When Director Richard Lowenstein Opened the First Page of the Novel
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The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
Big Pig, Breakaway\\
AS OF APRIL 20, 1988 A SAMPLING OF PLAYLISTS AT TH E NATIONAL VIDEO MUSIC OUTLETS. ® cL p Lists do not include videos in Billboard recurrent or oldies rotation. TM G. Estefan /MSM, Anything For You Debbie Gibson, Out Of The Blue George Michael, One More Try INXS, Devil Inside Billy Ocean, Get Outta My Dreams ... Icehouse, Electric Blue Bruce Springsteen, One Step Up Debbie Gibson, Only In My Dreams Jermaine Stewart, Say It Again Jermaine Stewart, Jody MUSIC TELBv lOir HEAVY us Jermaine Stewart, We Don't Have To ... Rick Astley, Together Forever Pepsi & Shirlie, Heartache Continuous programming Cher, We All Sleep Alone Pepsi & Shirtie, All Right Now 1775 Broadway, New York, NY 10019 Whitney Houston, Where Do Broken Hearts Go Rick Springfield, Rock Of Life Michael Jackson, Man In The Mirror Rick Springfield, Dance The World Away ADDS Johnny Hates Jazz, Shattered Dreams Rick Springfield, Living In Paradise Brenda Russell, Piano In The Dark The Alarm, Rescue Me Jermaine Stewart, Say It Again Jon Anderson, Hold On To Love James Taylor, Never Die Young Tracy Chapman, Fast Car Toto, Pamela Joanna Dean, Kiss This Dokken, Heaven Sent Debbie Gibson, Foolish Beat MEDIUM Heart Desires Hall & Oates, Everything Your 10,000 Maniacs, Like The Weather And The Range, Valley Road Bruce Hornsby Merry Clayton, Yes Middle Of Nowhere House Of Shock, The Deele, Two Occasions Ranch, Reach 511 Martini Donald Fagen, Century's End Toot Toot John Cougar Mellencamp, Booty Bryan Ferry, Kiss And Tell BLACK ENTERTAINMENT TELEVISION The Robert Tepper, Unforgiven Art Garfunkel, So Much In Love Nanci Griffith, I Knew Love 14 hours daily SNEAK PREVIEW O.M.D., Dreaming 4217 Wheeler Ave., Alexandria, VA 22304 The Crazy River Belinda Carlisle, Circle In The Sand Robbie Robertson, Somewhere Down Del Leppard, Pour Some Sugar On Me Scarlett & Black, You Don't Know ADDS Pink Floyd, Dogs Of War Al B. -
The Loved Ones (2009)
Screen Sound n3, 2012 ALL MASHED UP? Songs, Music and Allusionism in The Loved Ones (2009) Philip Hayward Abstract This article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with particular regard to its uses of allusionism within a popular genre context.1 Within this focus, the article explores the various musical components of the soundtrack (including critical use of specific songs), the creative template determined by the director and the creative input and decision making of various members of the production team. In this manner, the article profiles the film’s audio-visual text, the perceptions and motivations of the production team and considers how these relate to the film’s reception and box-office performance. Keywords The Loved Ones, allusionism, film songs, soundtrack, Australian film Allusionism — An Introduction Back in 1982 the film theorist Noel Carroll considered and, it is not unfair to say, fretted over, the prevalence of allusionism in a range of popular films. Carroll’s critical persona and aesthetic approach drew on two strands: the auteur school of film criticism that attempted to identify distinguished creative authors working within the (supposedly largely undistinguished) mainstream film industry; and a parallel interest in and commitment to the modernism of the western cinematic avant-garde. His anxiety over allusionism in popular cinema arose from a position that considered that, while classic auteur cinema and (successful) modernist works could be identified to have allusionism skillfully woven into the fabric of their texts (and, more broadly, into their author’s aesthetic visions), a range of popular cultural texts seemed increasingly inclined to simply display their allusionism without any deep or thematically significant intent. -
We Re Living on Dog Food
WE’RE LIVING ON DOG FOOD von Richard Max Lowenstein Australien 2009 HDCAM 94 Min. OF Drehbuch: Richard Max Lowenstein, Kamera: Andrew de Groot, Schnitt: Richard Max Lowenstein, Produktion: Ghost Pictures, Produzenten: Richard Max Lowenstein, Andrew de Groot, Lynn- Maree Milburn, mit: Michael Hutchence, Rowland S. Howard, Ollie Olsen, Alannah Hill, Sam Sejavka, Kontakt: Media Luna New Films Richard Max Lowenstein, geboren 1951 im australischen Mel- bourne, studierte an der dortigen Swinburne Film und Televisi- on School Regie. 1979 machte er seinen Abschluss. Er ist Dreh- buchautor und Regisseur von vier Spielfilmen und zwei Doku- mentarfilmen. Er führte außerdem bei diversen preisgekrönten Musikvideos Regie, unter anderem für „INXS“ und „U2“, sowie Post-Punk in Melbourne Ende der 1970er-Jahre: Nick Cave, An eclectic and honest examination of Melbourne’s post-punk bei Konzert- und Fernsehfilmen. Lowenstein ist zudem als Pro- „The Birthday Party“, „Rowland S. Howard“, „Primitive Calcu- music scene of the late 1970s that spawned the likes of Nick duzent von Fernsehserien für den Sender „SBS Independent“ lators“, „The Ears“ und „Whirlywirld“ waren die Bands dieser Cave, the "Birthday Party", "Rowland S. Howard", the "Primiti- tätig. Zeit. Die damals angesagten Underground-Künstler erzählen ve Calculators", "Whirlywirld" and the unique little-band scene von ihrer Musik, der Mode, von den sie inspirierenden Einflüs- amongst many others. Participants proffer their recollections Filmografie sen, den legendären Clubs wie das „Seaview“ und später -
Bankks Butterley Mealee Werder
BANKS BUTTERLEY MEALE WERDER Like so many string quartets, the maestoso’, but the music is hard and changes texture in a more flexible manner. pieces recorded here engage with the concrete. These blocks of sound vary The moments when the quartet comes relationship of the ensemble’s four in length – the rhythmic notation is together in rhythmically regular music are players. Some of the works continue flexible – and the performers decide the striking and climactic. the tradition of cohesive playing, and length of each block in the moment of The second seating configuration, ‘far others question that aspect of the genre’s performance. The effect is that both the away’, begins with, is sustained by, and history. start and end of notes are highly charged. ends with clouds of harmonics. If the first In live performances of Meale’s String In some cases Meale further heightens section retains some hint of progression Quartet No. 1 his direct challenge to this idea, and the fourth chord, marked in its procession of variations, this section the performers is plain to see, for the dolce, ends with a left-hand pizzicato as is totally still. Through the harmonics piece is in two sections: in the first the the bow leaves the string. The abruptness Meale traces lines of pitches that lead us performers sit in the usual configuration, of the gesture is not at all what one might across the stage, but nowhere else. These and for the second section the performers think of as dolce, but this is a piece that three sequences are labelled ‘Tropes’. -
The Young Victoria Production Notes
THE YOUNG VICTORIA PRODUCTION NOTES GK Films Presents THE YOUNG VICTORIA Emily Blunt Rupert Friend Paul Bettany Miranda Richardson Jim Broadbent Thomas Kretschmann Mark Strong Jesper Christensen Harriet Walter Directed by Jean-Marc Vallée Screenplay By Julian Fellowes Produced by Graham King Martin Scorsese Tim Headington Sarah Ferguson, The Duchess of York 2 SHORT SYNOPSIS The Young Victoria chronicles Queen Victoria's ascension to the throne, focusing on the early turbulent years of her reign and her legendary romance and marriage to Prince Albert. SYNOPSIS 1837. VICTORIA (17) (Emily Blunt) is the object of a royal power struggle. Her uncle, KING WILLIAM (Jim Broadbent), is dying and Victoria is in line for the throne. Everyone is vying to win her favor. However Victoria is kept from the court by her overbearing mother, THE DUCHESS OF KENT (Miranda Richardson), and her ambitious advisor, CONROY (Mark Strong). Victoria hates them both. Her only friend is her doting governess, LEHZEN (Jeanette Hain), who is seemingly as untrustworthy as the rest. Victoria’s handsome cousin, ALBERT (Rupert Friend) is invited to visit by her mother. He's also the nephew of her Uncle, KING LEOPOLD OF BELGIUM (Thomas Kretschmann). It's obvious that Albert has been coached to win her hand. At first she's annoyed as she has no intention of being married. She never wants to be controlled again. However Albert is also tired of being manipulated by his relatives. Victoria and Albert talk openly and sincerely and become friends. When he returns home she grants him permission to write to her. -
Jerzy Kozlowski Michael Kieran Harvey New Song Cycles
ASTRA 2010 6 pm, Saturday 19 June, 6 pm, Sunday 20 June ELEVENTH HOUR THEATRE Fitzroy, Melbourne Jerzy Kozlowski bass Michael Kieran Harvey piano new song cycles: Michael Bertram at 75, Lawrence Whiffin at 80 Michael Bertram UNDERGROUND SONGS (2008) first performance Everyone Sang (Siegfried Sassoon) Trail all your pikes ( Anne Finch) He wishes for the Cloths of Heaven ( W.B.Yeats) I saw a peacock with a fiery tail (Anon. 17thC) Lawrence Whiffin PIANO SONATA NO.1 (1961/2006) I. Allegro molto II. Andante – Theme and Variations I N T E R V A L Lawrence Whiffin TIME STEALS SOFTER (2009) poems by George Genovese first performance Time Steals Softer (I) Walking Patriots Two Lives A Poet's Office Medi-Whinge 2004 Time Steals Softer (II) UNDERGROUND SONGS / TIME STEALS SOFTER … Sets of songs provoke a special relation between music and poetry – the choice and the order of poems has a formative influence on the trajectory and characters of the music that enters into their space. In the two new song cycles of this concert another influence is at work as well: the voice of the singer himself. Jerzy Kozlowski’s singing has become a well-known part of Astra programs over a long time and a wide terrain, from mediaeval music and Monteverdi to Reger (Eichendorrf), Busoni (Faust), Elisabeth Lutyens (Auden) and Helen Gifford (Shakespeare). Specifically, his two previous Astra solo recitals performing the late song-cycles of Shostakovich (Michelangelo and Dostoyevsky) made a remarkable impression for the possibilities of the medium of bass voice and piano, and stimulated both Michael Bertram and Lawrence Whiffin to compose new sets of songs particularly for him. -
Jill Bilcock: Dancing the Invisible
JILL BILCOCK: DANCING THE INVISIBLE PRESS KIT Written and Directed by Axel Grigor Produced by Axel Grigor and Faramarz K-Rahber Executive Produced by Sue Maslin Distributed by Film Art Media Production Company: Distributor: Faraway Productions Pty Ltd FILM ART MEDIA PO Box 1602 PO Box 1312 Carindale QLD 4152 Collingwood VIC 3066 AUSTRALIA AUSTRALIA Email: [email protected] Phone: +61 3 9417 2155 faraway.com.au Email: [email protected] filmartmedia.com BILLING BLOCK FILM ART MEDIA, SOUNDFIRM, SCREEN QUEENSLAND and FILM VICTORIA in association with SCREEN AUSTRALIA, THE AUSTRALIAN BROADCASTING CORPORATION and GRIFFITH UNIVERSITY present JILL BILCOCK: DANCING THE INVISIBLE Featuring CATE BLANCHETT, BAZ LUHRMANN, SHEKHAR KAPUR and RACHEL GRIFFITHS in a FARAWAY PRODUCTIONS FILM FILM EDITORS SCOTT WALTON & AXEL GRIGOR DIRECTOR OF PHOTOGRAPHY FARAMARZ K-RAHBER PRODUCTION MANAGER TARA WARDROP PRODUCERS AXEL GRIGOR & FARAMARZ K-RAHBER EXECUTIVE PRODUCER SUE MASLIN © 2017 Faraway Productions Pty Ltd and Soundfirm Pty Ltd. TECHNICAL INFORMATION Format DCP, Pro Res File Genre Documentary Country of Production AUSTRALIA Year of Production 2017 Running Time 78mins Ratio 16 x 9 Language ENGLISH /2 LOGLINE The extraordinary life and artistry of internationally acclaimed film editor, Jill Bilcock. SHORT SYNOPSIS A documentary about internationally renowned film editor Jill Bilcock, that charts how an outspoken arts student in 1960s Melbourne became one of the world’s most acclaimed film artists. SYNOPSIS Jill Bilcock: Dancing The Invisible focuses on the life and work of one of the world’s leading film artists, Academy award nominated film editor Jill Bilcock. Iconic Australian films Strictly Ballroom, Muriel’s Wedding, Moulin Rouge!, Red Dog, and The Dressmaker bear the unmistakable look and sensibility of Bilcock’s visual inventiveness, but it was her brave editing choices in Baz Luhrmann’s Romeo+Juliet that changed the look of cinema the world over, inspiring one Hollywood critic to dub her editing style as that of a “Russian serial killer on crack”. -
Making It in the Melbourne Music Scene Post-Punk and Post-Post-Punk
Making it in the Melbourne Music Scene Post-Punk and Post-Post-Punk Dr Sarah Taylor School of Science RMIT University Victoria, Australia [email protected] This paper uses contemporary documentation, interviews and maps to highlight the different types of music careers, and modes of “making it”, seen in the 1986 feature film Dogs in Space. The film concerns a fictional band of the same name, based on The Ears, a minor group active in the Melbourne band scene between 1979-1981. INXS’s Michael Hutchence plays Sam, the singer in post punk group Dogs in Space. The contrast between Hutchence and Sejavka was seen as remarkable: a major-league rock star, having “made it” by the time of the film’s production, portraying a relatively obscure post-punk musician. However, the trajectories of these bands did overlap in time and place. An historical geographical analysis of INXS and The Ears can help to add context to the Melbourne music scene depicted in the film, as well as to the later cult status popularity of the film, made during a transitional time between norms in the Australian music industry. Keywords — Music industry; post punk; Melbourne; INXS; The Ears; Dogs In Space; restructuring. INTRODUCTION I was far more interested in doing, instead of your rags-to-riches pop star story, your rags-to-gutter story... by actually showing the ones that don’t become famous. — Richard Lowenstein, director of Dogs in Space (quoted in Coupe, 1986) At the time of its release in late 1986, Dogs in Space provided a compelling contrast between the heights of music industry success enjoyed by one of its stars, Michel Hutchence, and the exciting but imploding music movement it depicted (Smith, 1986, McGregor, 1986, Coupe, 1986). -
The Australian Symphony of the 1950S: a Preliminary Survey
The Australian Symphony of the 1950s: A Preliminary survey Introduction The period of the 1950s was arguably Australia’s ‘Symphonic decade’. In 1951 alone, 36 Australian symphonies were entries in the Commonwealth Jubilee Symphony Competition. This music is largely unknown today. Except for six of the Alfred Hill symphonies, arguably the least representative of Australian composition during the 1950s and a short Sinfonietta- like piece by Peggy Glanville-Hicks, the Sinfonia da Pacifica, no Australian symphony of the period is in any current recording catalogue, or published in score. No major study or thesis to date has explored the Australian symphony output of the 1950s. Is the neglect of this large repertory justified? Writing in 1972, James Murdoch made the following assessment of some of the major Australian composers of the 1950s. Generally speaking, the works of the older composers have been underestimated. Hughes, Hanson, Le Gallienne and Sutherland, were composing works at least equal to those of the minor English composers who established sizeable reputations in their own country.i This positive evaluation highlights the present state of neglect towards Australian music of the period. Whereas recent recordings and scores of many second-ranking British and American composers from the period 1930-1960 exist, almost none of the larger works of Australians Robert Hughes, Raymond Hanson, Dorian Le Gallienne and their contemporaries are heard today. This essay has three aims: firstly, to show how extensive symphonic composition was in Australia during the 1950s, secondly to highlight the achievement of the main figures in this movement and thirdly, to advocate the restoration and revival of this repertory. -
Dogs in Space Tail Credits
Title: For Christine Introducing MICHAEL HUTCHENCE as Sam SASKIA POST as Anna DEANNA BOND as The Girl NIQUE NEEDLES as Tim TONY HELOU as Luchio CHRIS HAYWOOD as Chainsaw Man Also with Anthony Peter Walsh Clare Laura Swanson Grant Adam Briscomb Leanne Sharon Jessop Nick Edward Clayton-Jones Mark Martii Coles Charles Chuck Meo Jenny Caroline Lee Barbara Fiona Latham Erica Stephanie Johnson Barry Gary Foley Lisa Glenys Osborne Anna's Girlfriends Allanah Hill Robyn McLellan Skinhead Troy Davies Leanne's Brothers John Murphy Troy Davies Owen Roberson Stacey Helen Phillips Chainsaw Woman Kelly Hoare Chainsaw Baby Robyn Lowenstein The Dealer Robert Ratti Sam's Mother Barbara Jungwirth Hardcore Hippie Beamish Elliot Policemen Noel Pennington Ted Fahrner Grant's Girls Michelle Bennett Lian Lunson Crazy George George Maleckas Pierre Hugo Race Terry Towelling Man Joe Camilleri Sales People Liz Meyers Tim McLaughlan Mount Waverley Mum Lillian Wilson Champion Girls Emma Di Clario Sybil Gibb TV Interviewer Helen Gianevsky Anna's Mum Jean Osborne Countdown Announcer Gavin Wood 3RRR D. J. Bohdan and Martha Butler, Kate Doherty, Harriet Freeman, Kelly Gallagher, Angela Howard, Tim Millikan, Marie Hoy, John Murphy, Sarah Newsome, Ollie Olsen, Miriam Smith, Miles Standish and Noah Taylor THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo John Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John -
The Little Bands Archive a Guide for Listening Pleasure Written by Alan
The Little Bands Archive A Guide for Listening Pleasure W r i t ten b y Alan Bamford An Introduction ~ The Little Bands existed during 1979 - 1981 in and around Fitzroy with occasional migrations to North Melbourne and St Kilda to show off. There was also a contingent from Springv ale who made the journey to the centre occasionally and finally landed and settled in Johnston St, Abbotsford. They consisted of an extended friendship circle o f artists, art enthusiasts and spontaneous musicians, poets, performance artists and filmmakers . This menagerie would spend their time flinging ideas about and if a consenting quorum coalesced around any idea it usually found expression of some kind. It’s been rumoured that the Little Bands lacked any intellectual foundations. This is scurrilous and b eside the point. It’s also typical of the big fish in a small pond syndrome that we all suffered from at the time in the inner Melbourne alternative music scene. Tch Tch Tch!!!! The Littl e Bands were drenched in ideas – it ’ s just that the ideas served th e expression of feelings and thus at the time of performance may have been hidden amongst the onslaught of angst and joy that characterised Little Band nights. The first Little Band night actually occurred as part of a Boys Next Door gig in St Kilda. It w as uphill after that. The most common manifestation was in the Little Band itself. A spontaneous and usually short lived but vibrant and fresh agglomeration of folk, ideas and borrowed instruments would result in quick, intense and sharply focused perform ances of some material base d on a new idea.