Sunday Monday Tuesday Wednesday Thursday Friday Saturday

Total Page:16

File Type:pdf, Size:1020Kb

Sunday Monday Tuesday Wednesday Thursday Friday Saturday sunday monday tuesday wednesday thursday friday saturday KIDS MATINEE SUN 1PM OCT 15 & 16 KIDS MATINEE SAT 1PM HOW TO TRAIN YOUR DRAGON OCT 12, 13, 14 • ANTIMATTER FESTIVAL • www.antimatter.ws (3:00 matinee & 7:00 & 9:45) RAMONA & BEEZUS OCT 10 (3:00 matinee & 7:00 & 9:20) • OCT 11 (7:00 only) TUES, OCT 12 WED, OCT 13 THURS, OCT 14 INCEPTION back by popular demand! Director: Christopher Nolan (USA, 2010, 148 minutes; PG) Starring Leonardo DiCaprio, 7pm ATOMIC SUBLIME 7pm MARWENCOL 7pm BEATS OF FREEDOM Joseph Gordon-Levitt, Ellen Page, TomHardy, MAO’S LAST DANCER Jesse Lerner, USA, 72min Jeff Malmberg, USA, 83min Wojciech Slota, Leszek Gnoinski, Poland, 78min Director: Bruce Beresford Ken Watanabe, Dileep Rao, Cillian Murphy, Marion Cotillard, Michael Caine, Lukas Haas (Australia, 2009, 119 min; English & Mandarin Using found footage, After a brutal assault An entrancing docu- with subtitles; rated G) Cast: Chi Chao, Bruce AS repositions the leaves him brain dam- mentary about rock “WHEN WAS THE LAST TIME YOU HAD Greenwood, Joan Chen, Kyle MacLachlan. New York School of aged and broke, Mark music and indepen- YOUR MIND BLOWN BY A MOVIE?” abstract expression- Hogancamp seeks dence behind the Iron –New York Daily News Bruce Beresford delivers one of his best films in the ist painters within the recovery in Marwencol Curtain. The film jour- story of Chinese ballet star Li Cunxin. Like Nureyev context of The Cold - a miniature World neys through three Dreaming is life’s great solitary adventure. We and Baryshnikov, Li Cunxin was a ballet dancer too War, examining some War II-era town that decades of Polish rock experience them alone or not at all. But what if talented to be hidden from the eyes of the West, and ideological contra- he builds in his back- and revolution through other people could literally invade our dreams, too canny not to defect at the earliest opportunity. dictions and deploy- yard. “P P P P P - one of interviews with legends what if a technology existed that enabled inter- He made his grand jeté to freedom in 1981 while a ments. the best movies you’ll of the underground lopers to create and manipulate sleeping life guest artist at the Houston Ballet. Later, he moved to see this year.” - Now music scene and never- with the goal of stealing our secret thoughts, Australia with his wife and joined the Australian Ballet. Magazine before-seen footage of Poland under communism. or more unsettling still, implanting ideas in the His memoirs were a surprise international bestseller. deepest of subconscious states and making Spotted at Madame Mao’s Beijing Dance Academy us believe they’re our own? Welcome to the by Houston Ballet director (Bruce Greenwood), Li 9pm CITY BREATH 9pm WE DON’T CARE 9pm HORI SMOKU curated by Kai Lossgott, 70min world of Inception, written and directed by the (played by Birmingham Royal Ballet principal Chi masterful Christopher Nolan, a tremendously Chao) is seconded to America, where he quickly Through their common theme, these short video ABOUT MUSIC ANYWAY... SAILOR JERRY Cédric Dupire & Gaspard Kuentz, France/Japan, 80min Erich Weiss, USA, 73min exciting science-fiction thriller that’s as dis- realises that the West is not the den of decadence ‘gasps’ or ‘breaths’ of South African cities give voice turbing as it sounds. This is a popular enter- the party’s propagandists would make out. After fall- to the private dreams and nightmares of local poets, “Gloriously loud and abrasive but not without its The roots of American tattooing through the life of tainment with a knockout punch so intense ing for an American dancer (Amanda Shull), Li starts dancers, performance thoughtful side, this film invites you to take an its most iconoclastic figure, Norman “Sailor Jerry” and unnerving it’ll have you worrying if it’s safe hatching plans to stay with the help of immigration artists and filmmak- ears-first plunge into Collins. Considered by to close your eyes at night. Having come up lawyer (Kyle MacLachlan), but faces the agonising ers. They interrogate, Japan’s experimen- many the foremost tat- with the idea when he was 16, Nolan wrote the possibility of never seeing his family back in China with or against rational tal music scene... a too artist of all time, first draft of Inception eight years ago and in again. The production enjoyed a surprising amount logic, the way South bracing showcase for Collins is the father of the interim his great success with The Dark of access to Chinese locations and these scenes are Africans understand the aberrant activi- modern day tattooing, Knight, not to mention the earlier Memento, exquisite to look at. Mao’s Last Dancer’s two hours their cities and urban ties of artists like whose uncompromising put him in a position to cast Leonardo DiCaprio go by in a flash, and the ballet sequences are an life. Otomo Yoshihide and lifestyle and larger than and six other Oscar-nominated actors and added visual treat in a film with an embarrassment of Sakamoto Hiromichi.” life persona made him spend a reported $160 million in a most daring riches. Bruce Beresford has delivered one of his best - Eyeweekly an American legend. way. –Los Angeles Times movies. –Time Out Australia KIDS MATINEE SUN 1PM OCT 19 (7:00 & 9:10) KIDS MATINEE SAT 1PM RAMONA & BEEZUS DESPICABLE ME Alfred Hitchcock’s REAR WINDOW OCT 22 & 23 Director: Alfred Hitchcock (USA, 1954, 112 minutes; (3:00 matinee & 7:15 & 9:15) DVD, G) Cast: James Stewart, Grace Kelly, Thelma Ritter SALT Director: Philip Noyce (USA, 2010, 100 min- Now this is a movie. The experience is like ... well, like utes; PG) Cast: Angelina Jolie, Liev Schreiber, spying on your neighbors. Hitchcock traps us right Chiwetel Ejiofor from the first. Jimmy Stewart is a photographer who “A THRILL RIDE!” –Salon.com is stuck at home in a wheelchair, with his leg up in a cast. He starts spying on his neighbors. He begins to “A SENSELESS BLAST!” –New York Magazine notice odd behavior on the part of the couple across the way. They fight. The woman is not seen again. A spy thriller more than worth its salt. Angelina What happened to her? Was she murdered? How will Jolie, for all intents and purposes, is James the man dispose of the body? Seeing this movie with Bond in Salt, and it’s really no surprise that OCT 17 (3:00 matinee & 7:00) • OCT 18 (7:00 only) an audience adds a whole additional dimension to it. the only female action star in Hollywood more We are all asked to join Stewart in his voyeurism, and than measures up to Daniel Craig. Donning GET LOW A true tall tale we cheerfully agree. –Roger Ebert OCT 20 & 21 (7:10 & 9:00) several guises while on the run she even -- Director: Aaron Schneider (USA, 2010, 104 min; PG) Cast: Robert Duvall, Bill Murray, Sissy Spacek, Bill with the help of considerable facial latex, mind Cobbs, Lucas Black A WOMAN, A GUN, AND A NOODLE SHOP you -- turns up as a guy in one scene. It makes “A CAPTIVATING STORY! ROBERT DUVALL BLOWS YOU AWAY!” –Elle Director: Zhang Yimou (China, 2009, 91 min; Mandarin with subtitles; PG) an amusing gag, a kind of acknowledgment “HILARIOUS!” –Time Out Hong Kong that kick-ass action heroes now come in both Robert Duvall is an indisputably great actor. As Felix Bush, a Depression-era hermit out of the Tennessee genders. In Jolie’s case, it’s more convincing backwoods, Duvall finds the soul of a character who has shrouded himself in mystery for four decades. Get Zhang Yimou’s remake of the Coen brothers’ Blood Simple is exhilarating and inventive. The setting is as than ever. Salt is a better Bond movie than Low, from first-time feature director Aaron Schnei der, holds its cards close to the vest. The plot goes from far removed from conventional film noir territory as can be imagined. The drama plays out in the deserts of most recent Bond movies, as its makers keep simmer to sizzle when Felix decides to throw a funeral party – his own. Better yet, he wants to be present northern China. It is also set in a time when guns are new and swords and spears are still the weapons of the stunts real and severely limit CGI gimmick- at the service, which sounds more like a public stoning. Local funeral director Frank Quinn (Bill Murray) is choice. The film is gorgeous to look at, shot (in the initial scenes) in eye-popping colour. As in the best film ry. This is a slick, light entertainment. It’s fun eager to help Felix get low. With the help of his young assistant (Lucas Black), Frank rustles up speakers noirs, the plotting is embroiled. Wang (Ni Dahong) is a noodle shop owner who treats his wife (Yan Ni) with to watch Jolie’s Salt escaping from a virtual at Felix’s funeral by selling raffle tickets with Felix’s property as the prize. Lots of folks show up, including contempt. The wife buys a gun from a merchant passing through town and demands that her lover uses it lockdown, dodging cars and bullets, making widow Mattie (Sissy Spacek), a former love of Felix’s, and the Rev. Charlie Jackson (the superb Bill Cobbs), to kill her husband. In the meantime, the husband has recruited a patrol officer (Sun Hunglei) to kill the wife her way to New York and through subway tun- who knows things about Felix nobody else does.
Recommended publications
  • ANNUAL REPORT 2014-2015 School of Sciences and Mathematics Annual Report 2014‐2015
    ANNUAL REPORT 2014-2015 School of Sciences and Mathematics Annual Report 2014‐2015 Executive Summary The 2014 – 2015 academic year was a very successful one for the School of Sciences and Mathematics (SSM). Our faculty continued their stellar record of publication and securing extramural funding, and we were able to significantly advance several capital projects. In addition, the number of majors in SSM remained very high and we continued to provide research experiences for a significant number of our students. We welcomed four new faculty members to our ranks. These individuals and their colleagues published 187 papers in peer‐reviewed scientific journals, many with undergraduate co‐authors. Faculty also secured $6.4M in new extramural grant awards to go with the $24.8M of continuing awards. During the 2013‐14 AY, ground was broken for two 3,000 sq. ft. field stations at Dixie Plantation, with construction slated for completion in Fall 2014. These stations were ultimately competed in June 2015, and will begin to serve students for the Fall 2015 semester. The 2014‐2015 academic year, marked the first year of residence of Computer Science faculty, as well as some Biology and Physics faculty, in Harbor Walk. In addition, nine Biology faculty had offices and/or research space at SCRA, and some biology instruction occurred at MUSC. In general, the displacement of a large number of students to Harbor Walk went very smoothly. Temporary astronomy viewing space was secured on the roof of one of the College’s garages. The SSM dean’s office expended tremendous effort this year to secure a contract for completion of the Rita Hollings Science Center renovation, with no success to date.
    [Show full text]
  • 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.
    [Show full text]
  • Issue MAY 31-JUNE / VOL
    1 LA WEEKLY | - J , | WWW. LAWEEKLY.COM ® The issue MAY 31-JUNE / VOL. 6, 2019 41 / 28 / NO. MAY LAWEEKLY.COM 2 WEEKLY WEEKLY LA | - J , | - J | .COM LAWEEKLY . WWW Welcome to the New Normal Experience life in the New Normal today. Present this page at any MedMen store to redeem this special offer. 10% off your purchase CA CA License A10-17-0000068-TEMP For one-time use only, redeemable until 06/30/19. Limit 1 per customer. Cannot be combined with any other offers. 3 LA WEEKLY | - J , | WWW. LAWEEKLY.COM SMpride.com empowerment, inclusivity and acceptance. inclusivity empowerment, celebrate the LGBTQ+ community, individuality, individuality, community, the LGBTQ+ celebrate A month-long series of events in Santa Monica to to Monica in Santa of events series A month-long June 1 - 30 4 L May 31 - June 6, 2019 // Vol. 41 // No. 28 // laweekly.com WEEKLY WEEKLY LA Contents | - J , | - J | .COM LAWEEKLY . WWW 13 GO LA...7 this week, including titanic blockbuster A survey and fashion show for out and Godzilla: King of Monsters. influential designer Rudi Gernreich, the avant-garde Ojai Music Festival, the MUSIC...25 FEMMEBIT Festival, and more to do and see Gay Pop artist Troye Sivan curates and in L.A. this week. performs at queer-friendly Go West Fest. BY BRETT CALLWOOD. FEATURE...13 Profiles of local LGBTQ figures from all walks of life leveraging their platforms to improve SoCal. BY MICHAEL COOPER. ADVERTISING EAT & DRINK...19 CLASSIFIED...30 Former boybander Lance Bass brings pride EDUCATION/EMPLOYMENT...31 BY MICHELE STUEVEN. to Rocco’s WeHo.
    [Show full text]
  • Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY
    Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans
    [Show full text]
  • Jason Collett Idols of Exile Mp3, Flac, Wma
    Jason Collett Idols Of Exile mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Idols Of Exile Country: USA & Canada Released: 2006 Style: Folk Rock, Acoustic, Indie Rock MP3 version RAR size: 1658 mb FLAC version RAR size: 1248 mb WMA version RAR size: 1721 mb Rating: 4.5 Votes: 849 Other Formats: VQF DXD DMF VOX VOC WMA TTA Tracklist Hide Credits Fire Acoustic Guitar, Vocals – Jason*Backing Vocals – Amy Millan, Kevin DrewBass – Tony 1 ScherrDrums, Shaker, Tambourine, Triangle – Howie*Piano – Brendan CanningSynth – Liam O'NeilTom Tom [Toms] – Justin PeroffTrombone – Evan CranleyVibraphone – Jason Taite* Hangover Days Acoustic Guitar, Electric Guitar, Tres – Andrew WhitemanBacking Vocals – Leslie FeistClavinet – 2 Chris Brown Drums, Bass, Tambourine, Shaker, Guiro – Howie*Electric Guitar – Afie JurvanenPiano – Paul Taylor Vocals – Emily Haines, Jason* Brownie Hawkeye Acoustic Guitar, Vocals – Jason*Drums, Bass, Mandolin, Tambourine – Howie*Handclaps – 3 Andrew Cash, Gabrielle Hrynkiw, Kersti Mcleod, Kevin Drew, Patrick Gilmour, Ravenna BarkerPiano – Paul Taylor Synth – Liam O'NeilTrombone – Evan CranleyTrumpet – James ShawVibraphone, Glockenspiel – Jason Taite* We All Lose One Another Acoustic Guitar, Vocals – Jason*Backing Vocals – Andrew*, Gabrielle*, Kersti*, Kevin*, Patrick*, 4 Ravenna*Banjo – Charles SpearinBass – Julian BrownDrums, Tambourine, Harmonica – Howie*Electric Guitar – Kevin DrewOrgan – Chris Brown Piano – Paul Taylor Violin – Julie Penner Parry Sound Acoustic Guitar, Vocals – Jason*Backing
    [Show full text]
  • David Stratton's Stories of Australian Cinema
    David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
    [Show full text]
  • 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.
    [Show full text]
  • Film Reference Guide
    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
    [Show full text]
  • 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.
    [Show full text]
  • We See and All We Seem…” – Australian Cinema and National Landscape
    “All we see and all we seem…” – Australian Cinema and National Landscape Nick Prescott Note: The paper as envisioned in this abstract may prove too large in scope to fit within the parameters of the symposium. If this is the case, I propose not to explore those films I have called “transitional” in detail, but to allude to them as significant texts that can be explored elsewhere. The central argument I am making in this paper is that Australian filmmakers’ uses of “landscape” have changed significantly since the mid-1970s, and that this change can be meaningfully described by looking at what characterised 1970s Australian films’ depictions of landscape and contrasting that with current stylistic trends. In this paper I will argue that Australian feature filmmakers’ uses and depictions of “the Australian landscape” in their cinema have undergone a striking and important transformation since the 1970s, and that this transformation, while reflecting a developing and modulating sense of Australian cultural identity, has also been crucially linked with changes and developments in the Australian film industry itself, changes which relate to Government investment initiatives, increasingly complex production and co-production strategies, and, more recently, off-shore production by major Hollywood studios. During the 1970s, following the confluence of numerous different factors, there was an extraordinary revival of Australian film. The graduation of the first group of students from the newly-created Australian Film, Television and Radio School (AFTRS), was one factor; students like Gillian Armstrong and Philip Noyce left their studies and began to work in the industry, and settled alongside filmmakers like Fred Schepisi, Bruce Beresford and Peter Weir, who had entered the industry in other ways.
    [Show full text]
  • Dossier Imatges Dels Antípodes-Bruce Beresford.Pdf
    Dossier de premsa ‘Imatges dels antípodes’ Cicle ‘Imatges dels antípodes’ Juliol 2019 1 Dossier de premsa ‘Imatges dels antípodes’ La Filmoteca viatja amb el Grec a Austràlia i Nova Zelanda amb el cicle ‘Imatges dels antípodes’ Una selecció de visions de les terres més llunyanes a nosaltres que ens han ofert directors com Baz Luhrmann, Jane Campion, Peter Weir, George Miller, en la segona col·laboració entre la Filmoteca i el Festival de Barcelona. Bruce Beresford, director entre d’altres de l’oscaritzada ‘Tot passejant miss Daisy’, ens acompanyarà per obrir el cicle i presentar el seu darrer film, ‘Ladies in Black’ (2018), inèdit aquí. La Filmoteca continua la col·laboració que va engegar el 2018 amb el Grec Festival de Barcelona, i aquest juliol l’acompanya en el seu viatge a Austràlia i Nova Zelanda. El cicle Imatges dels antípodes aplega films de directors que ens han acostat històries i realitats d’una terra tan llunyana i que també han tingut una brillant carrera internacional, com Baz Luhrmann, Jane Campion, Peter Weir, George Miller o Bruce Beresford. Aquest darrer, autor entre d’altres de l’oscaritzada Tot passejant Miss Daisy, ens visitarà per presentar algunes de les seves pel·lícules, com la inèdita entre nosaltres Ladies in Black (Senyoretes de negre, 2018), protagonitzada per Julia Ormond, Breaker Morant (1979), The Fringe Dwellers (1985) i Mao’s Last Dancer (2009). El cicle també inclou l’acció apocalíptica en l’àrid paisatge del desert australià de Mad Max: Fury Road (George Miller, 2015), l’epopeia romàntica de l’Australia (2008) de Baz Luhrmann, la fidel i emotiva reconstrucció de la mítica batalla de la Primera Guerra Mundial de Peter Weir a Gallipoli (1981), la fantasia quotidiana a ritme d’Abba de Muriel’s Wedding (P.J.
    [Show full text]
  • Score: a Hockey Musical
    Mongrel Media Presents Score: A Hockey Musical A Film by Michael McGowan (92min., Canada, 2010) Preliminary press notes – as of July 14, 2010 Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html 1 OVERVIEW Music icon Olivia Newton-John (whose career has spanned over four decades, from Grease in 1978 to TV’s Glee in 2010) stars in Michael McGowan’s Score: A Hockey Musical, a film that combines musical numbers with Canada’s national sport. The film – which tells the story of a teenage hockey phenom who goes from obscurity to overnight fame – also stars a slew of Canadian talent. Among those are singer/songwriter Marc Jordan (whose composing credits include Rod Stewart’s “Rhythm of My Heart” and Cher’s “Taxi Taxi”), newcomers Noah Reid and Allie MacDonald, along with cameos by music artists Nelly Furtado, Dave Bidini, Hawksley Workman and John McDermott, journalists George Stroumboulopoulos and Evan Solomon, sports anchor Steve Kouleas, hockey dad Walter Gretzky and hockey star Theo Fleury. Unlike other musicals, the story doesn’t stop just for the sake of a song. Instead, the lyrics (written by McGowan) drive the plot. There are 20 original songs, among them one called “Darryl vs. the Kid” by Barenaked Ladies, as well as “Hugs” by Olivia Newton-John, Amy Sky and Marc Jordan, and five songs on which Hawksley Workman contributed.
    [Show full text]