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MICHAEL YEZERSKI Composer FILM CREDITS
MICHAEL YEZERSKI Composer Michael Yezerski’s musical works are highly evocative, original and diverse. From the symphonic grittiness of THE TAX COLLECTOR to the quiet drama of BLINDSPOTTING; from the avant- garde horror drones of THE DEVIL’S CANDY to the heartfelt FEEL THE BEAT and THE BLACK BALLOON; Michael brings a signature musical intensity to every project he takes on. Hailing originally from Australia, and with a background in both contemporary concert music and electronic music production, Michael blends styles and influences in a way that pushes the boundaries of what dramatic film music can be. Rich in technique and sitting comfortably at the border with avant-garde music design, Michael’s work is nevertheless fundamentally human and melodic at its core. Born in Sydney, Michael is a multiple award-winning composer who creates music that is shaped from the perspective of an outsider – constantly fluid, ever changing, unbound by system – curious and always evolving. Recent projects include the hit international series MR INBETWEEN, Keith Thomas’ wondrously terrifying THE VIGIL and the Stephen Dorff starrer DEPUTY for FOX / Cedar Park. Earlier career highlights include HBO’s ONLY THE DEAD SEE THE END OF WAR, his first feature film THE BLACK BALLOON (winner of 8 AFI/AACTA Awards including Best Picture), PJ Hogan’s MENTAL, WOLF CREEK SERIES 2, CATCHING MILAT, PETER ALLEN, the Academy Award winning animated short, THE LOST THING and his collaboration with Richard Tognetti and the Australian Chamber Orchestra, THE RED TREE. Michael -
Page 1 2 0 0 7 a N N U a L R E P O R T
2007 ANNUAL REPORT IN SEARCH OF LASTING SOLUTIONS TO HIV/AIDS THE FOUNDATION FOR AIDS RESEARCH amfAR, THE FOUNDatION F O R A ID S R E S E ar C H , I S DEDICatED TO ENDING THE GLOBAL AIDS EPIDEMIC T H R O U G H I N N O V at I V E RESEARCH. Cover photos (from top): TREAT Asia Community Programs Manager Jennifer I-Ching Ho holds an HIV-positive child (photo: Karl Grobl); Dr. Nolwenn Jouvenet, Aaron Diamond AIDS Research Center (photo: Dr. Rowena Johnston); Shan Grant, Miguel Rivera, and Robert Green (photo: Winnie McCroy). FROM THE CHAIRMAN 02 A Global Force Against a Global Epidemic FROM THE CHIEF EXECUTIVE OFFICER 03 Good Research Drives Good Policy PEOPLE LIVING WITH HIV/AIDS 04 MAJOR ACCOMPLISHMENTS 06 RESEARCH 08 GLOBAL INITIATIVES 15 PUBLIC POLICY 22 EDUCATION AND INFORMATION 26 GIVING 30 Individual Giving Institutional Giving In-Kind Contributions Planned Giving Volunteer Support Workplace Giving FINANCIAL SUMMARY 44 From the Treasurer and the Chair of the Finance and Budget Committee Statement of Activities and Changes in Net Assets Statement of Financial Position LEADERSHIP AND ADVISORY COMMITTEES 46 ACKNOWLEDGMENTS FROM THE CHAIRMAN A Global FORCE AGAINST A Global EPIDEMIC Of the 33 million people living with HIV/AIDS, more than 90 percent are in the develop- ing world. For most of its 23 years at the leading edge of the fight against AIDS, amfAR has brought AIDS research, prevention, and education to countries hard hit by the epidemic. A global health threat demands nothing less than a global response. -
Year 7 / 2021 Please Note
Required Campion St Caths Office Book Title Edition RRP Selling Price Quantity Use Only Year 7 / 2021 please note Chinese Easy Steps to Chinese 1: Textbook & CD [Yamin Ma et al] required years 7 and 8 69.95 47 English Oxford Australian Pocket Dictionary (8E) (H/B) [Gwynn (Ed)] retain years 7-10 and VCE units 1-4 8E 29.95 20 English Hitlers Daughter (Novel) [French) CLEAN copy 16.99 11 English Wonder (P/B) [RJ Palacio] CLEAN copy 19.99 13 French Pearson Quoi de Neuf? 1SB/EB 2E (Comley et al) 2E 33.95 23 Geography/History Jacaranda AC 7 History Alive Print/LearnON 2E [Darlington] 2E 69.95 47 Geography/History Jacaranda AC 7 Geography Alive Print/LearnON/Atlas 2E [Mraz] Retain for years 7 & 8 2E 114.95 77 Japanese Hai 1 Textbook/Workbook [Burnham] CLEAN set only 52.95 35 set must be complete Japanese Hiragana in 48 Minutes Student Card Set [Quackenbush] required years 7 and 8 25.95 17 RRP reduced to 2/3 to reflect need to Mathematics Cambridge VIC Essential Maths 7 (Print & Digital) 2E (Greenwood et.al.) purchase reactivation code 2E (2020) 49 33 Science Cambridge VIC Science Year 7 (Print&Digital) [Shaw et.al.] 69.95 47 NOTE: St Cath's Science Resource Fee MUST be purchased through Campion as per book list TOTAL BOOKS CONSIGNED TO SALE THIS PAGE Required Campion St Caths Office Book Title Edition RRP Selling Price Quantity Use Only Year 8 /2021 please note Chinese Easy Steps to Chinese 2: Textbook & CD [Yamin Ma et al] required years 7 and 8 69.95 47 Chinese Easy Steps to Chinese 1: Textbook & CD [Yamin Ma et al] retain from Year 7 3E 69.95 -
Windmill Theatre, GIRL ASLEEP Is a Journey Into the Absurd, Scary and Beautiful Heart of the Teenage Mind
1 WINNER ADEL AIDE FILM FESTIVAL FOXTEL MOVIES AUDIENCE AWARDS MOST POPULAR FEATURE Girl Asleep bags most popular feature at Adelaide Film Festival. IF MAGAZINE It’s in Myers’s commitment to eccentricity that Girl Asleep – an art-house film made firmly with a teenage audience in its sight – finds its heart. THE GUARDIAN AUSTRALIA Girl Asleep is the stylish, formally exuberant debut of theatre director Rosemary Myers. A funny and imaginative portrait of growing pains. THE HOLLYWOOD REPORTER With the endless production of superhero films and film remakes these days, it is refreshing to see a film with such raw acting and originality from start to finish. It’s hard not to fall in love with the characters in Girl Asleep, and be left with the warmth of the film long after the credits have stop rolling. THE UPSIDE NEWS Inventive and confidently executed... bright and occasionally subversive take on teen growing pains that gives fresh legs to a familiar genre. We’re lucky to call this one our own. RIP IT UP Profoundly funny. SCENESTR Wildly funny and deeply moving in equal measure, it is a work rich in larrikin character but universal in its themes and appeal. As Greta embraces her blossoming self, so to does Australian cinema welcome another memorable movie heroine. SCREEN SPACE A memorable, comic balance of poise and chaos. ADELAIDE REVIEW Colourful, eccentric... production about a girl navigating the pitfalls of puberty with a casual side of magical realism... one for fans of coming-of-age dramas and colourful Wes Anderson-style quirkfests. -
Autism and Aspergers in Popular Australian Cinema Post-2000 | Ellis | Disability Studies Quarterly
Autism and Aspergers in Popular Australian Cinema Post-2000 | Ellis | Disability Studies Quarterly Autism & Aspergers In Popular Australian Cinema Post 2000 Reviewed By Katie Ellis, Murdoch University, E-Mail: [email protected] Australian Cinema is known for its tendency to feature bizarre and extraordinary characters that exist on the margins of mainstream society (O'Regan 1996, 261). While several theorists have noted the prevalence of disability within this national cinema (Ellis 2008; Duncan, Goggin & Newell 2005; Ferrier 2001), an investigation of characters that have autism is largely absent. Although characters may have displayed autistic tendencies or perpetuated misinformed media representations of this condition, it was unusual for Australian films to outright label a character as having autism until recent years. Somersault, The Black Balloon, and Mary & Max are three recent Australian films that explicitly introduce characters with autism or Asperger syndrome. Of the three, the last two depict autism with sensitivity, neither exploiting it for the purposes of the main character's development nor turning it into a spectacle of compensatory super ability. The Black Balloon, in particular, demonstrates the importance of the intentions of the filmmaker in including disability among notions of a diverse Australian community. Somersault. Red Carpet Productions. Directed By Cate Shortland 2004 Australia Using minor characters with disabilities to provide the audience with more insight into the main characters is a common narrative tool in Australian cinema (Ellis 2008, 57). Film is a visual medium that adopts visual methods of storytelling, and impairment has become a part of film language, as another variable of meaning within the shot. -
Ftonews#202 2
24 November 2006 Subject: FTONEWS#202 Date: 24 November 2006 From: ftonews <[email protected]> Conversation: FTONEWS#202 --------------------------------------------------------------------------------------------------------------------- FTONEWS #202: --------------------------------------------------------------------------------------------------------------------- FTO ANNUAL REPORT 05/06 AVAILABLE ONLINE The NSW Film and Television Office (FTO) Annual Report 2005/2006 can be downloaded from the FTO website or a hardcopy can be obtained from the office. PH: 9264 6400 http://www.fto.nsw.gov.au/content.asp?content=5&Id=23 --------------------------------------------------------------------------------------------------------------------- FTO CONGRATULATES NSW INSIDE FILM AWARD WINNERS The FTO congratulates the cast and crew of the feature film SUBURBAN MAYHEM, winner of three Inside Film Awards. SUBURBAN MAYHEM, supported by the FTO with development and production investment and a Regional Filming Fund grant, won major three awards - Best Actress (Emily Barclay), Best Music (Mick Harvey, Norman Parkhill) and Best Editing (Stephen Evans). SUBURBAN MAYHEM was filmed entirely on location in New South Wales, in and around the regional centre of Newcastle. The FTO would also like to congratulate NSW producer and former FTO Board Member Jan Chapman who received the Living Legend IF Award for her contribution to the Australian screen industry. --------------------------------------------------------------------------------------------------------------------- -
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”. -
Fat Tony__Co Final D
A SCREENTIME production for the NINE NETWORK Production Notes Des Monaghan, Greg Haddrick Jo Rooney & Andy Ryan EXECUTIVE PRODUCERS Peter Gawler & Elisa Argenzio PRODUCERS Peter Gawler, Adam Todd, Jeff Truman & Michaeley O’Brien SERIES WRITERS Peter Andrikidis, Andrew Prowse & Karl Zwicky SERIES DIRECTORS MEDIA ENQUIRIES Michelle Stamper: NINE NETWORK T: 61 3 9420 3455 M: 61 (0)413 117 711 E: [email protected] IMPORTANT LEGAL NOTIFICATION TO MEDIA Screentime would like to remind anyone reporting on/reviewing the mini-series entitled FAT TONY & CO. that, given its subject matter, the series is complicated from a legal perspective. Potential legal issues include defamation, contempt of court and witness protection/name suppression. Accordingly there are some matters/questions that you may raise which we shall not be in a position to answer. In any event, please note that it is your responsibility to take into consideration all such legal issues in determining what is appropriate for you/the company who employs you (the “Company”) to publish or broadcast. Table of Contents Synopsis…………………………………………..………..……………………....Page 3 Key Players………….…………..…………………….…….…..……….....Pages 4 to 6 Production Facts…………………..…………………..………................Pages 7 to 8 About Screentime……………..…………………..…….………………………Page 9 Select Production & Cast Interviews……………………….…….…Pages 10 to 42 Key Crew Biographies……………………………………………...….Pages 43 to 51 Principal & Select Supporting Cast List..………………………………...….Page 52 Select Cast Biographies…………………………………………….....Pages 53 to 69 Episode Synopses………………………….………………….………..Pages 70 to 72 © 2013 Screentime Pty Ltd and Nine Films & Television Pty Ltd 2 SYNOPSIS FAT TONY & CO., the brand-new production from Screentime, tells the story of Australia’s most successful drug baron, from the day he quit cooking pizza in favour of cooking drugs, to the heyday of his $140 million dollar drug empire, all the way through to his arrest in an Athens café and his whopping 22-year sentence in Victoria’s maximum security prison. -
JANE GRIFFIN FREELANCE Line Producer / Production Manager [email protected] +61 417 213 967 Top Technicians Mgmt 02 9958 1611
JANE GRIFFIN FREELANCE Line Producer / Production Manager [email protected] +61 417 213 967 Top Technicians Mgmt 02 9958 1611 Below are highlights of projects I have worked on over the years. I believe it reflects my skills and breadth of experience . Please feel free to contact me if you require further specifics or clarification regarding my Resume. TVC: Production Management – some recent contracts Amarok Goodoil Films Precision driving and VFX on NSW largest Sheep Station Jim Beam Goodoil Films Cast and extras x 200 in around Sydney City streets over 3 days SI Amarni Beach House Films Cate Blanchett campaigns NSW Roads and Safety Paper Dragon Motor Bike Safety Campaign – large stunts and pyrotechnics Carnival Cruise Robbers Dog Filming on board the ship with a film crew of 20 between Syd and Sth Pacific DRAMA CREDITS : Production Line Producer Queer Eye YASS QUEEN Australian Promo for US TV Reality Line Producer Dead Beat Dads MTV Project 1 x ½ TV Pilot - Advisor Kim Vecera Scheduling PM The Shire Shine TV Australia Australian PM HG TV International Residents HIGH NOON TV USA: 2 x ½ hr episodes EP: Graham Clarke, Producer: Laurie Bain Prod Mgr One More Day NIDA/AFTRS 50YR Anniversary Feature Film Production Producers: Sandra Levy, Daphne Paris 4 x 1/2hr films Drama Producer Unfolding Florence Docu-Drama Dir: Gillian Armstrong / Prod: Sue Clotheir 2ND UNIT PM The Matrix Dir: Wachowski Bros / Prod: Joel Silver / Prod: Barry Osborne DRAMA CREDITS: Assistant Directing 2nd AD Ladies in Black Dir: Bruce Beresford/Prod: Sue Milliken 2nd AD Return to Devils Playground Matchbox Pictures: Producer Helen Bowden. -
Sydney Film Festival Award Winners Announced at Closing Night Gala 19/06/2016
MEDIA RELEASE EMBARGOED UNTIL 08:30PM SUNDAY 19 JUNE 2016 SYDNEY FILM FESTIVAL AWARD WINNERS ANNOUNCED AT CLOSING NIGHT GALA The 63rd Sydney Film Festival tonight awarded Aquarius, directed by Kleber Mendonça Filho, the prestigious Sydney Film Prize, out of a selection of 12 Official Competition films. The $63,000 cash prize was awarded at the Festival’s Closing Night Gala awards ceremony and event: the Australian premiere screening of Whit Stillman’s Love & Friendship, held at the State Theatre. Sydney filmmaker Dan Jackson was awarded the Documentary Australia Foundation Award for Australian Documentary, a $15,000 cash prize, for In the Shadow of the Hill; with a special mention going to Destination Arnold directed by Sascha Ettinger Epstein. The Dendy Awards for Australian Short Films were announced; awarding Slapper, directed and written by Luci Schroder, The Dendy Live Action Short Award; The Crossing, directed and written by Marieka Walsh, The Yoram Gross Animation Award; and Goran Stolevski, the Rouben Mamoulian Award for Best Director, for You Deserve Everything. The Event Cinema Australian Short Screenplay Award was awarded to Spice Sisters, written and directed by Sheila Jayadev, who received a $5,000 cash prize, with a special mention to Matthew Vesely for My Best Friend Is Stuck On The Ceiling. The new annual Sydney UNESCO City of Film Prize was awarded to Ms Lynette Wallworth, who received $10,000 prize awarded by Screen NSW, presented by Margaret Pomeranz AM. Sydney Film Festival CEO Leigh Small said, “Cinemas were full again this year with an average of 73% capacity across all sessions and more sellouts than ever before. -
Fax Transmission
LAWRENCE WOODWARD STUNT COORDINATOR 0417 405 540 [email protected] [email protected] 19 Jugiong Street, Pymble 2073 Australia Telephone:+61 2 9440 0070 Fax:+61 2 9440 3700 FEATURE FILMS, Stunt Coordinator Director: Fury Road Sequence Stunt Coord 2012 George Miller Beneath Hill 60 2009 Jeremy Sims Australia 2007 Baz Luhrmann The Black Balloon 2007 Elissa Down King Narasuen (Thailand) 2004 Chatri Yokul Cold Turkey 2002 Stephen McGregor Man Who Sued God 2001 Mark Joffe Garage Days 2001 Alex Proyas IMAX - Equus The Story of the Horse 2001 Micheal Caulfield Lantana 2000 Ray Lawrence Moulin Rouge Additional Coord 2000 Baz Luhrmann He Died with a Felafel in His Hand 1999 Richard Lowenstien Looking for Alibrandi 1998 Kate Woods Holy Smoke 1998 Jane Campion Thunderwith 1998 Simon Wincer Never Tell Me Never 1998 David Elflick A Wreck A Tangle 1998 Scott Paterson Terra Nova 1996 - 1997 Paul Middleditch Radiance 1997 Rachel Perkins The Boys 1997 Rowan Woods In The Winter Dark 1997 James Bogle TELEVISION FEATURES Survivors – Canyon (US) 2006 Nick Copus Survivors - Opposite of Lucky (UK) 2005 Nick Copus Salem’s Lot (US) 2003 Mikael Salomon South Pacific (US) 2000 Richard Pearce TELEVISION SERIES Ice (UK, shoot NZ) + 2nd UNIT DIRECTOR 2009 Nick Copus The Pacific (US) 2007 David Nutter Water Rats 2001 Amazon 1999 Water Rats 1999 Lost World 1999 Sabrina – Teenage Witch 1999 All Saints 1998 - 2001 Farscape 1998 - 1999 Wildside 1997 Home and Away 1997 19 Jugiong Street, Pymble 2073 Australia Telephone:+61 2 9440 0070 Fax:+61 2 9440 3700 -
The Burqa in Vogue: Fashioning Afghanistan Ellen Mclarney
The Burqa in Vogue: Fashioning Afghanistan Ellen McLarney Journal of Middle East Women's Studies, Volume 5, Number 1, Winter 2009, pp. 1-20 (Article) Published by Indiana University Press For additional information about this article http://muse.jhu.edu/journals/jmw/summary/v005/5.1.mclarney.html Access Provided by Duke University Libraries at 12/16/10 9:17PM GMT ELLEN McLARNEY 1 THE BURQA IN VOGUE: Fashioning Afghanistan Ellen McLarney ABSTRACT In the months leading up to 9/11 and in its immediate aft ermath, the media demonized the burqa as “Afghanistan’s veil of terror,” a tool of extremists and the epitome of political and sexual repression. Around the time of Afghanistan’s presidential and parliamentary elections in 2004 and 2005, there were noticeable shift s in apprehen- sions of the burqa in the Western media. In Fall 2006, burqa images even appeared on the Paris runways and in Vogue fashion spreads. Th is article charts the burqa’s evolution from “shock to chic” and the process of its commodifi cation in the Western media. Th e article specifi cally analyzes Vogue magazine’s appropriation of the burqa as haute couture. I’ve long believed that the content of fashion does not materialize spon- taneously but, in ways both mysterious and uncanny, emerges from the fabric of the times. Th at fabric has recently been darkly threaded by war and uncertainty. (Wintour 2004) n the months leading up to 9/11 and in its immediate aftermath, Amer- Iican and British media demonized the burqa as “Afghanistan’s veil of terror,” a tool of extremists and the epitome of political and sexual repres- sion (Shah 2001).