAFE SA 1/07/2018 31/12/2018 19/02/2019 Redacted - Commercial in Confidence BRANDING EXEMPTIONS Ministerial Approval ID Entity Department Approval Date Exemption Type Date Nil Sensitive: SA Cabinet - I2 - A1 CAMPAIGN EVALUATION REPORT Campaign: 2018 Adelaide Fashion Festival Department: Events South Australia Campaign Start Date: 07 August 2018 Campaign Completion Date: 21 October 2018 Campaign Total Spend: Redacted - Commercial in Confidence Campaign Approval Date: 30 July 2018 Evaluation Approval Date: 11 February 2019 Evaluation Summary: The campaign was successful, meeting ticket sales (86%) and website visitation (73,450) targets . -
Download SQ Financial Year Overview
2019-2020 FINANCIAL YEAR OVERVIEW Screen Queensland’s purpose is to grow the screen industry to be a significant contributor to the economic and cultural wellbeing of Queensland. Screen Queensland invests in people and projects to grow a creative, innovative and successful screen industry, and delivers an active screen culture across the state. All figures noted in this overview, including Queensland Production Expenditure (QPE) and jobs, are for the productions' approved investment in the 2019-2020 Financial Year which may or may not have gone into principal photography. Front cover > Retrograde, Unless Pictures and Orange Entertainment Co This page > The Strange Chores, Ludo Studio > CONTENTS Message from Screen Queensland Chair, Linda Lavarch 4 Message from Screen Queensland CEO, Kylie Munnich 5 Key Achievements: 2019-2020 Financial Year 6 - 8 Filmmaking in a Time of COVID-19 9 Spotlight on SQ Enterprise 10 Attracting Productions to Queensland 11 - 12 Growing Queensland Talent 13 - 16 Investing in Development 17 - 19 Investing in Queensland Production 20 - 21 Investing in Game Development 22 Supporting Aboriginal and Torres Strait Islander Practitioners 23 Respect, Inclusion, Diversity, Equality = RIDE 24 - 25 SQhub 26 Screen Culture and Community 27 - 28 Screen Queensland Studios 29 > This Little Love of Mine. Photo by David Fell, courtesy of The Steve Jaggi Company In October, we welcomed Queensland born-and- > MESSAGE raised Kylie Munnich as CEO, joining us from her previous role at Seven Studios. Kylie also served FROM as the Director of Drama & Comedy at Sky Vision UK and spent ten years working for Sony Pictures THE CHAIR Television in senior roles in Australia and the UK. -
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. -
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and Works in Long Island City, Queens, NY
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and works in Long Island City, Queens, NY EDUCATION Arturo Michelena School of Fine Arts, Venezuela SELECTED SOLO EXHBITIONS 2016 To Have Done with the Judgment of God, Koenig & Clinton, New York 2014 Shadow Play, curated by Mirjam Varanidis, Kunsthaus Zürich, Switzerland Games are forbidden in the labyrinth, Walter and McBean Galleries, San Francisco Art Institute, CA Games are forbidden in the labyrinth, REDCAT Gallery, co-produced with Kadist Art Foundation, Los Angeles, CA 2013 Praise of Folly, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium The Conquest of Mexico, Figge von Rosen Galerie, Cologne, Germany 2012 Ungesehen und unerhört II: Javier Téllez, Museum Sammlung Prinzhorn, Heidelberg, Germany Rotations, Galerie Peter Kilchmann, Zürich, Switzerland 2011 Letter on the Blind for the Use of Those Who See, Arthouse at the Jones Center, Austin, TX O Rinoceronte de Dürer, Fruits, Flowers, and Clouds, Museum for Applied Arts, Vienna, Austria Letter on the Blind for the Use of Those Who See, Museum of Contemporary Art Cleveland, OH O Rinoceronte de Dürer, Galerie Arratia Beer, Berlin, Germany 2010 Vasco Araújo/Javier Téllez - Larger than Life, curated by Isabel Carlos, Museo de Arte Contemporánea, Vigo, Spain Vasco Araujo/Javier Téllez - Larger than Life, Museu Calouste Gulbenkian, Lisbon, Portugal 2009 41⁄2, curated by Hilke Wagner, Kunstverein Braunschweig, Germany Mind The Gap, curated by Sabine Schaschl, Kunsthaus Baselland, Switzerland Javier Téllez: International Artist -
SQ Annual Review 2017-18
17 > Celeste ANNUAL REVIEW 18 CONTACT Head Office Address: Gold Coast Office Address: Suite 1/30 Florence Street c/o Village Roadshow Studios Newstead Qld 4006 Building 9A, Entertainment Road Australia Oxenford QLD 4210 T. +61 7 3248 0500 Australia E. [email protected] Postal Address: PO Box 15094 City East Brisbane Qld 4002 Australia Screen Queensland's purpose is to grow the screen industry to be a significant contributor to the economic and cultural wellbeing of Queensland. > Harrow Screen Queensland ACN 056 169 316 ABN 20 056 169 316 Published by Screen Queensland 2018 Also published on screenqld.com.au -------------------------------------------------------------------------------------------------------------------------------------------------------- All figures noted in this Annual Report, including Queensland Production Expenditure (QPE) and jobs, are for the productions given funding in the 2017-18 Financial Year which may or may not have gone into principal photography. > Cover image - Tidelands In the 2017–18 Financial Year, Screen Queensland funded 28 film and television screen productions and games, which generated an estimated $168 million in direct Queensland Production Expenditure (QPE) and more than 1,960 employment opportunities for Queenslanders. > CONTENTS Message from The Premier of Queensland 5 Screen Queensland Chair 7 Look What We Achieved Together 8 2017-18 Highlights 10 Production in Queensland 14 New Initiatives in Screen 18 Screen Support Programs 26 Production Attraction Funding Program 30 Dora the -
THURSDAY 27 – SUNDAY 30 OCT Adelaidefilmfestival.Org @Adlfilmfest #Adlff Thank You
GOES ROGUE THURSDAY 27 – SUNDAY 30 OCT adelaidefilmfestival.org @AdlFilmFest #adlff Thank you Principal Partner Government Partners Major Partners Supporting Partners Ali’s Wedding Ali’s Screen Australia congratulates all those Australian films selected for the Adelaide Film Festival. Stories that stay with you 2 GOES ROGUE For Adelaide Film Festival 2015, we packed eleven October days with The Fund supports feature fiction films and feature documentary premieres, talks, and post-film soirees aplenty. Frankly, the thought projects along with short films, animation, digital and interactive of waiting two more years to do it all again is too much to bear. projects, hybrid reality and moving image works. Say, why not go rogue? In 2016, we’re breaking the biennial cycle to bring a streamlined mini- Thanks to the ADL Film Fest Fund, we’re pleased as punch to present fest to Adelaide’s screens. Featuring brand new Australian titles and three new works, each from the frontlines of thematic, stylistic and an array of retrospective gems, let this four-day fiesta be your screen- technological storytelling. Ali’s Wedding is Australia’s first Muslim based oasis until ADL Film Fest proper returns, full throttle. rom-com, so funny you’ll cry. ADLFF patron David Stratton gives us a sneak peek at his Stories of Australian Cinema. Lynette Wallworth’s ADL Film Fest Fund, rare in the screen landscape and revered radical work Collisions unites the world’s oldest culture with the internationally, forms the backbone of our Rogue program. vanguard of virtual reality tech. So: rogue. Not Nicolas Roeg, whose decisive work Walkabout features in Stratton’s series; nor the neo-Ozploitation creature feature about that ocker-eating croc – though we value the chutzpah of both.