Participants of Directors Program Screen Forever 2018
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THE BABADOOK Presskit D
EIN FILM VON JENNIFER KENT 93 Minuten // Australien/Kanada 2014 mit Essie Davis, Noah Wiseman, Daniel Henshall - Presseheft - Pressebilder: www.praesens.com www.facebook.com/DerBabadook 2 MISTER BABADOOK If it’s in a word or it’s in a look / You can’t get rid of The Babadook A rumbling sound, then 3 sharp knocks / ba BA-ba DOOK! DOOK! DOOK! / That’s when you’ll know that he’s around. / You’ll see him if you look. This is what he wears on top / He’s funny, don’t you think? / See him in your room at night / And you won’t sleep a wink. / I’ll soon take off my funny disguise / (take heed of what you’ve read...). / And once you see what’s underneath... / You’re going to wish you were... / DEAD. INHALT Kurzinhalt ������������������������������������������������������������������������������������������������������������������������������ 4 Pressenotiz ���������������������������������������������������������������������������������������������������������������������������� 4 Langinhalt . 5 Cast & Crew . 7 Jennifer Kent (Regie, Drehbuch) / Interview ���������������������������������������������������������������������������� 7 Essie Davis (Amelia) / Interview . 12 Noah Wiseman (Samuel) ������������������������������������������������������������������������������������������������������� 16 Daniel Henshall (Robbie) ������������������������������������������������������������������������������������������������������� 16 Hayley McElhinney (Claire) ��������������������������������������������������������������������������������������������������� -
The Nightingale
SCREEN AUSTRALIA SCREEN TASMANIA AND SOUTH AUSTRALIAN FILM CORPORATION present in association with ADELAIDE FILM FESTIVAL BRON CREATIVE And FILMNATION ENTERTAINMENT a CAUSEWAY FILMS and MADE UP STORIES production THE NIGHTINGALE PRODUCTION NOTES Running Time: 136 mins AUSTRALIAN PUBLICITY REQUESTS: Amy Burgess / National Publicity Manager, Transmission Films 02 8333 9000, [email protected] Images: High res images and poster available to download via the DOWNLOAD MEDIA tab at: https://www.transmissionfilms.com.au/films/the-nightingale Starring Aisling Franciosi, Sam Claflin and Baykali Ganambarr Writer and Director: Jennifer Kent Producers: Kristina Ceyton p.g.a., Bruna Papandrea p.g.a., Steve Hutensky p.g.a. and Jennifer Kent p.g.a. Executive Producers: Brenda Gilbert, Jason Cloth, Andrew Pollack, Aaron L. Gilbert, Ben Browning and Alison Cohen Associate Producer: Jim Everett Director of Photography: Radek Ladczuk Editor: Simon Njoo Production Designer: Alex Holmes Costume Designer: Margot Wilson APDG Hair and Makeup Designer: Nikki Gooley Sound Designer: Robert Mackenzie Composer: Jed Kurzel Visual Effects Supervisor: Marty Pepper Casting Director: Nikki Barrett CSA Distributed in Australia and New Zealand by Transmission Films International Sales: FilmNation Entertainment, US Sales: Endeavor Content The Nightingale Production Notes 2 INDEX SYNOPSES 3 DIRECTOR’S STATEMENT 4 CAST AND CHARACTER LIST 4 GENESIS OF THE FILM 5 CASTING AND CHARACTERS Clare – Portrayed by Aisling Franciosi 8 Hawkins – Portrayed by Sam Claflin 10 Billy -
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. -
A Level Film Studies Candidate Style Answers
Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
When Good Mothers Go Bad: Genre and Gender in the Babadook
Irish Journal of Gothic and Horror Studies 15 (Autumn 2016) When Good Mothers Go Bad: Genre and Gender in The Babadook Paula Quigley David Ehrlich: There are a number of films about grief, but part of what makes The Babadook so interesting is that the horror genre allows it to have this element of audience interaction. I wonder if you’re attracted to the horror genre because of how palpable it encourages you to make a story? Jennifer Kent: I think so. Can you imagine this story as a domestic drama? It would be so melodramatic and stupid. I like films where I’m forced to feel something. –Interview with Jennifer Kent, December 20141 For a film that has been described as ‘startlingly original’ and widely celebrated for its ‘emotional realism’, Jennifer Kent’s The Babadook (2014) is in many ways very generic.2 While this might seem like a shortcoming, on the contrary, the film’s restaging of familiar generic tropes facilitates a highly effective cinematic experience. This article considers the ways in which The Babadook repurposes the horror film to produce a moving exploration of maternal ambivalence, mobilising elements of the maternal melodrama and female gothic in the process. In so doing, the film foregrounds issues of genre and gender that inhere and overlap in these categories. In particular, the film’s focus on the protagonist’s conflicted experience of motherhood explores what Molly Haskell identifies as the great unspoken of the ‘woman’s film’, namely, women’s guilt for their ‘inadmissible feelings’ about motherhood.3 Considering the film in this light draws on Sue Thornham’s reading of We Need To Talk About Kevin (dir. -
Canada and Australia
CANADA AND AUSTRALIA: PROMOTING COLLABORATION IN CREATIVE INDUSTRIES Prepared by the Consulate General of Canada in Sydney 1 TABLE OF CONTENTS 3 Welcome & Introduction 4 Film & Television 11 Music 16 Literature 21 Performing Arts 25 Visual Arts 28 Digital Arts 30 Promoting Canadian Creators Globally 2 WELCOME & INTRODUCTION The creative industries represent an important part of In Australia, the demand in the creative industries Canada’s economy and exports however these times sector was booming pre-coronavirus and represented are unprecedented and present challenges never 6.2% of total Australian employment and employment. before seen for the sector. In light of current events, The creative industries were growing 40% faster than particularly the recent cancellations of cultural events, the Australian economy as a whole. Australia also the Consulate General of Sydney would like to reaffirm recognises the important role and positive impact of the government’s support for all the people affected, the arts in regional, rural and remote areas. This has directly or indirectly, by the coronavirus. We know that led to a growth in festivals, arts markets, concerts, 4 Film & Television times like these can be particularly difficult for self- performances and galleries expanding into these areas employed creative workers, community organizations, due to the positive impact on the community as well as and cultural organizations, among many others. the daily lives of Australians. 11 Music This report, written pre-coronavirus, may be a useful resource as the creative industries move from crisis to Canada and Australia share similar histories and values recovery and seek out new business opportunities. -
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00:00:00 Music Transition “Switchblade Comb” by Mobius VanChocStraw. A jaunty, jazzy tune reminiscent of the opening theme of a movie. Music continues at a lower volume as April introduces herself and her guest, and then it fades out. 00:00:08 April Wolfe Host Welcome to Switchblade Sisters, where women get together to slice and dice our favorite action and genre films. I’m April Wolfe. Every week, I invite a new female filmmaker on. A writer, director, actor, or producer, and we talk—in depth—about one of their fave genre films. Perhaps one that’s influenced their own work in some small way. You may already remember from the last few episodes, but here’s a reminder. We are remote recording now, since we’re all social distancing. I’m recording from my bedroom, so you’re gonna hear my cat screaming. She was already doing it earlier. The audio is likely going to sound a little different from our studios, but everything else is exactly the same. Except for the fact that today, our guest got to call in from Tasmania, because I’m very excited to have actor-producer Essie Davis here with me. Hi, Essie! 00:00:51 Essie Guest Hi, April. It’s a pleasure to be here. 00:00:54 April Host So for those of you who aren’t familiar with Essie’s work, where have you been? But also, here’s a refresher. Essie was born and raised in Hobart, Tasmania. She studied in Sydney at the National Institute for Dramatic Art, and then she graduated onto the stage, performing in the Bell Shakespeare Company, already securing coveted roles like Juliet. -
M Ed Ia R Elea Se
Three Australian films selected for Venice Film Festival Thursday 26 July 2018: The makers of The Babadook have struck gold again, with Jennifer Kent’s much anticipated second feature film The Nightingale set to have its World Premiere in competition at the 75th Venice International Film Festival (29 August to 8 September 2018). The film was jointly produced by Kristina Ceyton of Causeway Films and Bruna Papandrea and Steve Hutensky of Made Up Stories. The feature is joined by two virtual reality (VR) short films also in competition - Michael Beets’ The Unknown Patient (World Premiere) and Lynette Wallworth’s Awavena (International Premiere). “It’s been four years since Jennifer Kent astounded audiences with The Babadook, so The Nightingale’s selection for Venice marks a triumphant and eagerly anticipated return for this Australian auteur,” said Graeme Mason, CEO of Screen Australia. “We are thrilled to have been able to support Jennifer’s vision from development, to production, now at festival and soon distribution.” “Congratulations also to The Nightingale’s producers Causeway Films and Made Up Stories who have so carefully and lovingly shepherded this Australian tale to this incredible juncture.” “We are also thrilled to see Australia’s new-form storytellers being showcased at Venice. The Unknown Patient and Awavena are reminders of the diversity of stories Australians can tell, and the ingenuity our local industry brings to crafting a tale. These selections are an incredible achievement.” MEDIA RELEASE “It’s a dream come true to be premiering The Nightingale at Venice in official competition. I owe a great deal to my exceptional cast and crew, who were wholeheartedly devoted to making this film the very best it could be,” said Jennifer Kent. -
Academy Invites 842 to Membership
MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The -
Scms Atlanta 2016 Conference Program Preliminary Draft
1 SCMS ATLANTA 2016 CONFERENCE PROGRAM PRELIMINARY DRAFT Please review the preliminary draft of the 2016 Atlanta Conference Program and send your minor corrections or changes (affiliation, order of presentations, formatting issues or spelling corrections) to [email protected] by Friday, January 15, 2016 at 5PM CT. To look up author names select the Find button on the tool bar and enter the author's name in the upper left corner of the search box and return. You can also use Ctrl + F to locate the author's name. NOTE: SCMS cannot accommodate requests for changes to the scheduled day or time of any panel or workshop. Corrections will not be made to the preliminary draft. Corrections will be included in the final printed program that will be available at the conference. Open call panel chair assignments are not final. Due to possible changes in room assignments, room numbers will only be included in the final program. REGISTRATION Conference presenters who have not become members and paid the conference registration fee by Friday, February 5, 2016 at 5PM CT will be deleted from the final printed program. To register: https://cmstudies.site-ym.com/?page=conf_registration CANCELLATION/REFUND POLICY All cancellation notifications and requests for conference registration refunds must be submitted online by Monday, February 29, 2016 at 5PM CT. No cancellations by phone or email. Conference registration refunds will be processed at 80% of the amount paid. http://www.cmstudies.org/?page=conf_cancellation (Use this link if you haven't paid the -
Case Study: Metro Screen
Sydney International Film School Sydney International Film School is an independent film school which aims to train exceptionally skilled and talented individuals for careers in the global film industry. The two year intensive training course teaches through a hands-on creative process that emulates worldwide industry practice. Students are encouraged to produce up to 8 films during their two year study, as well as collaborating with other students on their work. The school provides equipment, software and sophisticated production facilities. "ASED IN 2OSEBERY IN CENTRAL 3YDNEY THE )NTERNATIONAL &ILM 3CHOOL 3YDNEY IS A 2EGISTERED 4RAINING /RGANISATION PROVIDING training and assessment services in filmmaking, 86H:HIJ9N/B:IGDH8G::C Metro Screen has over 27 years’ experience in the screen industry, serving the professional and production development needs of screen practitioners in NSW across film, television, online and portable media. Metro Screen’s primary focus is on screen skills development and the production of quality screen works. Each year Metro Screen supports the production of over 140 screen works across all genres. In 2009 Metro Screen productions won both Tropfest and Trop Jr 1st prize awards, with many of the short film works going on to screen and win awards at numerous national and international festivals. Metro Screen, located in the Paddington Town Hall, attracts a wide range of people passionate about film, from school children who participate in short school holiday programs to seasoned professionals who need to learn advanced techniques on the latest software. Metro Screen’s program includes a regular series of professional development seminars on areas like pitching, marketing & distribution, speed networking, career advice and copyright & legal matters. -
4 March 2018 Festival Program 16 February
SYDNEY GAY AND LESBIAN MARDI GRAS SYDNEY GAY AND LESBIAN MARDI GRAS 201816 FE ANNUALBRUARY REPORT- 4 MARCH 2018 FESTIVAL PROGRAM SYDNEY GAY AND LESBIAN MARDI GRAS LTD | ABN 87 102 451 785 MARDI16 FEB GRASRUARY ARTS - 4 MARCH LTD | ABN 2 410 15818 800 018 FESTIVAL PROGRAM MARDI GRAS EVENTS The theme for 2018 was 40 YEARS OF EVOLUTION. Woven across the entire season of events were insights into how much our lives, communities, culture and society has changed over four decades of Mardi Gras. We celebrated defining moments, and were inspired anew by personal stories from all corners of our diverse commu- Four decades on from the original 1978 street Festival nities – and created many amazing new turned protest which changed the course of LGBTQI connections and memories. rights in Australia, Mardi Gras’ spectacular In 2018 we sparkled like never before, filling our city with fun and frivolity while remembering where it all started and 40th anniversary season was jam-packed with events honoring the long, winding, glittering road we’ve been on. and exhibitions which honoured our past and celebrated “Your story is our story, your evolution is our evolution. our creative LGBTQI culture in all its forms. Happy 40th, Happy Mardi Gras!” Photo: Jeffrey Feng Photo: Photo: Ann-MariePhoto: Calilhanna 40TH ANNIVERSARY MARDI GRAS CELEBRATION ON THE STEPS Jeffrey Feng Photo: OF THE SYDNEY OPERA HOUSE DIGITAL TIMELINE As the sun set on Friday 3 November, In 2018, Mardi Gras cherishes and The signature event for our Mardi Gras members and special guests were Photography, videography and graphic Mardi Gras members and special guests celebrates four decades of defining moments 40th anniversary celebrations, invited to toast the exhibition on its opening artworks were on display depicting iconic – many of them wearing a splash for LGBTQI Australians.