Annual Report 2000-2001
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Read Ebook {PDF EPUB} Elise and the Gold Gloop by S.B. Davies S.B
Read Ebook {PDF EPUB} Elise and the Gold Gloop by S.B. Davies S.B. Davies. At the age of six, my daughter was a good reader for her age, but refused to start reading “proper books” with chapters and no pictures. She was bored with “Horrid Henry” and fairies saving a rainbow yet once more and insisted that she was old enough to read proper books, but every one she tried was “too difficult”. It wasn’t she couldn’t read them, it was the concepts and storylines; they were all designed for nine and ten year olds. There was another problem too. She wanted to read about girls, yet all the books about girls we could find were twee and dull. My daughter is happy to read about a princess, along as she is a Ninja Princess; happy to save rainbows, as long as it involves a good sword fight or perhaps a well-planned heist. After a few months of this, my lovely daughter stopped reading. We tried most of the “first chapter books” that people recommend; all met with disinterest. So I asked her exactly what she wanted in a “proper book”. After much though, she wrote down: “Dragons, princess, zombies, vampires, ghosts, but not spiders and it should be funny and scary and have fighting in it.” We couldn’t find such a book with concepts and vocabulary suitable for a six year old – so I wrote one. I had written novels before, but not a children’s book, so I had help from my daughter to find the right level. -
2014 Annual Report Table of Contents
2014 ANNUAL REPORT TABLE OF CONTENTS CHAIRMAN AND CHIEF EXECUTIVE OFFICER REPORT PAGE 2 MICHAEL LONG LEARNING & LEADERSHIP CENTRE REPORT PAGE 6 HUMAN RESOURCES REPORT PAGE 8 COMMERCIAL OPERATIONS REPORT PAGE 12 COMMUNITY FOOTBALL DEPARTMENT REPORT PAGE 16 GAME DEVELOPMENT REPORT PAGE 24 REMOTE PROJECTS REPORT PAGE 28 NT THUNDER REPORT PAGE 34 AFLNT FINANCIALS PAGE 40 AFLNT BOARD MEMBERS PAGE 44 AFL Football being played along the Plenty Highway in the NT Outback |PAGE 1 Michael Long Learning and Leadership Centre CHAIRMAN & CHIEF EXECUTIVE OFFICER REPORT ROSS COBURN – CHAIRMAN TONY FRAWLEY – CHIEF EXECUTIVE OFFICER 2014 AFLNT ANNUAL REPORT CHAIRMAN & CHIEF EXECUTIVE OFFICER REPORT ootball in the Northern Territory (NT) is more than just the AFLNT 2014 AFLNT Management Structure game. We have a societal responsibility to keep our community Tiwi Islands F Galiwinku BOARD healthy and partcipate in the greatest sport in the world. We Maningrida Nhulunbuy achieve this by helping with educaton, improving mental health Milingimbi Yirrkala and ftness, suicide preventon, responsible driving, personal DARWIN Ramingining Gapuwiyak development, career opportunites, mult-cultural integraton AFLNT CEO and promotng good citzenship. AFL Northern Territory Katherine (AFLNT) delivers these social benefts through its community Umbakumba development programs while also growing the game of football. Groote Eylandt Palumpa Angurugu Indigenous Game Wadeye Bickerton Island Chief Operatng Central Australia Community MLLLC Patron MLLLC NT Thunder Peppermenarti Programs Development Community issues such as petrol snifng, suicide educaton Ngukurr Ofcer Regional Manager Football Manager In Chief Manager General Manager and preventon, road safety, beyondblue strategy and the Manager Manager all-important domestc violence strategy, led by the ‘no more campaign’ are programs AFLNT take seriously and take a very AFLNT STRUCTURE FINANCE strong lead in these areas. -
Submission by Ausfilm to the House of Representatives Standing Committee on Communications, Information Technology and the Arts
c~~CT\~c\ct\~1 ~brnission No. Aus’FILM Submission by AusFILM to the House of Representatives Standing Committee on Communications, Information Technology and the Arts Inquiry into the Future Opportunities for Australia’s Film, Animation, Special Effects and Electronic Games Industries July 2003 AusFILM is a unique collaboration between seventy corporate companies providing film, television and commercial production services, the seven state film agencies, the Department of Communications, IT and the Arts and DFAT through Austrade. Our mission is to position and market Australia as the world’s best destination and environment for film, television, commercials and other screen production. AusFILM International Inc Austrade Fox Studios Australia #12 Century Plaza Towers Driver Avenue 2049 Century Park East, 19~Floor Moore Park NSW 1363 Los Angeles, California 90067 Australia USA Tel: (+61 2)93834192 Fax: (+61 2)93834190 Tel: (+1 310) 229 4833 Fax: (+1 310) 277 2258 Email: [email protected] Email: [email protected] The greatest actors in the world now are Australian. / love the fact / have great crews there, the locations are fantastic, the soundstages are great.... I would shoot everything here.” - Joel Silver, Producer The Matrixtrilogy, two television pilots in 2003 “We had a great time at the studio. The sophistication of running the production was equalto anything that I have experienced anywhere in the world.” - George Lucas, Director, Star Wars “I.. .really enjoy working with the Australlan postproduction companies. [In 2002] we dedicated the post production work of all ourprojects to Australian companies as we trust they could produce the bestquality. -
Sydney a Story of a City All Credits
(Head credits): (Animated title - the lettering starts in an old style, then turns into a modern font): In 1770 the English navigator James Cook charted the east coast of Australia. Eighteen years later a fleet of eleven ships dropped anchor off a small inlet that became known as Sydney cove. (The presentation credit is also animated, using old fashioned lettering which turns into a modern font, and with "presents" turning up in the process). City of Sydney presents (The main title is also animated, with the green cubes turning into the name of the city, and the old fashioned lettering giving away to a more modern font) SYDNEY A STORY OF A CITY (Tail credits): Starring Lucy Bell ● Paul Mercurio Directed by Geoff Burton ● Bruce Beresford Produced by Bruce Beresford ● Sue Milliken ● Philip Gerlach Written by John Izzard From a concept by Philip Gerlach Narration written by Stephen Sewell ● John Izzard Director of Photography Andre Fleuren ACS Editor Nicholas Holmes Music composed and conducted by Christopher Gordon Visual Effects Supervisor Belinda Bennetts Production Designer Roger Ford Unit Production Manager Anne Bruning First Assistant Director Jamie Crooks This film was developed with the financial assistance of Qantas The spirit of Australia - logo + insert of 747 taking off, with bonus Sydney smog Sydney Airport - logo This film was developed with the financial assistance of Tourism New South Wales - logo New South Wales Department of State and Regional Development - logo Sydney Showboats - logo Mercure hotels - logo Accor Feel Welcome -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Ethnographic Film-Making in Australia: the First Seventy Years
ETHNOGRAPHIC FILM-MAKING IN AUSTRALIA THE FIRST SEVENTY YEARS (1898-1968) Ian Dunlop Ethnographic film-making is almost as old as cinema itself.1 In 187 7 Edison, in America, perfected his phonograph, the world’s first machine for recording sound — on fragile wax cylinders. He then started experimenting with ways of producing moving pictures. Others in England and France were also experimenting at the same time. Amongst these were the Lumiere brothers of Paris. In 1895 they perfected a projection machine and gave the world’s first public screening. The cinema was born. The same year Felix-Louis Renault filmed a Wolof woman from west Africa making pots at the Exposition Ethnographique de l’Afrique Occidentale in Paris.2 Three years later ethnographic film was being shot in the Torres Strait Islands just north of mainland Australia. This was in 1898 when Alfred Cort Haddon, an English zoologist and anthro pologist, mounted his Cambridge Anthropological Expedition to the Torres Strait. His recording equipment included a wax cylinder sound recorder and a Lumiere camera. The technical genius of the expedition, and the man who apparently used the camera, was Anthony Wilkin.3 It is not known how much film he shot; unfortunately only about four minutes of it still exists. It is the first known ethnographic film to be shot in the field anywhere in the world. It is of course black and white, shot on one of the world’s first cameras, with a handle you had to turn to make the film go rather shakily around. The fragment we have shows several rather posed shots of men dancing and another of men attempting to make fire by friction. -
Executive Board Annual Report 2020
United States Australian Football League A 501(C)3 Not-For-Profit Organization UNITED STATES AUSTRALIAN FOOTBALL LEAGUE Executive Board Annual Report 2020 UNITED STATES AUSTRALIAN FOOTBALL LEAGUE A 501(C)3 Not-For-Profit Organization Table of Contents Year in Review ................................................................................................................................. 3 USAFL Member Clubs ...................................................................................................................... 8 Executive Board, Portfolios and Staff ............................................................................................. 9 Virtual Nationals ........................................................................................................................... 11 USAFL Foundation ......................................................................................................................... 12 Financial Management ................................................................................................................. 13 2020 USAFL Contact List ............................................................................................................... 19 2 UNITED STATES AUSTRALIAN FOOTBALL LEAGUE A 501(C)3 Not-For-Profit Organization Year in Review 366 pages fell from the calendar in 2020. In that respect, it was like any other year, or at least the ones that fall when we play catch up to account for the earth’s rotation around the sun. But 2020 was not any ordinary year. -
APPENDIX DD Heritage Interpretation Strategy
APPENDIX DD APPENDIX 218948 Heritage Interpretation Strategy Curio Projects Heritage Interpretation Strategy SYDNEY FOOTBALL STADIUM, REDEVELOPMENT STAGE 2 SSDA MAY 2019 Prepared by Curio Projects for Infrastructure NSW FINAL REPORT [email protected] | P 0412 737 196 | Suite 9/17 Thurlow Street, Redfern NSW 2016 | ABN 79139184035 Curio noun cu·rio \kyur-ē-ˌō\: any unusual article, object of art, etc., valued as a curiosity Curio Projects Archaeology | Built Heritage Assessments | Heritage Feasibility Reviews | Interpretation | Archival Recordings | Adaptive Reuse Projects Document Information Citation Curio Projects 2019, Sydney Football Stadium, Stage 2 Development—Interpretation Strategy, prepared for INSW Local Government Area City of Sydney Council Cover Image Future Stadium—Community Space View (Source: Cox Architecture 2019) ISSUE ISSUE VERSION NOTES/COMMENTS AUTHOR REVIEWED No. DATE 1 26.02.19 Draft Draft for Client Review Claire Natalie Vinton Hickson 2 17.05.19 Final Draft Client changes Claire Sam Cooling incorporated Hickson 3 31.05.2019 Final For SSDA Submission Claire Sam Cooling Hickson This report has been prepared based on research by Curio Projects specialists. Historical sources and reference material used in the preparation of this report are acknowledged and referenced at the end of each section and/or in figure captions. Unless otherwise specified or agreed, copyright in intellectual property of this report vests jointly in Curio Projects Pty Ltd. Curio Projects Pty Ltd Suite 9/17 Thurlow Street Redfern NSW 2016 Australia Interpretation Strategy, Sydney Football Stadium Redevelopment, Stage 2 DA | INSW | May 2019 Curio Projects Pty Ltd 2 Curio Projects Archaeology | Built Heritage Assessments | Heritage Feasibility Reviews | Interpretation | Archival Recordings | Adaptive Reuse Projects Contents Document Information .............................................................................................................................................................. -
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”. -
Machtkampf in Hollywood Die Animes Von
6/19 D: 6,20 € A: 7,00 € MEHR WISSEN. MEHR SEHEN www.epd-film.de Machtkampf in Hollywood Die Animes von Mamoru Hosoda Filme des Monats BURNING THE DEAD DON’T DIE HIGH LIFE ROCKETMAN SUNSET ZWISCHEN DEN ZEILEN Anmut 06 06 und Eigensinn Juliette Binoche liebt Abwechslung. Jetzt ist sie mit 195390 906202 195390 906202 einer Komödie und einem Science-Fiction-Film im Kino 4 4 CANNES ANNECY SYDNEY SAN SEBASTIÁN LONDON HAMBURG FILM FESTIVAL FILM FESTIVAL FILM FESTIVAL FILM FESTIVAL FILM FESTIVAL FILMFESTIVAL ACADEMY AWARD® JAPAN ACADEMY PRIZE ‚Oscar‘ 2019 Best Animation of the Year Nominiert für 2019 Bester Animationsfi lm Ab 28. Mai im Kino! DAS MÄDCHEN AUS DER ZUKUNFT EIN MAMORU HOSODA FILM PRODUZIERT VON STUDIO CHIZU www.mirai-derfi lm.de EDITORIAL Man trägt jetzt Schlauchschellen – wie Mia Goth in HIGH LIFE Low-Tech Science Fiction Liebe Leserin, lieber Leser, auf dem Plakat zum neuen Film von Claire Denis, dem Science-Fiction-Film High Life, ist die Hand eines Raumfahrers zu sehen, der die Hand eines kleinen Kindes umfasst. Es ist ein irritierendes Bild, man denkt beim Betrachten darüber nach, ob es eine Anspielung auf Michelangelos berühmtes Fresko »Die Erschaf- fung Adams« ist. Vielleicht ist es das ja auch, denn im Film der französischen Regisseurin geht es um das Erschaffen und um Fruchtbarkeit. Wenn Sie länger vor dem Plakat verweilen, werden Sie bemerken, dass der Ärmel des Raumanzugs mit zwei Schlauchschellen verschlossen ist, die Sie für zwei Euro im Baumarkt kaufen können. Und wenn Sie ANZEIGE dann den Film im Kino sehen, sehen Sie, dass das ganze Productiondesign diesen erscheint im 36. -
SANDI CV March 2019
CURRICULUM VITAE 2019 UTOPIA series 4 TV Series Position: COSTUME DESIGNER WORKING DOG CAST: Rob Sitch Celia Paquola Kitty Flannagan Director: Rob Sitch 2018 The InBESTigators TV Series Position: COSTUME DESIGNER GRISTMILL PRODUCTIONS Director: Robyn Butler Wayne Hope CAST: Aston Droomer Anna Cooke Abby Bergman Jamil Seka Nina Buxton Tim Bartley Ian Reiser 2017-18 BACK IN VERY SMALL BUSINESS TV Series Position: COSTUME DESIGNER GRISTMILL PRODUCTIONS CAST: Wayne Hope Robyn Nevin Kim Gyngell Director: Robyn Butler 2017 ROMPER STOMPER TV Series Position: COSTUME BUYER NEXT GEN Designer: Anna Borghesi CAST: Toby Wallace Jacqui McKenzie David Wenham Directors: Geoffrey Wright James Napier Robertson Daina Reid DI & VIV & ROSE Theatre Prod Position: COSTUMIER MELBOURNE THEATRE CO Designer: Dale Ferguson CAST: Nadine Garner Beilinda McLory Mandy McElhinney Director: Marion Potts HAVE YOU BEEN PAYING ATTENTION? TV Series Position: COSTUME DESIGNER WORKING DOG / NETWORK 10 CAST: Tom Gleisner Sam Pang Ed Kavallee Director: Peter Lawler UTOPIA series 3 TV Series Position: COSTUME DESIGNER WORKING DOG CAST: Rob Sitch Celia Paquola Kitty Flannagan Director: Rob Sitch ________________________________________________ 4 /76-80 Ireland Street, West Melbourne, Vic 3003 mobile: 0412 114 958 email: [email protected] 2016 T.V. COMMERCIALS TVC’S Position: COSTUME DESIGNER MR SMITH HAVE YOU BEEN PAYING ATTENTION? TV Series Position: COSTUME DESIGNER WORKING DOG / NETWORK 10 CAST: Tom Gleisner Sam Pang Ed Kavallee Director: Peter Lawler LITTLE LUNCH series -
Annual Report 2014–2015 Contents
ANNUAL REPORT 2014–2015 CONTENTS MESSAGE FROM THE CEO & PRESIDENT 2 HIGHLIGHTS 2014–2015 FINANCIAL STATEMENTS 2014 2014 HIGHLIGHTS INDEPENDENT AUDITOR’S REPORT 6 42 2015 HIGHLIGHTS FINANCIAL STATEMENT 8 43 OUR WORK INVESTORS NEWS MEDIA MILLION DOLLAR LIFETIME CLUB 10 46 ENTERTAINMENT FOUNDATIONS 14 46 TH 25 ANNUAL GLAAD MEDIA AWARDS CORPORATE PARTNERS 17 47 26TH ANNUAL GLAAD MEDIA AWARDS LEGACY CIRCLE 21 48 TRANSGENDER MEDIA SHAREHOLDERS CIRCLE 25 49 GLOBAL VOICES 29 DIRECTORY SOUTHERN STORIES 32 GLAAD STAFF SPANISH-LANGUAGE & LATINO MEDIA 54 35 GLAAD NATIONAL YOUTH BOARD OF DIRECTORS 38 55 LEADERSHIP COUNCILS 55 My first year as GLAAD’s CEO & President was an unforgettable one as it was marked by significant accomplishments for the LGBT movement. Marriage equality is now the law of the land, the Boy Scouts ended its discriminatory ban based on sexual orientation, and an LGBT group marched in New York City’s St. Patrick’s Day Parade for the very first time. And as TIME noted, our nation has reached a “transgender tipping point.” Over 20 million people watched Caitlyn Jenner come out, and ABC looked to GLAAD as a valued resource for that game-changing interview. MESSAGE FROM THE CEO & PRESIDENT But even with these significant advancements, at GLAAD, we still see a dangerous gap between historic policy advancements and the hearts and minds of Americans—in other words, a gap between equality and acceptance. To better understand this disparity, GLAAD commissioned a Harris Poll to measure how Americans really feel about LGBT people. The results, released in our recent Accelerating Acceptance report, prove that beneath legislative progress lies a dangerous layer of discomfort and discrimination.