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Alfred Rolfe: Forgotten Pioneer Australian Film Director
Avondale College ResearchOnline@Avondale Arts Papers and Journal Articles School of Humanities and Creative Arts 6-7-2016 Alfred Rolfe: Forgotten Pioneer Australian Film Director Stephen Vagg FremantleMedia Australia, [email protected] Daniel Reynaud Avondale College of Higher Education, [email protected] Follow this and additional works at: https://research.avondale.edu.au/arts_papers Part of the Film and Media Studies Commons Recommended Citation Vagg, S., & Reynaud, D. (2016). Alfred Rolfe: Forgotten pioneer Australian film director. Studies in Australasian Cinema, 10(2),184-198. doi:10.1080/17503175.2016.1170950 This Article is brought to you for free and open access by the School of Humanities and Creative Arts at ResearchOnline@Avondale. It has been accepted for inclusion in Arts Papers and Journal Articles by an authorized administrator of ResearchOnline@Avondale. For more information, please contact [email protected]. Alfred Rolfe: Forgotten Pioneer Australian Film Director Stephen Vagg Author and screenwriter, Melbourne Victoria, Australia Email: [email protected] Daniel Reynaud Faculty of Arts, Nursing & Theology, Avondale College of Higher Education, Cooranbong, NSW, Australia Email: [email protected] Daniel Reynaud Postal address: PO Box 19, Cooranbong NSW 2265 Phone: (02) 4980 2196 Bios: Stephen Vagg has a MA Honours in Screen Studies from the Australian Film, Television and Radio School and has written a full-length biography on Rod Taylor. He is also an AWGIE winning and AFI nominated screenwriter who is currently story producer on Neighbours. Daniel Reynaud is Associate Professor of History and Faculty Assistant Dean, Learning and Teaching. He has published widely on Australian war cinema and was instrumental in the partial reconstruction of Rolfe’s film The Hero of the Dardanelles, and the rediscovery of parts of How We Beat the Emden. -
Adt-NU1999.0010Chapter8.Pdf (PDF, 33.93KB)
1 chapter 8 conclusion She 'ad three clothes-pegs in 'er mouth, an' washin' on 'er arm — 1 This intertitle, from the 1920 Raymond Longford film, Ginger Mick, the sequel to The Sentimental Bloke, perfectly describes the mother of early films. One of the scores of missing Australian feature films, Ginger Mick carried on the tale of Doreen's life with her husband, the Bloke, and their baby son, who is born at the close of the earlier film.2 The words of the intertitle in Ginger Mick are accompanied on screen by a line drawing in order to make the meaning quite clear. In the foreground is a large, round, wooden tub. A washboard is perched on the shelf behind it, close to a bottle of Lysol. The figure of the hard-working mother is in the background near a clothesline, where enormous sheets blow in the wind, dwarfing her. Bent almost double over her washing basket, she labours beside a long prop which rests on the ground, ready for her to lift the heavy line into the wind. The film has been lost and we really have no idea who the woman was supposed to be, although the drawing invites speculation. Could she possibly be the lovely, desirable Doreen, the apple of the Bloke's eye, now a housewife and drudge? Perhaps, on the other hand, it is just a generic sketch of motherhood. Either way, the words and the drawing illustrate the stereotypical mother of the early days of cinema, who was constantly occupied with the family's washing.3 The activity is a visual metaphor for her diligence, her uncomplaining care of the family and her regard for cleanliness. -
Australian Radio Series
Radio Series Collection Guide1 Australian Radio Series 1930s to 1970s A guide to ScreenSound Australia’s holdings 1 Radio Series Collection Guide2 Copyright 1998 National Film and Sound Archive All rights reserved. No reproduction without permission. First published 1998 ScreenSound Australia McCoy Circuit, Acton ACT 2600 GPO Box 2002, Canberra ACT 2601 Phone (02) 6248 2000 Fax (02) 6248 2165 E-mail: [email protected] World Wide Web: http://www.screensound.gov.au ISSN: Cover design by MA@D Communication 2 Radio Series Collection Guide3 Contents Foreword i Introduction iii How to use this guide iv How to access collection material vi Radio Series listing 1 - Reference sources Index 3 Radio Series Collection Guide4 Foreword By Richard Lane* Radio serials in Australia date back to the 1930s, when Fred and Maggie Everybody, Coronets of England, The March of Time and the inimitable Yes, What? featured on wireless sets across the nation. Many of Australia’s greatest radio serials were produced during the 1940s. Among those listed in this guide are the Sunday night one-hour plays - The Lux Radio Theatre and The Macquarie Radio Theatre (becoming the Caltex Theatre after 1947); the many Jack Davey Shows, and The Bob Dyer Show; the Colgate Palmolive variety extravaganzas, headed by Calling the Stars, The Youth Show and McCackie Mansion, which starred the outrageously funny Mo (Roy Rene). Fine drama programs produced in Sydney in the 1940s included The Library of the Air and Max Afford's serial Hagen's Circus. Among the comedy programs listed from this decade are the George Wallace Shows, and Mrs 'Obbs with its hilariously garbled language. -
Australians All by Nadia Wheatley Illustrated by Ken Searle
BOOK PUBLISHERS Teachers Notes by Dr Robyn Sheahan-Bright Australians All by Nadia Wheatley Illustrated by Ken Searle ISBN 978 1 74114 637 0 Recommended for readers 9 yrs and older Older students and adults will also appreciate this book. These notes may be reproduced free of charge for use and study within schools but they may not be reproduced (either in whole or in part) and offered for commercial sale. Introduction ........................................... 2 Use in the curriculum ........................ 2 Layout of the Book ............................ 2 Before reading ........................................ 3 SOSE (Themes & Values) ......................... 4 Arts .............................................. 26 Language & Literacy ........................ 26 Visual Literacy ................................ 26 Creative Arts .................................. 26 Conclusion .......................................... 27 Bibliography of related texts ................... 27 Internet & film resources ....................... 29 About the writers .............................. ....30 83 Alexander Street PO Box 8500 Crows Nest, Sydney St Leonards NSW 2065 NSW 1590 ph: (61 2) 8425 0100 [email protected] Allen & Unwin PTY LTD Australia Australia fax: (61 2) 9906 2218 www.allenandunwin.com ABN 79 003 994 278 INTRODUCTION ‘Historians sometime speak of our nation’s founding fathers and mothers, but it is the children of this country who – generation after generation – create and change our national identity.’ (p.241) In this significant -
Tivoli (Vaudeville Circuit)
AUSTRALIAN EPHEMERA COLLECTION FINDING AID TIVOLI (VAUDEVILLE CIRCUIT) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 The Tivoli was established by English music hall comedian Harry Rickards in 1893, following the success of his "New Tivoli Minstrel and Grand Specialty Company"(Sydney, 1892), and grew to be the major outlet for variety theatre and vaudeville in Australia for over 70 years. “The Tiv” operated under a range of names with the shows managed and produced variously by Harry Rickards, H.D. McIntosh, H.G. Musgrove, Connors & Paul, Frank Neil, Wallace R. Parnell, Bruce Carroll and David N. Martin. The Tivoli Circuit grew to include Melbourne, Adelaide, Brisbane and Perth by the turn of the century, promoting a broad spectrum of both local and international vaudeville acts including comedians, dancers, acrobats, ventriloquists, and scantily-clad chorus girls who were colloquially known as the “Tivoli Tappers”. This list includes Tivoli vaudeville circuit shows as well as performances at the Tivoli theatres (i.e. venue hire arrangements).The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. ACCESS The Tivoli (vaudeville circuit) PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3531752 Programs in the National Library’ PROMPT collection are arranged by entrepreneur and/or management company name. -
Artists, Managers and Employees
APPENDIX A HARRY CLAY'S VAUDEVILLE COMPANY SURVEY OF ARTISTS, MANAGERS, PARTNERS AND EMPLOYEES: 1901-1929 NB: An updated and revised version of this Appendix is presented in Clay Djubal's 2005 Ph D thesis "What Oh Tonight" (see Appendix H). That version includes several hundred new entries. The list is also regularly updated in the Australian Variety Theatre Archive. See: http://ozvta.com/research-lists/ (or at Pandora: http://nla.gov.au/nla.arc-143747) The following list has been compiled during the course of research undertaken for this dissertation. While every attempt has been made to locate the names and information regarding artists and employees engaged by Harry Clay’s organisation during the period 1901 to 1929, it must be conceded that the greater portion of this list has been compiled from available sources between the years 1914 and 1925. As discussed in Chapter Three of this thesis, there was little in the way of advertising or magazine reviews concerning Harry Clay’s operations during the years 1901-1913, other than in relation to the NSW/Qld tours reported in various country newspapers. While these sources have provided the survey with data concerning the tours, it is likely that many more artists were employed during those years. This situation, too, has caused some confusion as to whether several leading entertainers during this period, artists such as Jim Gerald and Clyde Cook,1 for example, were or were not associated with Clay's. Research for this thesis has so far failed to locate any definite primary evidence to support the claims that these two performers were engaged by Clay, and hence they have been left out of the survey. -
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. -
Dad Rudd, M.P. and the Making of a National Audience. Dad Rudd, M.P
Dad Rudd, M.P. and the making of a national audience. Dad Rudd, M.P. was the fourth and final film made by Ken G. Hall based on characters originally created by ‘Steele Rudd’ (Arthur Hoey Davis) in 1895. It. was also the first of four films to receive a £15,000 overdraft from the NSW government as part of an attempt to encourage local film production. It was released by Cinesound in Australia in June 1940. According to the Australasian’s film critic ‘The Chiel,’ when the film was shown in Melbourne, ‘a queue that was 100 yards long to the box office, a crowded theatre, and sustained applause indicated that the Australian people have no fault to find with “Dad Rudd, M.P.”’(Chiel 1940). Box office for the film was indeed remarkable in Australia and the film also gained popular acclaim in Britain, where it was screened more than 1400 times before mid-1941 (Pike 1980:45). The Rudd family texts are unique in Australian cultural history for the extent to which they have been adapted, and the degree of their popularity in a variety of media over time. Authors, producers, directors and publicists of these texts engendered a market defined by its recognition of Australian cultural commonplaces. In this respect the Rudd characters have been instrumental in the creation and characterization of a specifically ‘Australian’ audience that can be defined in relation to a set of national symbols. Dad Rudd, M.P., in particular, illustrates the way in which such national symbols can be a product of market imperatives, overseas influences and chance. -
The Sentimental Bloke (1995/2004)
Jen Anderson: Filmography Soundtracks for Film/Television and Music Clips (Online) Last updated May 2010. This filmography is incomplete Contents 1. Films and Television ………………………………………………………… 1. 2. DVDs and Videos (Commercial releases) ……………………………………… 4. 3. Music Clips (online) ………………………………………………………… 6. Films and Television Pandora's Box (1993 Australian tour) Nero Film - AG Director Georg Wilhelm Pabst • Writer Georg Wilhelm Pabst and Ladislaus Vajda • Music Jen Anderson Cast incl. Louise Brooks, Francis Lederer, Carl Goetz, Alice Roberts Jen Anderson was approached in 1992 to compose the film score for the classic 1929 German silent film Pandora's Box. She subsequently wrote the score for a string quartet, and the project culminated in a national Australian tour (with live musical accompaniment) in 1993. Original 1929 poster • Image: Courtesy of Franz Jacobs ("Pandora's Box," Wikipedia) † __________________________________________________________________________________________ The Sentimental Bloke (1995/2004) Original film released in 1919. Southern Cross Feature Film Company. Restored by the National Film and Sound Archive (ScreenSound Australia). Director Raymond Longford • Writer Raymond Longford and Lottie Lyall Music – restored version Jen Anderson (with additional music/lyrics by Mick Thomas) Cast incl. Arthur Tauchert, Lottie Lyall, Gilbert Emery, Stanley Robinson. A version of the original 16mm film was blown-up to 35 mm and screened at several film festivals and via an Australian tour in 1995 (with a score largely written by Jen Anderson and performed live by Anderson, Mick Thomas and Mark Wallace). A fully newly restored version, with additional footage, premiered in 2004 (with live musical accompaniment by Jen Anderson and The Larrikins) Based on C. J. Dennis' popular poems, the film follows the ups and downs of Bill (aka The Bloke), a larrikin from the Sydney dockside suburb of Woolloomooloo. -
Melbourne 1995
Melbourne 1995 By Gerald Pratley Fall 1995 Issue of KINEMA WHAT A PLEASUR TO OPEN the catalogue of the 44th Melbourne International Film Festival to discover the absence of ”welcoming messages” from the Prime Minister down to the local Mayor and introductions from the festival staff (complete with portraits) telling us how marvellous the program isand what great audiences we are! Melbourne runs at exactly the same time as Sydney’s film festival. No one quite seemed to know why,or to think that this was odd; after all, no one in Melbourne expected moviegoers to come from Sydney and none from Melbourne was expected by Sydney to attend its festival. So why not? There seems not to be any rivalry between the two, some films are shared, otherwise the programs are quite different - alikeably Australian relationship. As 1995 marks the centenary of cinema it was fitting that Melbourne brought Australian films to thefore: the opening was the newly restored and tinted print of the classic The Sentimental Bloke, made in 1919 by Raymond Longford adapted from the book of verse by C. J. Dennis. The film created three screen characters who became instant folk heroes - the larrikin Bloke, his drinking mate Ginger Mick, and his ”peach” Doreen. It is much loved by Australians, with good reason, being a true and touching depiction of themselves at a certain time in their history. This restoration was accompanied by the ”live” performance of a score by Melbourne composer, Jen Anderson. The closing film, the latest in a string of new and impressive Australian productions, was Alan Madden’s Mushrooms, the blackest of black comedies, very clever, never coarse, about two eccentric elderly ladies who cut up, cook and eat the corpse of an unloved man. -
Newsletter of the Manly, Warringah and Pittwater
VOLUME 13 No. 3 April 2020 ISSN 1835-7628 (print) 2207-8401 (electronic) FROM THE EDITOR Something to read while in lockdown! have converted our committee meetings to virtual ones, “meeting“ via the internet. The Historian will continue so the Thank you to Keith Amos for providing two items for this issue. Society will not disappear completely from your lives. He has given a summary of what is known about Aboriginal presence on the northern beaches at the time of European In late February I attended a reception organised by NB arrival and also an item associated with early surfing at Manly. Council to thank volunteers who worked at various venues on The former was triggered by the article by William Govett in Australia Day. Proceeds for the day were distributed by the previous issue and the latter by the article on Duke Kahan- Council amongst the various community groups who amoku late last year. participated and we are very grateful to receive our generous share. Alongside Keith’s note on the local aboriginal groupings, I have included a well-known portrait of Bungaree whom Keith In early March I gave some support to the group trying to mentions. This image does a disservice to a man of quite establish a museum of surfing on the Northern Beaches. outstanding intelligence, skills, knowledge and experience. I They had a stall at the international surfing championship will include a fuller item on Bungaree in a future issue. which was held in Manly early in March. More than 450 people signed a petition in support of the museum concept. -
Bert Button Comments on Radio – 1985
BERT BUTTON COMMENTS ON RADIO – 1985 Willie Fennell: actor of radio, films, theatre. In the post war years over 60% of radio features were imported from America and the United Kingdom. A Parliamentary Standing Committee on Broadcasting was concerned about Australian artists only participating in about 30% of locally recorded programs. It was about that time that the “Colgate Palmolive Show” was formed, which included Jack Davey, Bob Dyer, Roy Rene, Joy Nicholls, Kitty Bluett, Hal Lashwood, Dick Bentley, George Foster and Willie Fennell. Willie’s main claim to popularity was the expression “Ow are yer mate” and it could be claimed that his being typed this way did not do justice to the real ability he possessed. Perhaps the first public indication of this was when he starred in “Life with Dexter” and since then he has successfully participated in a number of TV and theatrical productions. Willie was always a fairly quiet unassuming person; not easily cultivated as a friend, but an individual who would always leave his mark in the field of entertainment. Whilst he recollects with pleasure his participation in several top rating radio shows such as “Calling The Stars” (his first appearance in radio), “Ada and Elsie”, and “The Cashmere Bouquet Show”, I’ve always felt that Willie Fennell obtained more satisfaction from his association with theatrical and film productions, although he also obviously enjoyed facing up to large audiences in club shows. Now in his sixties, Willie Fennell has been associated with several commercial and ABC TV programs such as “No. 96” and “Young Doctors”, and also stars in theatrical productions and the occasional film.