DOCSLIB.ORG

Annual Report 2009/10

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report 2009/10 ANNUAL REPORT 2009/10 Contents 2 INTRODUCTION 3 CORPOraTE PLAN 2009/14 STraTEGIC OBJECTIVES 4 PRESIDENT’S REPORT 5 DIRECTOR’S REPORT 6 A YEAR OF HIGHLIGHTS 8 EXHIBITIONS 14 FILM 16 PUBLIC AND EDUCATION PROGraMS 22 ABOUT US 30 ADMINISTraTIVE REPORTING REQUIREMENTS 36 DISCLOSURE INDEX 38 FINANCIAL STATEMENTS Cover image: Screen WorldS, emergence As one of Australia’s major cultural, tourism, leisure and learning destinations, ACMI is integral to Melbourne’s international reputation as one of the world’s truly creative cities. Located at the heart of Melbourne’s iconic Federation Square, ACMI celebrates, explores and promotes the cultural and creative richness of the moving image in all its forms – film, television, games and digital culture. Through a vibrant annual calendar of film programs, festivals, major exhibitions, live events, creative workshops, talks, forums, education programs and Collection resources, ACMI delivers diverse audiences with countless ways to engage with the moving image. Throughout 2009 ACMI underwent a significant transformation – the completion of a four year master plan for future growth and prosperity. Highlights included new gallery and production spaces, substantially enhanced visitor experiences and an expanded suite of exhibitions, education, film and public programs. At the heart of ACMI is a new permanent, free entry exhibition, Screen Worlds: The Story of Film, Television and Digital Culture. Charting the history and future of the moving image, the exhibition opened to great acclaim and fanfare in 2009, providing a new year- round Melbourne attraction for families, tourists and students. 2 ACMI Annual Report 2009/10 CORPOraTE PLAN 2009/14 STraTEGIC OBJECTIVES WORLD CLASS COLLECTION AND RESEARCH To cement ACMI as a leading To provide on-site and on-line international culture and tourism access to a wide range of iconic destination at which to experience works and curated packages excellence and innovation in of films, documentaries, screen culture. moving image art works and other screen resources from ACMI and other sources. CENTRE OF EXCELLENCE To position ACMI as a centre of ENVIRONMENTAL excellence in screen literacy and SUSTAINABILITY research, which fosters creative skills, new talent, and opportunities To become an environmentally for formal and informal learning. sustainable organisation and position ACMI as a leader in environmentally sound exhibition INNOVATION CaTALysT management and design. To position ACMI as a state-of- the-art centre and catalyst for ORGANisaTION SUSTAINABILITY promoting innovation in screen and digital media content through To ensure a robust sustainable creative-industry collaborations business and operating plan, and professional networks. with diverse funding sources. COMMUNITY ENGAGEMENT To build, engage and reach out to diverse audiences, especially Australian communities, in exploring and personally creating the media that drive our lives. ACMI Annual Report 2009/10 3 PRESIDENT’S REPORT It has been a significant achievement and on Finally, our thanks to the Victorian Government behalf of the Board, I commend the leadership for its continued support over the past year, of the project teams, our staff and volunteers and in particular, the former Minister for and our many supporters for their shared the Arts, Lynne Kosky MP, who has been commitment to realising these projects. instrumental in ACMI’s recent successes. And we look forward to working positively and The suite of new public offers introduced in collaboratively with the current Minister for 2009 only serves to complement the already the Arts, Peter Batchelor MP, to ensure ACMI successful calendar of award winning programs continues to play a leading role in Melbourne’s delivered across film, exhibitions, public and vibrant arts scene into the future. education programming. We have an incredibly It is my great pleasure to present the talented and creative team that conceive and 2009/10 Annual Report. deliver truly world class programs to an ever increasing audience. Many of the major achievements of the past year are borne from years of planning and Across the organisation, it has also been The Hon. John Thwaites hard work. They reflect on ACMI not only as a a year of consolidation for our business President major Australian cultural institution, but as a plans and in the delivery of our strategic centre that is increasingly recognised for its objectives. We remain focussed on leadership on an international stage. affirming our position as an international cultural and tourism destination and Throughout 2009/10, the spotlight was firmly centre of excellence and innovation. on us as we prepared to deliver concurrent major projects that would both transform Throughout the year, we’ve taken substantial the physical spaces within the building, and steps via our Sustainability Steering Group significantly increase our program offer. and the ACMI Green Team to engage the organisation in a shared commitment to This report speaks for itself in terms of reducing our carbon footprint. the success of these projects. We’ve seen spectacular audience growth, major increases We’ve worked closely with both our external in schools attendance, and a significant consultants and Sustainability Victoria to jump in the number of people engaged in our measure our energy use, identify priority dynamic calendar of Public Programs. areas for efficiency, and in setting targets to measure our performance. We play an integral role to play in Melbourne’s reputation as a truly international arts city, Driven by our Environmental Sustainability and increasingly, ACMI is being recognised as Policy and Environmental Action Plan, we a hub for screen culture advocacy, engagement are now in a position to actively measure and creative practice. and track our performance and to meet, and where possible, exceed our targets. Our aim is The development and delivery of our new to be a lead agency amongst peers on carbon permanent free-entry exhibition, Screen footprint reduction. Worlds: The Story of Film, Television and Digital Culture, and the creation of a new national I would like to acknowledge the tireless screen culture resource centre, the Australian commitment and support over many years of Mediatheque, has cemented our reputation our retiring Board Members, Annette Blonski, within industry as a major contributor. Peter Doughty, Natalie Miller OAM and Dan Pearce, whose term ended on June 30, 2010. In the reporting period, we welcomed Bill Shannon and Sue Rowley to the Board and we look forward to their positive contribution to ACMI’s ongoing future success. 4 ACMI Annual Report 2009/10 DIRECTOR’S REPORT For overseas visitors and educators, the Our international connections continue to bear extensive exploration of the Australian fruit too. We have collaborated with many contribution to moving image practice over its peer institutions and organisations across the history, and the impact of the moving image globe in 2009/10, most notably, the Museum in capturing and sharing uniquely Australian of Modern Art (MoMA), New York. This ongoing stories, is a major legacy. relationship saw us secure the blockbuster Tim Burton exhibition for Melbourne, which we The Australian Mediatheque too has opened in spectacular fashion in June. significantly expanded opportunities for broad general public engagement with a major We were honoured to welcome MoMA repository of digital and analogue resource Director, Glenn D Lowry to Melbourne for It is with immense pride that I reflect materials, while importantly protecting and a rare keynote speech on the future of on a watershed year for ACMI – one that preserving materials for future generations. museums in the 21st century. Tim Burton has produced significant milestones and himself took part in a sold out series of achievements for an institution that is still It is the result of a significant collaboration entertaining and insightful public programs. so young, yet clearly coming of age. with screen culture agencies and organisations around the country, in particular our lead Tim Burton: The Exhibition itself was a smash After 4 years of planning and preparation, partner, the National Film and Sound Archive, hit with audiences from day one, selling more we completed major redevelopment (NFSA). This shared commitment has provided tickets in its opening days than any previous works that have literally transformed our the Australian community and visitors to ACMI exhibition. It looks set to kick-start exhibition and production spaces and our Melbourne with a truly national screen culture another year of milestones at ACMI. already impressive program offer. It is a resource centre. significant reinvention of ACMI and lays At the close of our biggest year yet, there is the foundation for a bright future. In the past year we have also opened a second indeed much to be proud of. temporary exhibitions space, two new studio This culmination of our redevelopment production facilities, and we’ve undertaken Thanks to the energy, passion and strategy would simply not have been a significant refresh of our wayfinding and commitment of our staff, volunteers and possible without the support of the directional signage inside the building and out. management, combined with the support of Victorian Government and our many These have combined to enhance the visitor our Board, we’ve taken a giant step toward collaborators and partners. experience and substantially broaden our reaching our goal of being the world’s
Load more

Recommended publications
  • Alumni Spotlight: Derek Frey ’95
    Alumni Spotlight: Derek Frey ’95 Please provide your biographical information. Home Town: Drexel Hill, Pennsylvania Current Town: London, UK Major: Communication Studies Minor: Journalism Bio: Filmmaker Derek Frey has a long and successful working relationship with director Tim Burton, running Tim Burton Productions since 2001. Most recently Derek co-produced Frankenweenie, which received an Academy Award nomination for Best Animated Picture in 2012. That same year he produced the music video Here With Me for The Killers. Derek is currently serving as Executive Producer on Big Eyes, starring Christoph Waltz and Amy Adams, slated for release this Christmas. Up next he'll Executive Produce Miss Peregrine's Home for Peculiar Children starring Eva Green and Asa Butterfield. Derek has worked on over 15 feature films, including as Associate Producer on Alice in Wonderland, Dark Shadows, Sweeney Todd: The Demon Barber of Fleet Street, Abraham Lincoln: Vampire Hunter, Corpse Bride, and Charlie and the Chocolate Factory. His credits also include producer on the documentary A Conversation with Danny Elfman and Tim Burton; writer of the Frankenweenie-based short film Captain Sparky vs. the Flying Saucers; and editor of the comprehensive and award-winning publication The Art of Tim Burton. Derek worked closely with curators from the Museum of Modern Art for the creation of the Tim Burton touring exhibit, which has made record-breaking stops in New York City, Toronto, Melbourne, Paris, Los Angeles, Seoul, Prague and Tokyo. Derek has directed his own films and music videos, including The Ballad of Sandeep, which has appeared in over 35 film festivals and brought home 16 awards, including Best Director at the Independent Film Quarterly Festival and Best Featurette at the Las Vegas International Cinefest.
    [Show full text]
  • 2013 NIDA Annual Report
    NATIONAL INSTITUTE OF DRAMATIC ART THEATRE FILM TELEVISION 215 ANZAC PARADE KENSINGTON NSW 2033 POST NIDA UNSW SYDNEY NSW 2052 PHONE 02 9697 7600 2013 NIDA Annual Report FAX 02 9662 7415 EMAIL [email protected] ABN 99 000 257 741 NATIONAL INSTITUTE OF DRAMATIC ART Theatre, Film, Television WWW.NIDA.EDU.AU ABOUT NIDA The National Institute of Dramatic Art (NIDA) is a public, not-for-profit company and is accorded its national status as an elite training institution by the Australian Government. CONTENTS We continue our historical association with the University of New South Wales and maintain FROM THE CHAIRMAN 4 strong links with national and international arts training organisations, particularly through membership of the Australian Roundtable for Arts Training Excellence (ARTATE) and through FROM THE DIRECTOR / CEO 5 industry partners, which include theatre, dance and opera companies, cultural festivals and UNDERGRADUATE STUDIES 8 film and television producers. NIDA delivers education and training that is characterised by quality, diversity, innovation GRADUATE STUDIES 10 and equity of access. Our focus on practice-based teaching and learning is designed to HIGHER EDUCATION STATISTICS 11 provide the strongest foundations for graduate employment across a broad range of career opportunities and contexts. NIDA OPEN 12 Entry to NIDA’s higher education courses is highly competitive, with around 2,000 NIDA OPEN STATISTICS 13 applicants from across the country competing for an annual offering of approximately 75 places across undergraduate and graduate disciplines. The student body for these PRODUCTIONS AND EVENTS AT courses totalled 166 in 2013. NIDA PARADE THEATRES 14 NIDA is funded by the Australian Government through the Ministry for the Arts, DEVELOPMENT 15 Attorney-General’s Department, and is specifically charged with the delivery of performing arts education and training at an elite level.
    [Show full text]
  • Annual Report 2015 Entertain. Inform. Engage
    Annual Report 2015 Entertain. Inform. Engage. Key fi gures SHARE PRICE PERFORMANCE 30/04/2013 – 31/12/2015* + 42.7 % )RTL GROUP + 54.5 % MDAX + 48.1 % DJ STOXX 600 INDEX = 100 * RTL Group shares have been listed in the Prime Standard of the Frankfurt Stock Exchange since 30 April 2013. RTL GROUP REVENUE SPLIT In 2015, TV advertising accounted for 49.4 per cent of RTL Group’s total revenue, making the Group one of the most diversified groups when it comes to revenue. Content represented 22 per cent of the total, while greater exposure to fast-growing digital revenue streams and higher margin platform revenue will further improve the mix. 11.8 % OTHER 8.4 % DIGITAL 49.4 % TV ADVERTISING 22.0 % CONTENT 4.1 % PLATFORM REVENUE 4.3 % RADIO ADVERTISING Key fi gures REVENUE 2011 – 2015 (€ million) EBITA 2011 – 2015 (€ million) 15 6,029 15 1,167 14 5,808 14 1,144* 13 5,824* 13 1,148** 12 5,998 12 1,078 11 5,765 11 1,134 * Restated for IFRS 11 * Restated for changes in purchase price allocation ** Restated for IFRS 11 NET PROFIT ATTRIBUTABLE TO RTL GROUP SHAREHOLDERS 2011 – 2015 (€ million) EQUITY 2011 – 2015 (€ million) 15 789 15 3,409 14 652* 14 3,275* 13 870 13 3,593 12 597 12 4,858 11 696 11 5,093 * Restated for changes in purchase price allocation * Restated for changes in purchase price allocation TOTAL DIVIDEND/ MARKET CAPITALISATION* 2011 – 2015 (€ billion) DIVIDEND YIELD PER SHARE 2011 – 2015 (€ )(%) 15 11.9 15 4.00* 4.9 14 12.2 14 5.50** 6.8 13 14.4 13 7.00*** 10.0 12 11.7 12 10.50 13.9 11 11.9 11 5.10 6.6 * As of 31 December * Including
    [Show full text]
  • International & Australian Posters
    International & Australian Posters Collectors’ List No. 157, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian & International Events, Performances... Established 1977 1. “The Recruiting Officer,” 1790. Letterpress 103a Anzac Parade, Kensington (Sydney) NSW handbill, 25.1 x 17.2cm (paper). Laid down on acid- free paper. Post: PO Box 93, Kensington NSW 2033, Australia $1,250 Text includes “Theatre Royal, Covent Garden… This present Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Thursday, February 25, 1790, will be presented a comedy, called The Recruiting Officer. After which will be performed, Email: [email protected] • Web: joseflebovicgallery.com for the 39th time, a pantomime, called Harlequin’s Chpalet Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 [sic]…” A cast list for both plays is included. Written by George Farquhar in 1706, The Recruiting Officer was the Member of • Association of International Photography Art Dealers Inc. first play performed in Australia, in June 1789 in Sydney. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. handbill is for the London performance of 1790. 2. George E. Mason (Brit.). Mason’s Instructions For COLLECTORS’ LIST No. 157, 2012 Finger­­­­ing The Fretted Violin. A Diagram For The Use Of Students, c1890. Lithograph, International & Australian Posters 64.6 x 25cm. Foxing and stains overall, repaired tears, creases, pinholes, and missing portions. On exhibition from Wednesday, 13 June to Saturday, 4 August.
    [Show full text]
  • American Primacy and the Global Media
    City Research Online City, University of London Institutional Repository Citation: Chalaby, J. (2016). Drama without drama: The late rise of scripted TV formats. Television & New Media, 17(1), pp. 3-20. doi: 10.1177/1527476414561089 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5818/ Link to published version: http://dx.doi.org/10.1177/1527476414561089 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Drama without drama: The late rise of scripted TV formats Author’s name and address: Professor Jean K. Chalaby Department of Sociology City University London London EC1V 0HB Tel: 020 7040 0151 Fax: 020 7040 8558 Email: [email protected] Author biography: Jean K. Chalaby is Professor of International Communication and Head of Sociology at City University London. He is the author of The Invention of Journalism (1998), The de Gaulle Presidency and the Media (2002) and Transnational Television in Europe: Reconfiguring Global Communications Networks (2009).
    [Show full text]
  • Tamara Werner KO Logo Neu
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2013 Tim Burtons ”sehende Protagonisten”. Eine Darstellung der empfindsamen Wiederverzauberung der Welt(en) in Tim Burtons Werk Werner, Tamara Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-103240 Journal Article Published Version Originally published at: Werner, Tamara (2013). Tim Burtons ”sehende Protagonisten”. Eine Darstellung der empfindsamen Wiederverzauberung der Welt(en) in Tim Burtons Werk. Komparatistik Online:200-212. Tamara Werner (Zürich) Tim Burtons ·sehende Protagonisten” Eine Darstellung der empfindsamen Wiederver auberung der Welt(en) in Tim Burtons Werk Tr#ume indessen sind Tim Burtons Filme allesamt, seltsam entrückt dem vermeintlich Realen, auf das sie dennoch unabl#ssig verweisen.1 Das vermeintliche Gegensat paar ·Wirklichkeit” versus ·Fantastik” ist stets pr#sent in den Filmen des amerikanischen Filmschaffenden Tim Burton, der als Regisseur, Drehbuchautor, Künstler und ,utor gleichermassen t#tig ist. Die Wirklichkeit steht bei Burton stets in -erbindung mit Ratio. nalit#t, Erwachsen.Sein und Spiessertum. Sie verk0rpert die ein w#ngende 1ormalit#t, die das 2ndividuum an seiner freien Entfaltung hindert und die menschliche Emotionalit#t verkümmern l#sst. Die Fantastik wiederum ist verbunden mit Fantasie, 2maginationskraft, Kreativit#t, Emotionalit#t und 2ndividualit#t. Sie steht für ein freies, empathisches und reflektiertes 3enschenbild, das es laut Burtons Filmen u schüt en und u f0rdern gilt. 2n symbolisch aufgeladenen, düsteren Traumwelten kreiert Burton immer wieder Geschichten, die die mühevollen, emotionalen Pro esse des 5e. ranwachsens und der menschlichen Weiterentwicklung thematisieren.
    [Show full text]
  • Academic Award for Best Animated Feature: Insight of Animation Industry
    Academic Award for Best Animated Feature: Insight of Animation Industry Shimeng Tong About This Project The Oscars Academy Award for Best Animated Feature was first given for films made in 2001. Until today, this award had been given to 15 animated films. I looked into the records about this award, and tried to understand the animation industry by translating and visualizing the data. My purpose for this project is to figure out the relationships within this social network, between films, their directors, and production companies. Second, to analyze whether the success of an animated feature is depends on the production company or the director. In addition, I would like to emphasize some other findings about animation creation methods and films in foreign languages. Data Collection I got the data directly from the awards record on Oscars’ official website. The data range is 73rd - 88th Oscar, included films made from 2001 to 2015. There were in total 59 nominees, and 15 of them were winners of Best Animated Features. Since there were only text records of each nominees on the website, I had to create a database in Excel with all the information I needed from each film. Including production company, director, and year of releasing. So it will be clearer when I import the edges into NodeXl later. Spring 2016 Shimeng Tong CCTP 696 Data Visualization In order to reveal the existed relationships, I created 3 types of edges within NodeXL: nominees - Oscar, nominees - production companies, and nominess - directors. I marked all the animated features as dots, directors as bule squares, and production companies as green triangles.
    [Show full text]
  • Literatura, Ilustración Y Cine. Los Microrrelatos De La
    Literatura, ilustración y cine. Los microrrelatos de La melancólica muerte del Chico Ostra de Tim Burton Literature, illustration and cinema: The flash fiction of The Melancholy Death of the Oyster Boy and Other Stories by Tim Burton Carlos Javier EGUREN HERNÁNDEZ; Yasmina ROMERO MORALES Universidad de la Laguna [email protected]; [email protected] ID ORCID: http://orcid.org/0000-0002-5401-3136 ID ORCID: http://orcid.org/0000-0003-0255-5782 RESUMEN ABSTRACT 1 La melancólica muerte de Chico Ostra es The melancholy death of Oyster Boy and una colección de veintitrés microrrelatos Other Stories is a collection of twenty- Microtextualidades acompañados de una serie de ilustraciones three micro-stories accompanied by a Revista Internacional de de su autor: Tim Burton, director de cine microrrelato y minificción series of illustrations by Tim Burton, film conocido por películas como Eduardo director known for films such as Edward Manostijeras (Edward Scissorhands, 1990), Scissorhands (1990), Big Fish (2003) or Big Fish (2003) o La novia cadáver (Corpse Corpse Bride (2005). Bride, 2005). Directora His facet as a writer of micro-stories and Ana Calvo Revilla Puede que más desconocida resulte su faceta poems may be more unknown. For como escritor de microrrelatos y poemas example, his first short film, Vincent Editor adjunto como el que inspiró su primer cortometraje, (1982), Tim Burton's Nightmare Before Ángel Arias Urrutia Vincent (Tim Burton, 1982), Pesadilla antes Christmas (Henry Selick, 1994) or the de Navidad de Tim Burton (Nightmare work that concerns us The melancholy before Christmas, Henry Selick, 1994) o la death of Oyster Boy and Other Stories.
    [Show full text]
  • (Walt Disney Pictures & Pixar Animation
    Cast Crew Hanham Players Hanham Players Youth Group Act 2 – Creatures to Animals Frozen… (Walt Disney Animation Studios, Walt Disney Pictures, Walt Disney Studio Motion Pictures (2013)) Minions… (Illumination Entertainment & Universal Pictures International (2015)) The Nightmare Before Christmas… (Touchstone Pictures, Skellington Productions Inc., Tim Burton Productions & Walt Disney Pictures (1993)) Monsters Inc.… (Walt Disney Pictures, Pixar Animation Studios & Buena Vista International (2001)) Shrek… (DreamWorks Animation, DreamWorks SKG, Pacific Data Images & United International Pictures (2001)) There will be a 20 minute interval between the two acts. The use of photography and filming equipment is strictly prohibited. Aladdin… (Walt Disney Pictures, Silver Screen Partner, Walt Disney Feature Animation & Buena Vista International Monsters vs. Aliens… (DreamWorks Animation (2009)) (1992)) Despicable Me… (Universal Pictures, Illumination Entertainment & Universal Studios (2010)) Brave… (Walt Disney Pictures, Pixar Animation Studios & Walt Disney Studio Motion Pictures (2012)) Anastasia… (Twentieth Century Fox Film Corporation, Fox Animation Studios, Fox Family Films, The Big Gun Project, Little Wolf Entertainment & 20th Centure Fox (1997)) Toy Story… (Pixar Animation Studios, Walt Disney Pictures & Buena Vista International (1995)) Cars… (Walt Disney Pictures & Pixar Animation Studios (2006)) The Polar Express… (Castle Rock Entertainment, Shangri-La Entertainment, Playtone, ImageMovers, Golden Mean, Universal CGI, Warner Bros. & Park
    [Show full text]
  • Celebrating Years National Institute of Dramatic Art EXCELLENCE, INNOVATION and ACCESS in ARTS EDUCATION THEATRE | FILM | TELEVISION
    ANNUAL REPORT 2009 Celebrating years National Institute of Dramatic Art EXCELLENCE, INNOVATION AND ACCESS IN ARTS EDUCATION THEATRE | FILM | TELEVISION Registered Office 215 Anzac Parade Kensington NSW Australia 2033 Postal Address NIDA Australian Company Number UNSW Sydney NSW 000 257 741 Australia 2052 Australian Business Number Tel +61 2 9697 7600 99 000 257 741 Fax +61 2 9662 7415 Email [email protected] CRICOS Provider Code Web www.nida.edu.au 00756M Auditors KPMG Legal Representative Bank Holman Webb Commonwealth Bank of Australia National Institute of Dramatic Art is supported by the Australian Government NIDA is at the University of New South Wales Photographers: Branco Gaica, Gaye Gerard, Rob Kelly, Cathy McDouall, Olivia Martin-McGuire, James Morgan, Ian Waldie, Lisa-Maree Williams, Tahnee McGuire This printed material has been printed with FSC certified paper using Soy Ink (100% vegetable oil) and alcohol-free printing methods. Hamlet Copyright National Institute of Dramatic Art (NIDA) 2010. 2nd year production Contents Vision & Mission 2 Chairman’s Report 3 Director/CEO's Report 4 Governance 6 Staff 8 Full-time Courses 10 Accredited Courses 12 Secondments 12 Visiting Staff 13 Statistics 14 2009 Graduates 16 Open Program 18 Corporate Performance 20 NIDA Foundation Trust 21 Operations 22 Venues 22 Archives 22 Rodney Seaborn Library 23 Friends of NIDA 23 Volunteers 23 2009 Productions 24 Financial Statements 34 Donors 52 Scholarships & Sponsors 53 Vision NIDA is Australia’s national education and training institution for the dramatic arts, discovering and nurturing creative professionals and dynamic arts practice. Our graduates will become the future leaders, innovators and agents of change for the arts and entertainment industry, enabling Australia to develop its cultural identity both at home and on the international stage.
    [Show full text]
  • Grundy Eyes $20M in Art Clear-Out | the Australian
    THE AUSTRALIAN Grundy eyes $20m in art clear-out MICHAELA BOLAND THE AUSTRALIAN MAY 24, 2013 12:00AM Curator John Cruthers with Jeffery Smart's Luxury Cruise, John Olsen's El Amoladar and Herbert Badham's Travellers. Picture: Allen Stewart Source: The Australian THE richest art collection offered in Australia went on display at the West Australian Maritime Museum in Fremantle yesterday before an auction in Sydney next month. The exhibition of 90 paintings and sculptures amassed by Neighbours producer Reg Grundy and his wife Joy Chambers-Grundy includes rare paintings by John Brack, sculptures by New Zealand-born Rosalie Gascoigne and Fred Williams's pivotal You Yangs landscape. Auction house Bonhams expects the artworks, bought by the couple during the 1980s and 90s, will fetch between $15.5 million and $20.8m under the hammer. If the sale achieves that low estimate, it will raise the benchmark for single-owner sales in Australia, where the Harold E. Mertz collection in 2000 sold for $15.9m and the Fosters Collection in 2005 sold for $13.3m. Both those total auction figures included the buyers' premium. The Grundys' art curator, John Cruthers, has accompanied the works to Fremantle from London where they were unveiled earlier this month. Exhibitions in Melbourne and Brisbane will also be staged before the sale on June 26. Cruthers said the couple had a fastidious approach to collecting and focused mainly on particular artists. "Part of the purpose of their collecting was to showcase these works overseas because they loved Australian art and they thought it wasn't well enough shown over there," he said.
    [Show full text]
  • Burton's Film and Television Projects
    Master Class with Tim Burton: Burton’s Selected Film and Television Projects As Director Dark Shadows. Dir. Tim Burton, 2012, U.S.A. 113 mins. Production Co.: Warner Bros. Pictures / Village Roadshow Pictures / Infinitum Nihil / GK Films / The Zanuck Company / Dan Curtis Productions / Tim Burton Productions. Alice in Wonderland. Dir. Tim Burton, 2010, U.S.A. 108 mins. Production Co.: Walt Disney Pictures / Roth Films / Team Todd / The Zanuck Company. Sweeney Todd: The Demon Barber of Fleet Street. Dir. Tim Burton, 2007, U.S.A. and U.K. 116 mins. Production Co.: Warner Bros. Pictures / DreamWorks Pictures / Parkes/MacDonald Productions / The Zanuck Company. Corpse Bride. Dir. Tim Burton, 2005, U.K. and U.S.A. 77 mins. Production Co.: Warner Bros. Pictures / Tim Burton Animation Co. / Laika Entertainment / Patalex Productions / Tim Burton Productions / Will Vinton Studios. Charlie and the Chocolate Factory. Dir. Tim Burton, 2005, U.S.A. and U.K. 115 mins. Production Co.: Warner Bros. Pictures / Village Roadshow Pictures / The Zanuck Company / Plan B Entertainment / Theobald Film Productions / Tim Burton Productions. Big Fish. Dir. Tim Burton, 2003, U.S.A. 125 mins. Production Co.: Columbia Pictures Corp. / Jinks/Cohen Company / The Zanuck Company / Tim Burton Productions. Planet of the Apes. Dir. Tim Burton, 2001, U.S.A. 119 mins. Production Co.: Twentieth Century Fox Film Corporation / The Zanuck Company / Tim Burton Productions. The World of Stainboy. Dir. Tim Burton, 2000, U.S.A. Short. Production Co.: Flinch Studios / Tim Burton Production. Sleepy Hollow. Dir. Tim Burton, 1999, U.S.A. and Germany. 105 mins. Production Co.: Paramount Pictures / Mandalay Pictures / American Zoetrope / Karol Film Productions / Tim Burton Productions.
    [Show full text]