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Blinky Bills White Christmas Music Credits
Music Composed by Guy Gross "Christmas In Australia" Performed by Christine Anu Composed by Guy Gross. Lyrics by John Palmer Published by Mushroom Music. "Christmas in Australia" Recorded & Mixed By Simon Leadley & Tim Ryan String Arrangement by James Lee Strings: Click Track Music Ensemble Piano: Michael Bartolomei Guitar: Rex Goh Produced by Guy Gross Lyrics of the song performed by Christine Anu that runs over the opening sequence and the tail credits and also appears within the movie: It's Christmas in Australia A time of peace and love It's Christmas in Australia With southern skies above From busy towns and cities To the outback far away We come together to rejoice Because it's Christmas Day The summer nights, the fairy lights And laughter everywhere The church bells ring, the bellbirds sing And joy is in the air With family and friends at home Around the Christmas tree That's what Christmas in Australia Will always mean to me … Down under when it's Christmas time There's lots for kids to do Like making cards and making cakes And making mischief too And Santa Claus is not surprised To hear the children say: "I want it to be Christmas Every single day" The summer days, the Christmas plays And laughter everywhere The church bells ring, the bellbirds sing And joy is in the air With family and friends at home Around the Christmas tree That's what Christmas in Australia Will always mean to me … At around the 44 minute mark (in the off-air version used by this site), Johnny the Rabbit adds a couple of verses … … a time to share, a time to care A time when dreams come true A time to think about the worth Of everything we do For on this little world of ours We're all one family So come and join us as we sing Around a Christmas tree Singer Christine Anu is too well known to dwell on here. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
DIRECT to YOUR INBOX EVERY MORNING Monday, April 27, 2020 | Dedicated to the Australasian Bloodstock Industry - Subscribe for Free: Click Here
Monday, April 27, 2020 | Dedicated to the Australiasian bloodstock industry subscribe for free: Click here DIRECT TO YOUR INBOX EVERY MORNING Monday, April 27, 2020 | Dedicated to the Australasian bloodstock industry - subscribe for free: Click here WEEK AHEAD - PAGE 14 MORNING BRIEFING - PAGE 8 YESTERDAY'S RACE RESULTS - PAGE 17 Brutal’s fee set for first Read Tomorrow's Issue For: season at Newgate Stallion Watch The 2019 Doncaster Mile winner will stand for $27,500, GST What's on inclusive, as he joins Tassort at stud Race meetings: Grafton (NSW), Narromine (NSW), Wodonga (VIC), Albany (WA) Barrier trials/ Jump-outs: Warwick Farm (NSW), Grafton (NSW), Narromine (NSW), Cranbourne (VIC), Swan Hill (VIC), Moe (VIC) HONG KONG NEWS Purton creates history as Exultant takes QE II Cup Zac Purton was elated and deflated at the end Brutal SPORTPIX of Exultant's (Teofilo) glorious, grinding victory who bought the colt at the 2017 New Zealand in the HK$25 million FWD Queen Elizabeth II BY ANDREW HAWKINS | @ANZ_NEWS Bloodstock Karaka Premier Yearling Sale for Cup (Gr 1, 2000m) at Sha Tin yesterday. rutal (O’Reilly), the lightest-raced $220,000 from the draft of Mapperley Stud, sold The brave bay's willingness to stretch for winner of the Doncaster Mile (Gr 50 per cent to Newgate on the condition that he his rider through every demanding stride of the 1, 1600m) in the race’s 154-year raced on as a four-year-old. 2000-metre feature meant the champion jockey history, will serve his first mares at The Newgate Farm team, led by Slade and became the only rider in history to have won BNewgate Farm next season at a fee of $27,500 managing director Henry Field, have made every Group 1 race on the Hong Kong calendar. -
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. -
Royal Perth Hospital Emeritus Consultant Biographies
Royal Perth Hospital Emeritus Consultant biographies Volume one Contents James P. Ainslie................................................................................................................ 3 Ernest A. Beech ................................................................................................................ 4 Terence B. Bourke ............................................................................................................ 5 Ronald C. Bowyer ............................................................................................................. 6 Harold G. Breidahl ............................................................................................................. 7 Peter D. Breidahl ............................................................................................................... 8 Dixie P. Clement ............................................................................................................... 9 Alexander K. Cohen ........................................................................................................ 10 William R. Cole................................................................................................................ 11 Graham Cumpston .......................................................................................................... 12 Bill Derham ..................................................................................................................... 13 Cyril Fortune .................................................................................................................. -
Frauds Music Credits
Music Composed by Guy Gross Music Orchestrated and Conducted by Derek Williams Supervising Engineer Simon Leadley Orchestral Engineer Robin Grey Music Editor Andrew Lancaster Assistant to Mr. Gross Mattie Porges Music Publisher Mushroom Music, Australia "I've Got You Under My Skin" Written by Cole Porter Published by Warner/Chappell Music Performed by Marcia Hines with the Bob Cousins Big Band Courtesy of Peter Rix Management Arranged and Conducted by Derek Williams Produced by Guy Gross "It's Delovely" Written by Cole Porter Published by Warner/Chappell Music Performed by Bob Cousins Big Band Arranged and Conducted by Derek Williams Produced by Guy Gross "Tijuana Taxi" Written by Alpert/Coleman Performed by Herb Alpert and the Tijuana Brass Published by Rondor Music (Australia) Pty Ltd Courtesy of A & M Records Inc. Music Recorded at Trackdown Studios, Sydney and Alan Eaton Studios, Melbourne Music Performed by The Victorian Philharmonic Orchestra Supervising Re-Recording Mixer Jeffrey Perkins Re-Recording Mixer Kurt Kassulke Re-Recorded at International Recording Corporation The Producers Would Like To Thank The Cove Chamber Orchestra CD: A CD of the soundtrack was released: CD Picture This PTR003 1992 Original Music Composed and Produced by Guy Gross(Mushroom Music) Except * Composed by Cole Porter (Warner/Chappell) Performed by Marcia Hines and the Bob Coassin’s Big Band Orchestrated and conducted by Derek Williams Additional orchestration, synthesiser arrangements and conducting by Guy Gross Music editor: Andrew Lancaster Supervising engineer: Simon Leadley Orchestra recorded and mixed by Robin Gray Additional engineers: Tom Colley, Bernard O’Reilly & Tim Ryan Recorded at Allan Eaton Studios & Trackdown Studios Orchestra booker: Ron Layton Performed by the Victorian Philharmonic Orchestra Production co-ordinator: Geoff Watson. -
Australian Cinematographers Society V2.1 Now Releasedfirmware
australian cinematographer ISSUE #60 DECEMBER 2013 RRP $10.00 Quarterly Journal of the Australian Cinematographers Society www.cinematographer.org.au V2.1 Now ReleasedFirmware shootingHigh &frame much rate more! The future, ahead of schedule Discover the stunning versatility of the new F Series Shooting in HD and beyond is now available to many more content creators with the launch of a new range of 4K products from Sony, the first and only company in the world to offer a complete 4K workflow from camera to display. PMW-F5 PMW-F55 The result of close consultation with top cinematographers, the new PMW-F5 and PMW-F55 CineAlta cameras truly embody everything a passionate filmmaker would want in a camera. A flexible system approach with a variety of recording formats, plus wide exposure latitude that delivers superior super-sampled images rich in detail with higher contrast and clarity. And with the PVM-X300 monitor, Sony has not only expanded the 4K world to cinema applications but also for live production, business and industrial applications. Shoot, record, master and deliver in HD, 2K or 4K. The stunning new CineAlta range from Sony makes it all possible. PVM-X300X300 For more information, please email us at [email protected] pro.sony.com.au MESM/SO130904/AC CONTENTS BY DEFINITION of the Australian Cinematographers Society’s Articles of Association “a cinematographer is a person with technical expertise who manipulates light to transfer visual information by the use of a camera into aesthetic moving 38 images on motion picture film -
G and PG DVD Movie List
Includes-G-PG- Ratings Includes All Available Releases For Outdoor Screenings www.ruralcinema.com.au Rural Cinema Ph 0429 116 343 As of 15-Mar-21 Number Of Titles 3836 Title Run Time Rating Genre 1001 RABBIT TALES 74Mins G Drama Jan-01 101 DALMATIONS (ANIMATED) 79Mins G Drama Jan-01 101 DALMATIONS (LIVE ACTION) 103Mins G Drama Jan-01 102 DALMATIONS 100Mins G Drama Jan-01 2001 A SPACE ODYSSEY 141Mins G Drama Jan-01 2040 92Mins G Documentary Aug-19 42ND STREET 89Mins G Drama Jan-01 633 SQUADRON 102Mins G May-05 7 BRIDES FOR 7 BROTHERS 102Mins G Drama Jan-01 84 CHARING CROSS ROAD 99Mins G Drama Jan-01 A LAWLESS STREET 74Mins G Oct-66 A MAN FOR ALL SEASONS 117Mins G Sep-84 A MONSTER IN PARIS 90Mins G Animated Aug-13 ABC 89Mins G Drama Jan-01 ABOMINABLE 97Mins G Nov-19 ABOVE SUSPICION 90Mins G Drama Jan-01 ACROSS THE WIDE MISSOURI 77Mins G Drama Jan-01 ADVENTURES IN ZAMBEZIA 83Mins G ANIMATED Jul-13 ADVENTURES OF HUCKLEBERRY FINN (1939) 90Mins G Drama Jan-01 ADVENTURES OF HUCKLEBERRY FINN '60 117Mins G Drama Jan-01 ADVENTURES OF ICHABOD AND TOAD 68Mins G Drama Jan-01 ADVENTURES OF MILO AND OTIS 63Mins G Drama Jan-01 ADVENTURES OF PINOCCHIO THE 94Mins G Drama Jan-01 ADVENTURE'S OF ROBIN HOOD 102Mins G Drama Jan-01 ADVENTURES OF SHARKBOY AND LAVAGIRL, THE 93Mins G Family/Come Oct-05 AFFAIR TO REMEMBER , AN 142Mins G Drama Jan-01 AGE OF INNOCENCE 138Mins G Drama Jan-01 AGONY AND THE ECSTACY 140Mins G Drama Jan-01 AIR BUD 98Mins G Drama Jan-01 AIRBORNE 91Mins G Drama Jan-01 ALADDIN 90Mins G Drama Jan-01 ALICE IN WONDERLAND 74Mins G Drama Jan-01 -
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An Inquiry Into Contemporary Australian Extreme Right
THE OTHER RADICALISM: AN INQUIRY INTO CONTEMPORARY AUSTRALIAN EXTREME RIGHT IDEOLOGY, POLITICS AND ORGANIZATION 1975-1995 JAMES SALEAM A Thesis submitted in fulfilment of the requirements for the degree of Doctor Of Philosophy Department Of Government And Public Administration University of Sydney Australia December 1999 INTRODUCTION Nothing, except being understood by intelligent people, gives greater pleasure, than being misunderstood by blunderheads. Georges Sorel. _______________________ This Thesis was conceived under singular circumstances. The author was in custody, convicted of offences arising from a 1989 shotgun attack upon the home of Eddie Funde, Representative to Australia of the African National Congress. On October 6 1994, I appeared for Sentence on another charge in the District Court at Parramatta. I had been convicted of participation in an unsuccessful attempt to damage a vehicle belonging to a neo-nazi informer. My Thesis -proposal was tendered as evidence of my prospects for rehabilitation and I was cross-examined about that document. The Judge (whose Sentence was inconsequential) said: … Mr Saleam said in evidence that his doctorate [sic] of philosophy will engage his attention for the foreseeable future; that he has no intention of using these exertions to incite violence.1 I pondered how it was possible to use a Thesis to incite violence. This exercise in courtroom dialectics suggested that my thoughts, a product of my experiences in right-wing politics, were considered acts of subversion. I concluded that the Extreme Right was ‘The Other Radicalism’, understood by State agents as odorous as yesteryear’s Communist Party. My interest in Extreme Right politics derived from a quarter-century involvement therein, at different levels of participation. -
Ozploitation Revisited: Not Quite Hollywood
▐ ‘For every Caddie there was a Felicity. For every Picnic at Hanging Rock there was a Stunt Rock. For every Jimmie 1 Blacksmith there was an Alvin Purple.’ ▐ MARK HARTLEY Ozploitation Revisited Not Quite Hollywood direct opposition to mainstream Australian film culture. As he observes: ‘For every Mark Hartley’s new film straddles unpretentious Caddie there was a Felicity. For every Picnic at Hanging Rock there was a Stunt glee and obsessive research, writes Alexandra Rock. For every Jimmie Blacksmith there Heller-Nicholas. was an Alvin Purple.’1 Not Quite Hollywood launches with Rose Tattoo’s euphoric bogan anthem ‘We HE main intent of Mark Hartley’s Ozploitation renaissance that this docu- Can’t Be Beaten’, a track that in both lyric documentary on Australian com- mentary will no doubt trigger both here and and mood emphasizes the raucous (if Tmercial genre cinema of the 1970s abroad – is Quentin Tarantino. The Ameri- somewhat delusional) self-aggrandizing and 1980s – or, more affectionately, can cult film icon leaves little room in Not spirit that permeates many of the films Ozploitation film – is to highlight trash as Quite Hollywood for even his most vocal the documentary examines. In fact, it is an integral building block of the Australian critics to question his encyclopedic knowl- this precise tone that also governs many film industry as we know it today. edge of Australian commercial genre film of the most engaging interviews: from the of this era – a deliberate incitement to the outset, a spectacularly grumpy Bob Ellis Film scholars in Australia have very little cultural elite in this country that Tarantino clashes horns with an equally deadpan experience observing the mechanics of refers to as ‘snobs’. -
241 © the Editor(S) (If Applicable) and the Author(S) 2018 D. Torre and L
INDEX A adaptations Abbot and Costello (animated series) book to animation, 150, 187, 232 (1967), 96, 162 comic to animation, 94 Aboriginal live-action to animation, 192, 195 animators, 194 Adlide, Tim, 230 themes, 194 Adolf in Plunderland (1940), 65 Aboriginal Arts Board, 194 Adventures of Blinky Bill, The (1993), Aboriginal Nations studio, 191, 145 193 Adventures of Bottle Top Bill, The Abra Cadabra (1983), 155, 234 (2003–04), 189 abstract animation, 219 Adventures of Hot Chunks, The (1999), Abstracted Refections (2011), 234 202 Abstract Iterations II (2016), 234 Adventures of Sam, The (1996–97), Accents 189 American, 3, 181 advertising Australian, 3, 71, 181, 203, cinema, 2, 10, 25, 26, 60, 81 206 print, 20, 23, 27, 72 British, 3, 71 television, 76, 79, 81, 102, 193, character, 181 195, 201 mid-Atlantic, 3, 181 Aeroplane Jelly (1942), 66 ACME registration system, 85 After All (2017), 235 Ada (2000), 225 Agdag, Daniel, 230, 235 Adam and Eve (1962), 75 Air Cartoons (radio program), 27 Adams, Merredith, 220 Air Programs Australia (APA), 88, 89, Adams, Phillip, 149, 151 104 © The Editor(s) (if applicable) and The Author(s) 2018 241 D. Torre and L. Torre, Australian Animation, https://doi.org/10.1007/978-3-319-95492-9 242 INDEX Air Programs International (API), 3, independent, 4, 71, 72, 97, 101, 79, 88, 89, 91–93, 99, 104, 108, 133, 202, 211, 212, 214, 215, 120–122, 132, 162–166, 179, 220, 221, 228, 230, 231, 233, 181, 182, 194 237, 238 Ajax Films, 100, 189 materials, 15, 65, 109, 232 Aladdin (animated series, Disney), timing, 85, 187, 190 121 animation camera, 14, 23, 74, 100, Aladdin and His Magic Lamp (1970), 147, 213 122 3D system, 156–157 Aladdin and the King of Thieves aerial-image camera, 111, 141 (1996), 199 camera operator, 8, 18, 190, 213 Aladdin-Return of Jafar (1994), 199 Animation Co-Op (Sydney), 220 Albert’s (proposed animated series), Animation Game, The (1980), 229 188 Animation International, Inc., 107, Al et al.