David Stratton's Stories of Australian Cinema
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Bruce Beresford's Breaker Morant Re-Viewed
FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam. -
Bryan Brown to Receive Australia's Highest Screen Accolade
Media Release For immediate release Bryan Brown to receive Australia’s highest screen accolade Today, the Australian Academy of Cinema and Television Arts (AACTA) announced that one of Australia’s most admired and respected actors, Bryan Brown, will be honoured with the Australian Academy’s most prestigious award – the Longford Lyell Award. The Award will be presented to Bryan at the 2018 AACTA Awards Ceremony presented by Foxtel on Wednesday 5 December at The Star Event Centre in Sydney, telecast at 8:30pm on Channel 7. Tickets are now on sale from www.aacta.org/whats-on. First presented in 1968, the Longford Lyell Award honours Australian film pioneer Raymond Longford and his partner in filmmaking and life, Lottie Lyell. The Award is the highest honour that the Australian Academy can bestow upon an individual and recognises a person who has made a truly outstanding contribution to the enrichment of Australia’s screen environment and culture. “It's an honour - thank you to the Academy,” said Bryan Brown. “I'm an Australian telling Australian stories and I love it.” Brown first debuted on screen in 1975 as a policeman in SCOBIE MALONE, delivering just two lines. He went on to cut his teeth with some of Australia’s leading directors, with supporting roles throughout 1978 in films such as Fred Schepisi’s THE CHANT OF JIMMIE BLACKSMITH, Bruce Beresford’s MONEY MOVERS and Phillip Noyce’s NEWSFRONT, before taking on leading roles in Donald Crombie’s CATHY’S CHILD (1979) and Albie Thoms’ PALM BEACH (1980). In 1980, Brown received his first AFI Award nominations, becoming the first male actor to be nominated for both Best Lead and Best Supporting Actor in the same year. -
From Mar 2018 Riverside Cinema
RIVERSIDE CINEMA FROM MAR 2018 ALL ABOUT SWEET COUNTRY 40,000 HORSEMEN ALL ABOUT WOMEN Starring Sam Neill and Bryan Brown Starring Chips Rafferty WOMEN SATELLITE SATELLITE Talks and Ideas «««« Featuring a brief introduction by a military Streaming live direct from the Sydney Opera “Unforgettable. A new Australian classic.” expert from the Lancer Barracks Museum and a House, this program invites you to reflect on – The Globe and Mail post-screening critique and Q&A the past and imagine the future of feminism. Join us as we commemorate the 125th Anniversary Featuring 3 headline sessions and an exclusive Directed by Warwick Thornton (Samson and Delilah) backstage interview. and featuring an all-star cast including Sam Neill of the Association of the Royal NSW Lancers with this and Bryan Brown this multi award-winning period special screening of the classic Australian war film. Come along to a session or purchase an event western inspired by real events is a must-see. Starring Chips Rafferty, Charles Chauvel’s cinematic package to all 3 sessions (listed below) and save! Outback Northern Territory, 1929. When Aboriginal tribute to the mounted troops of the Australian Light SUNDAY 4 MARCH stockman Sam kills white station owner Harry March Horse regiments is a rousing call to arms, giving life in self-defence, Sam and his wife Lizzie go on the run. to the heroic tales of mateship during the Great War. They are pursued across the outback, through glorious A box-office smash on release, this is your unique but harsh desert country. But will justice prevail? opportunity to see this now rarely-screened film on FRIDAY 2 MARCH AT 7:30PM the big screen. -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
Sydney Film Festival Announces Essential Scorsese
MEDIA RELEASE THURSDAY 31 MARCH 2016 DAVID STRATTON CURATES SCORSESE RETROSPECTIVE Sydney Film Festival, Australian Centre for the Moving Image (ACMI) and the National Film and Sound Archive of Australia (NFSA) announce that David Stratton will present a program of 10 essential films directed by Martin Scorsese. The curated films will screen as the retrospective program during the 63rd Sydney Film Festival (8-19 June) and in Melbourne at ACMI (27 May-12 June) to coincide with ACMI’s exhibition SCORSESE (26 May-18 September). All 10 films will screen at the NFSA in Canberra (1-23 July) after Sydney Film Festival’s screenings. The retrospective program of ten titles, including specially imported 35mm prints, curated by David Stratton, entitled Essential Scorsese: Selected by David Stratton, features works by one of the most influential directors of our time, including Taxi Driver, Goodfellas, Raging Bull and The Age of Innocence. The renowned critic and broadcaster, was appointed director of the Sydney Film Festival 50 years ago, and held the position from 1966 to 1983. Stratton will introduce selected screenings in the retrospective program. David Stratton says: “Scorsese talks in a rapid-fire style as though he doesn’t have enough time to describe everything he knows. He’s like a character in a 1930s movie. His films are passionate too. His best are explosive in their impact, crammed with information and detail. On the one hand, his Catholic upbringing leads him to tackle religious subjects (The Last Temptation of Christ, Kundun) while the Saturday matinee kid in him revels in the trashy gore of his gangster films.” Essential Scorsese: Selected by David Stratton will screen over two weekends during the Festival (8 – 19 June) at the Art Gallery of NSW. -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
ALPHABETICAL LIST of Dvds and Vts 9/6/2011 DVD a Mighty Heart
ALPHABETICAL LIST OF DVDs AND VTs 9/6/2011 DVD A Mighty Heart: Story of Daniel Pearl A Nurse I am – Documentary and educational film about nurses A Single Man –with Colin Firth and Julianne Moore (R) Abe and the Amazing Promise: a lesson in Patience (VeggieTales) Akeelah and the Bee August Rush - with Freddie Highmore, Keri Russell, Jonathan Rhys Meyers, Terrence Howard, Robin Williams Australia - with Hugh Jackman, Nicole Kidman Aviator (story of Howard Hughes - with Leonardo DiCaprio Because of Winn-Dixie Beethoven - with Charles Grodin, Bonnie Hunt Big Red Black Beauty Cats & Dogs Changeling - with Angelina Jolie Charlie and the Chocolate Factory - with Johnny Depp Charlie Wilson’s War - with Tom Hanks, Julie Roerts, Phil Seymour Hoffman Charlotte’s Web Chicago Chocolat - with Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin & Johnny Depp Christmas Blessing - with Neal Patrick Harris Close Encounters of the Third Kind – with Richard Dreyfuss Date Night – with Steve Carell and Tina Fey (PG-13) Dear John – with Channing Tatum and Amanda Seyfried (PG-13) Doctor Zhivago Dune Duplicity - with Julia Roberts and Clive Owen Enchanted Evita Finding Nemo Finding Neverland Fireproof – with Kirk Cameron on Erin Bethea (PG) Five People You Meet in Heaven Fluke Girl With a Pearl Earring – with Colin Firth, Scarlett Johannson, Tom Wilkinson Grand Torino (with Clint Eastwood) Green Zone – with Matt Damon (R) Happy Feet Harry Potter and the Half-Blood Prince Hildalgo with Viggo Mortensen (PG13) Holiday, The – with Cameron Diaz, Kate Winslet, -
Israeli Character Depictions in Hollywood Films (1948-2008)
American University in Cairo AUC Knowledge Fountain Theses and Dissertations 6-1-2016 Israeli character depictions in Hollywood films (1948-2008) Hanan Omary Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Omary, H. (2016).Israeli character depictions in Hollywood films (1948-2008) [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/290 MLA Citation Omary, Hanan. Israeli character depictions in Hollywood films (1948-2008). 2016. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/290 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Global Affairs and Public Policy ISRAELI CHARACTER DEPICTIONS IN HOLLYWOOD FILMS (1948 - 2008) A Thesis Submitted to Department of Journalism and Mass Communications in partial fulfillment of the requirements for the degree of Master of Arts by Hanan H Omary (Under the supervision of Dr Ronnie Close) April 2016 The American University in Cairo School of Global Affairs and Public Policy Israeli Character Depictions in Hollywood Films (1948 – 2008) A Thesis Submitted by Hanan Omary to the Department of Journalism and Mass Communication (May 2016) in partial fulfillment of the requirements for the degree of Master of Arts in Journalism and Mass Communications has been approved by Name _______________________________ Thesis Adviser Affiliation ____________________________________________ Date ____________________ Name _______________________________ Thesis Second Reader Affiliation ____________________________________________ Date ____________________ Name _______________________________________________ Thesis Third Reader Affiliation ___________________________________________ Date ___________________ Dr. -
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth. -
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. -
Driving Miss Daisy
COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is. -
Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world.