Joanne Donahoe-Beckwith DOP/Camera Operator CV
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Journalism : Technology, Industry, Management, Education
Deakin Research Online This is the published version: Hirst, Martin and Withnall, Janice 1997, JEA 1997 : Time for journalism : technology, industry, management, education. Proceedings of the Journalism Education Association annual conference, Sydney, N.S.W., 1-4 Dec. 1997, Kingswood, N.S.W., Journalism Department, School of Communication and Media, University of Western Sydney. Available from Deakin Research Online: http://hdl.handle.net/10536/DRO/DU:30043088 Reproduced with the kind permission of the copyright owner. Copyright : 1997, JEA Time for Journalism Technology, Industry, Management, Education Proceedings of the Journalism Education Association Annual Conference December 1 - 4, 1997 Editors: Martin Hirst Janice Withnall Desktop Publishing: Jodie Lancashire & Alison Bridger Journalism Department School of Communication and Media University of Western Sydney, Nepean PO Box 10 Kingswood NSW Australia 2747 © The authors and the University of Western Sydney, Nepean. ISBN 0-646-35388-8 CONTENTS Media Ownership: Old Themes, New Challenges Jock Given 1 Broadcasting in the Twenty First Century David Flint 6 Journalism Education: What the Editor Sees Jack Waterford 10 Journalism Education: Shooting the Rapids of Change Suellen Tapsall 16 Cyberspace: The Legal Black Hole Rhonda Breit 20 Pagination: Friend of Foe? Jacqui Ewart 23 Who's Ethics Are They Anyway? Ian Richards 26 The Ethics of Writing a Journalism Biography Matthew Ricketson 29 Journalism Educators' Perplexing Quest for Relevance and Respect Jay Black 32 Does Journalism have -
October 2008 Comedy Channel Highlights
www.comedychannel.com.au OCTOBER 2008 HIGHLIGHTS THE MERRICK & ROSSO SHOW WORLD PREMIERE Thursday October 2 @ 8.30pm Continues Thursdays at 8.30pm Merrick and Rosso are back on the box where they belong, with the keys to the Foxtel car - and enough fuel in the tank to really cause some chaos! They’ll finally return to their broadcasting birth place at The Comedy Channel with THE MERRICK & ROSSO SHOW. So what’s on the cards for the new show? Each week the boys will front up before a live studio audience with their unique take on anything and everything. From what’s happening in the world of news to the big questions: Can you deep fry a watermelon? On THE MERRICK & ROSSO SHOW, celebrities will make regular guest appearances from in-studio interviews to recorded comedy pieces to show you a side of them never before seen. Into the mix will go plenty of studio audience interaction and more mayhem and stupidity than is legal in three states. For perhaps the first time, Merrick Watts and Tim Ross will truly focus the energy and excitement of their legendary sell-out live comedy shows and bring that force to the electric television. It’s hotter than Gordon Ramsay’s kitchen, is sure to top Brendan Nelson’s approval ratings and it’s ‘wronger’ than an Austrian family get-together. THE MERRICK & ROSSO SHOW will allow nobody to be immune from their parodies and sketch comedy. Finally, as Merrick and Rosso are keen to point out, “Put simply, the show is Morcambe and Wise meets The Star Wars Christmas Special at an Alcoholics Anonymous meeting during The French Renaissance… on a weeknight.” Buckle up Australia, for a riotous half hour of THE MERRICK & ROSSO SHOW. -
Tony Martin Was Born in Te Kuiti, New Zealand, in 1964, and Has Spent The
Tony Martin was born in Te Kuiti, New Zealand, in 1964, and has spent the last thirty-odd years in Melbourne, Australia, writing, producing, directing and performing what his grandmother would have called ‘a lot of nonsense carry-on’. His credits are too numerous, or in some instances, too poor, to list in full, but include The D-Generation, The Late Show, Martin/Molloy and Get This. He is the author of Lolly Scramble, A Nest of Occasionals, Scarcely Relevant and that episode of Upper Middle Bogan where they go to Smorgy’s. DEADLY KERFUFFLE TONY MARTIN 1 THE GET-GO It was clear, from what Herb Turgent was saying, that the people at number 14 were different. ‘They’re different, that’s for sure,’ he’d said, even before Gordon had unhooked the chain on the back door. ‘And I wouldn’t put anything past ’em. You heard it here first.’ Herb was always saying ‘You heard it here first,’ and Gordon, his closest friend and neighbour, was always shaking his head, a response Herb chose to read as agreement. ‘Am I putting the jug on?’ Gordon enquired, as Herb stumbled into the kitchen, disentangling himself from a glaringly inappropriate parka. ‘Mandarin Breakfast?’ he offered, waving some orange packets of tea he’d won at the bowls club. A puff of bluster implied yes, so Gordon filled the kettle and steeled himself for Herb’s findings. ‘I reckon they could be a cell.’ Here we go. ‘A what? ’ ‘I saw this on Current Affair,’ said Herb, lowering his voice for effect. -
Feduni Researchonline Copyright Notice
FedUni ResearchOnline https://researchonline.federation.edu.au Copyright Notice This is an original manuscript/preprint of an article published by Taylor & Francis in Continuum in September 2020, available online: https://doi.org/10.1080/10304312.2020.1782838 CRICOS 00103D RTO 4909 Page 1 of 1 Comic investigation and genre-mixing: the television docucomedies of Lawrence Leung, Judith Lucy and Luke McGregor Lesley Speed In the twenty-first century, comedians have come to serve as public commentators. This article examines the relationship between genre-mixing and cultural commentary in four documentary series produced for the Australian Broadcasting Corporation (ABC) that centre on established comedians. These series are Lawrence Leung’s Choose Your Own Adventure (2009), Judith Lucy’s Spiritual Journey (2011), Judith Lucy is All Woman (2015) and Luke Warm Sex (2016). Each series combines the documentary and comedy genres by centring on a comedian’s investigation of a theme such as spirituality, gender or sex. While appearing alongside news satire, these docucomedies depart from the latter by eschewing politics in favour of existential themes. Embracing conventions of personalized documentaries, these series use performance reflexively to draw attention to therapeutic discourses and awkward situations. Giving expression to uncertain and questioning views of contemporary spirituality, gender and mediated intimacies, the docucomedies of Lawrence Leung, Judith Lucy and Luke McGregor stage interventions in contemporary debates that constitute forms of public pedagogy. Documentary comedy These series can be identified as documentary comedies, or docucomedies, which combine humour and non-fiction representation without adhering primarily to either genre. Although the relationship between comedy and factual screen works has received little sustained attention, notes Paul Ward, a program can combine both genres (2005, 67, 78–9). -
PETER ROWSTHRON Actor, Comedian and Writer
PETER ROWSTHRON Actor, Comedian and Writer Peter Rowsthorn is a high energy, fast paced stand up comedian one minute and a measured character actor the next. A masterful MC of corporate and private functions, he has been performing his slick & blistering stand up for almost two decades. Most recently, Peter has appeared regularly on "Thank God You're Here" series 1, 2, 3 and 4, popped up on "Talkin’ ‘Bout Your Generation" and can currently be seen hosting the delightful “Can We Help” on the ABC on Friday nights. But Peter is probably still best known as long-suffering husband and pants-man Brett Craig on “Kath & Kim”. TELEVISION TALKIN BOUT YOUR GENERATION Guest Network Ten, 2012 HENRY AND AARON’S SEVEN STEPS TO SUPER STARDOM Guest Perfectly Adequate, 2011 THE JESTERS Role: Kenny Jesters Production Pty Ltd, 2010 CELEBRITY MASTERCHEF Contestant Network Ten, 2009 TALKIN BOUT YOUR GENERATION Guest Network Ten, 2009 CAN WE HELP? Presenter ABC TV, 2006 / 07 / 08 / 09 / 10 THANK GOD YOU’RE HERE Series 1, 2, 3, 4 Regular Guest Working Dog 2006 / 07 / 08 / 09 SNAKE TALES Role: Jake Johnson Westside Films, 2008 OUT OF THE QUESTION Guest Panellist Jigsaw/Channel 7, 2008 KATH & KIM Series 4 Role: Brett Craig Riley Turner Productions, 2007 20 to 1 Guest Nine Network, 2006 DA KATH & KIM CODE - Telemovie Role: Brett Craig Dir: Ted Emery, Riley Turner Productions / ABC TV, 2005 LITTLE OBERON Role: Miss Kafka Nine Network, 2005 KATH & KIM Series 3 Role: Brett Craig Dir: Ted Emery, Riley Turner Productions / ABC TV, 2004 ALL SAINTS Role: John ‘The Pole’ Morton Seven Network, 2003 WORLD COMEDY UNPLUGGED Stand up Granada / Nine Network, 2003 KATH & KIM Series 2 Role: Brett Craig Dir: Ted Emery, ABC TV, 2002 KATH & KIM Series 1 Role: Brett Craig Dir: Ted Emery, ABC TV, 2001 ROVE (LIVE) Guest interview Roving Enterprises, Network TEN, 2001 SUNDAY ROAST Host Fox 8, 1999 GONGED BUT NOT FORGOTTEN Host Nine Network, 1998 / 99 RECOVERY Stand up ABC TV, 1998 Peter Rowsthorn cont. -
Viewing the World (Dfid)
Department for International DFID Development issues Viewing Department for International Development the The Department for International Development (DFID) is the British government department responsible World for promoting development and the reduction of poverty. The government elected in May 1997 increased Viewing the its commitment to development by strengthening the department and increasing its budget. The policy of the government was set out in the White Paper on International Development, published in A studyofBritishtelevisioncoveragedevelopingcountries November 1997. The central focus of the policy is a commitment to the internationally agreed target to halve the proportion of people living in extreme poverty by 2015, together with the associated targets including basic health care provision and universal access to primary education by the same date. DFID seeks to work in partnership with governments which are committed to the international targets, and also seeks to work with business, civil society and the research community to encourage progress which will help reduce poverty. We also work with multilateral institutions including the World Bank, UN agencies and the European Commission. The bulk of our assistance is concentrated on the poorest World countries in Asia and Sub-Saharan Africa. We are also contributing to poverty elimination in middle income countries, and helping the transition countries in Central and Eastern Europe to enable the widest number of people to benefit from the process of change. As well as its headquarters in London and East Kilbride, DFID has offices in New Delhi, Bangkok, Nairobi, Harare, Kampala, Dar-Es-Salaam, Pretoria, Dhaka, Suva, Kathmandu and Bridgetown. In other parts of the world, DFID works through staff based in British Embassies and High Commissions. -
New Elementary Agriculture Charles E
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications in the Biological Sciences Papers in the Biological Sciences 1911 New Elementary Agriculture Charles E. Bessey University of Nebraska Lawrence Bruner University of Nebraska Goodwin D. Swezey University of Nebraska Follow this and additional works at: http://digitalcommons.unl.edu/bioscifacpub Part of the Biology Commons Bessey, Charles E.; Bruner, Lawrence; and Swezey, Goodwin D., "New Elementary Agriculture" (1911). Faculty Publications in the Biological Sciences. 594. http://digitalcommons.unl.edu/bioscifacpub/594 This Article is brought to you for free and open access by the Papers in the Biological Sciences at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications in the Biological Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. New^ Elementary Agriculture EESSEY ..BRUNER-SWEZEY The University Ptsblishing Company Class _^ Book - Copyright N°_ COPYRIGHT DEPOSIT. NEW ELEMENTARY AGRICULTURE AN ELEMENTARY TEXT BOOK DEALING WITH THE PROBLEMS OF THE FARM BY CHARLES E. BESSEY Professor of Botany, University of Nebraska LAWRENCE BRUNER Professor of Entomology, University of Nebraska GOODWIN D. SWEZEY Professor of Astronomy. University of Nebraska ASSISTED BY H. R. SMITH Professor of Animal Husbandry. University of Nebraska R. W. THATCHER Professor of Chemistry, Washington State Agricultural School Ninth Edition 1911 THE UNIVERSITY PUBLISHING CO. CHICAGO and LINCOLN f< V . Copyright BY The University Publishing Company 1903 AND 1904. Copyright, 1911, by The University Publishing Company All Rights Reserved. A Vj €^t ILaktsfbe ^rrss R. R. DONNELLEY & SONS COMPANY CHICAGO ©CI.A:^93823 CONTENTS CHAPTER I What is a Plant and What is It Doing? .. -
Two of Australia's Most Prolific Comedy Talents, Dave Hughes and Ed
Two of Australia’s most prolific comedy talents, Dave Hughes and Ed Kavalee first worked together back in 2009 and have an effortless on-air chemistry and union. They have been bolstered by the addition of reporter and presenter, Erin Molan, with the trio delivering Sydney the laughs from 5.30-9am weekdays on 2DayFM and from 6-7pm across the Hit Network. DAVE ‘HUGHESY’ HUGHES Dave Hughes is one of the biggest names in Australian comedy and his easy, laconic style disguises one of the nation’s sharpest comedic minds. His unflinching honesty connects him to audiences from all walks of life, evident through his prolific career across radio, TV and live stand-up comedy. Hughesy’s hugely successful TV shows, The Masked Singer and Hughesy, We Have a Problem make him one of Australia’s most loved national personalities. ED KAVALEE Known for his lightning fast comedy, wry wit and improvisation skills, Ed Kavalee has worked extensively in Australian television and radio for over a decade. Ed is a mainstay of Network Ten’s hugely successful comedy quiz show, Have You Been Paying Attention and has also forged a radio career of his own with roles on both Hit and Triple M, including the seminal Get This with Tony Martin. Russell Crowe remarked that Ed is ‘funny as sh*t’. Gladiatorial high praise indeed. ERIN MOLAN Erin has hosted multiple sports shows for the Nine Network and is the weekend sports presenter on Sydney’s number one news bulletin. Erin earned admiration for her informative and empathic broadcasting on 2GB and 4BC during some of the worst bushfires the nation has experienced in the summer of 2020 and will bring an extra layer of lively to Hughesy and Ed’s already brilliant and established show. -
Crackerjack Tail Credits
Casting Cameron Harris Script Editor John Clarke Production Manager Magnus Mansie Production Coordinator Penelope Everett Production Secretary Melanie Brunt Production Manager Attachment Sarah Machado First Assistant Director Annie Maver Second Assistant Director Iain Pirret Third Assistant Director Brad Holyoake Continuity Paul Kiely Cast Jack Mick Molloy Stan Bill Hunter Len Frank Wilson Eileen Monica Maughan Bernie John Clarke Dave Samuel Johnson Nance Judith Lucy Gwen Lois Ramsey Norm Cliff Ellen Mrs Jenkins Esme Melville Edgar Peter Aanensen Ron Bob Hornery Cliff John Flaus Joyce Lois Collinder Barry Paul McCarthy Roger Teague Rook Peter Dino Marnika Mandy Robyn Butler Greenkeeper Brett Swain Joe Lew Lutton Ranking Official Denis Moore Official Tim Sullivan Governor Joan Murray Les Nestor Tony Martin Supervisor Chris Kirby Security Guard Steve Hutchison Police Officer Greg Francis Bert Stapler Andrew Gilmour Hollywood Stuart Baker Edward Earl Francis Julio Robert Ratti Man in Street Pete Smith George Mathew Loe Passerby Lou Virgato Commissionaire Tom Travers Driver Jim Koutsoukos Barber Alfons Beutelschiess Art Director Jayne Russell Buyer/Dresser #1 Denise Goudy Buyer/Dresser #2 Tao Weis Standby Props Ben Bauer Assistant Standby Props Amanda Williams Art Department Coordinator Cathrine McVeigh Art Department Runner George Akl Art Department Assistant James Sutherland Focus Puller Jude Lovatt Clapper Loader Simon Ozolins 2nd Camera Operator Bruce Phillips 2nd Camera Focus Puller Greg de Marigny Sound Recordist Andrew Ramage Boom Operator -
1996-1997 Annual Report (Complete Report)
Australian Broadcasting Corporation annual report 1996–97 oneABC charter The functions and duties which Parliament contents has given to the ABC are set out in the Charter of the Corporation (ss6(1) and (2) of Corporate Profile the Australian Broadcasting Corporation Act 1983). ABC Charter inside cover 6(1) The functions of the Corporation are — One ABC 1 (a) to provide within Australia innovative and comprehensive Significant events 2 broadcasting services of a high standard as part of the ABC Services 4 Australian broadcasting system consisting of national, commercial and community sectors and, without limiting the Financial Summary 5 generality of the foregoing, to provide— ABC Board Members 7 (i) broadcasting programs that contribute to a sense of One ABC Structure 8 national identity and inform and entertain, and reflect the cultural diversity of, the Australian community; and Executive Members 9 (ii) broadcasting programs of an educational nature; Statement by Directors 10 (b) to transmit to countries outside Australia broadcasting Review of Operations 15 programs of news, current affairs, entertainment and cultural enrichment that will— News and Current Affairs 15 (i) encourage awareness of Australia and an international Regional Services 18 understanding of Australian attitudes on world affairs; and Feature (ii) enable Australian citizens living or travelling outside Radio and Television Audiences 24 Australia to obtain information about Australian affairs and National Networks 27 Australian attitudes on world affairs; and Program -
ABC Annual Report 1997–1998
Australian Broadcasting Corporation annual report 1997–98 Australian Broadcasting Corporation annual report 1997–98 Australian Broadcasting Corporation annual report 1997–98 contents ABC Corporate Profile charter ABC Charter inside back cover Mission Statement 1 ABC Services 2 The functions and duties which Parliament has given to the ABC are set out in Significant Events 4 the Charter of the Corporation (ss6(1) and (2) of the Australian Broadcasting Priorities – Performance Summary 6 Corporation Act 1983). Financial Summary 10 6(1) The functions of the Corporation are — ABC Board Members 12 (a) to provide within Australia innovative and comprehensive broadcasting services of a ABC Organisation 14 high standard as part of the Australian broadcasting system consisting of national, Executive Members 15 commercial and community sectors and, without limiting the generality of the foregoing, to provide— Statement by Directors 16 (i) broadcasting programs that contribute to a sense of national identity and inform and entertain, and reflect the cultural diversity of, the Australian community; and Review of Operations (ii) broadcasting programs of an educational nature; Regional Services 21 (b) to transmit to countries outside Australia broadcasting programs of news, current Feature: Radio and Television Audiences 25 affairs, entertainment and cultural enrichment that will— National Networks 28 (i) encourage awareness of Australia and an international understanding of Australian News and Current Affairs 39 attitudes on world affairs; and Program Production 42 (ii) enable Australian citizens living or travelling outside Australia to obtain Enterprises 44 information about Australian affairs and Australian attitudes on world affairs; and Symphony Australia 47 (c) to encourage and promote the musical, dramatic and other performing arts in Human Resources 51 Australia. -
Australian Comedy
As fi lmgoers, do you When, I wondered, was the last Australian fi lm enough premise and a suffi ciently confi dent sometimes wonder if comedy that seemed genuinely funny, as if sense of the comic spirit to sustain audience inspired by a viable narrative agenda and with involvement in a feature-length comedy? the phrase ‘Australian a screenplay that could articulate this—and comedy’ is an oxymoron? keep up the work until the very end? It’s near- Writing about ‘Comedy’ in The Oxford Certainly, as I watched ly twenty years since Crocodile Dundee (Peter Companion to Australian Film (1999), Felicity Faiman,1986) became the highest-grossing Collins claimed that, after the international in a concentrated burst Australian fi lm ever, milking every stereotype successes of the early 1990s (Ballroom, Mu- over a couple of weeks a of the superiority of bush innocence over riel, The Adventures of Priscilla, Queen of the half-dozen fi lms from the urban sophistication for all it was worth. Then Desert [Stephan Elliot, 1994]) ‘Australian cine- there were admittedly very funny sequences ma has become synonymous with comedy’.1 last fi ve years, it did quite in, and aspects of, Strictly Ballroom (Baz She was able then to argue a case for such often seem to me that Luhrmann,1992) and Muriel’s Wedding (P.J. a view that would be hard to mount now. the phrase was yoking Hogan, 1994), but their real distinction lay Some of the same thematic preoccupations together two concepts elsewhere. Was The Castle (Rob Sicth, 1997) underlie the fi lms I am concerned with here: the last Australian fi lm that had a strong there are still ‘little guys’ taking on corpora- with little common ground.