The Aural Point of View in the Early Films of Rolf De Heer
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Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll. -
To Download the BALANDA and the BARK CANOES
The Balanda and the Bark Canoes A documentary about making Ten Canoes May, 2005 Central Arnhem Land, Australia ‘We are making a movie. The story is their story, those that live on this land, in their language, and set a long time before the coming of the Balanda, as we white people are known. For the people of the Arafura Swamp, this film is an opportunity, maybe a last chance to hold on to the old ways. For all of us, the challenges are unexpected, the task beyond anything imagined. For me, it is the most difficult film I have made, in the most foreign land I've been to...and it is Australia.’ – Rolf de Heer Directors’ Q & A Q: What was the inspiration behind this documentary? And/or how did it come about? The documentary is a companion to the feature film Ten Canoes. Ten Canoes is an in-language indigenous tragi-comedy set in the historical (pre-white settlement) and mythical past of the Ganalbingu (Yolngu) people. It is a cautionary tale of love, lust and revenge gone wrong. Although financed, the film spent three years in the development phase. There were a number of reasons why but one of them included consolidating the early rapport and trust between Rolf, his team and the community. During this time, Rolf began visiting the communities regularly and would return with new sets of working challenges and with stories full of adventure. It became apparent that a compelling documentary could be made in its own right. Rolf approached SBS Independent, investors in the feature film Ten Canoes, about documenting the already crazy yet exhilarating journey. -
Rolf De Heer
Rolf de Heer Film handler om sproget, barnet og den fremmede for Rolf de Heer, hvis hovedværk er den kulsorte komedie Bad Boy Bubby, og få andre instruktører har fokuseret så vedholdende på sproget som den hollandsk fødte australske instruktør Sproget er fundamentalt for enhver kom gentage, hvad andre siger. Hans eksperi munikation mellem mennesker, men det menter med åndedrætssystemet er hidtil er ikke nok i Rolf de Heers (f. 1951) film, gået ud over Kat, Flo og Pop og har givet hvor sproget både er fundament og alt, så ham tilnavnet The Cling Wrap Killer, hvil når Rolf de Heers film kredser om spro ket bringer ham i fængsel og senere igen get, siger de ikke bare noget om forholdet ud til en virkelighed, der ikke har plads til mellem mennesker eller om sproget i sig personer som Bubby. I stedet tager han til selv. Opmærksomheden kastes naturligt bage til barndomshjemmet, hvor han slår tilbage på filmens eget sprog. Bubby ihjel og forvandler sig til Pop. Rolf de Heers optagethed af sproget Udrustet med en ny identitet og et større føres i to retninger. Mod på den ene side erfaringsgrundlag drager han påny ud for uskylden og det barnlige og på den anden at erobre verden og blive et rigtigt menne side outsiderens perspektiv. I begge ret ske. ninger handler det om at se på det vante I virkeligheden er den 30-årige Bubby et udefra med friske øjne. barn, der for første gang skal opleve ver den uden sin mor og måske mere fatalt Den barnlige uskyld. 1 hovedværket Bad uden et sprog. -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
TAJEMNICA ALEKSANDRY Pressbook
Tajemnica Aleksandry (Alexandra’s Project) RE ŻYSERIA ROLF DE HEER W KINACH OD 23 STYCZNIA 2004 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (+4822) 536 92 00, fax: (+4822) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl re żyseria Rolf de Heer scenariusz Rolf de Heer zdj ęcia Ian Jones muzyka Graham Tardif monta ż Tania Nehme dźwi ęk James Currie scenografia Ian Jobson Phil MacPherson kostiumy Beverley Freeman wyst ępuj ą Gary Sweet Steve Helen Buday Aleksandra Bogdan Koca Bill Samantha Knigge Emma Jack Christie Sam Eillen Darley Christine Geoff Revell Rodney producenci Julie Ryan Dominco Procacci Rolf de Heer film wyprodukowany przez Fandango Australia Palace Films Hendon Studios South Australian Film Corporation Vertigo Productions Pty. Ltd. Australian Film Commission nagrody Montréal World Film Festival 2003 – Golden Zenith za najlepszy film z Oceanii Australia rok produkcji: 2003 czas trwania: 103 minuty kolor – Dolby Digital – 1:1,85 Tajemnica Aleksandry to thriller psychologiczo-erotyczny, opowiadaj ący w przewrotny sposób o instytucji mał żeństwa i odwiecznej wojnie płci. Dzi ęki klaustrofobicznym uj ęciom, niepokoj ącej ście żce d źwi ękowej oraz realistycznej grze aktorów, de Heerowi udało si ę uzyska ć nastrój znany z ostatnich filmów Davida Lyncha. Światowa premiera Tajemnicy Aleksandry miała miejsce w konkursie festiwalu filmowego w Berlinie w 2003. Film radykalnie podzielił publiczno ść i sprowokował burzliw ą dyskusj ę na temat współczesnego mał żeństwa, a tak że relacji mi ędzy męż czyzn ą i kobiet ą. Urodziny Steve’a (Gary Sweet), przeci ętnego czterdziestolatka zajmuj ącego kierownicze stanowisko w wielkiej korporacji, zapowiadaj ą si ę wyj ątkowo. -
Miles Davis, Tutu
Gilbert DUPUIS Guitariste, titulaire du D.E.de jazz, professeur certifié d’éducation musicale Miles Davis, Tutu Inscrire Miles Davis au programme du baccalauréat est une façon officielle de rendre enfin hommage à une figure légendaire du jazz, peut-être la plus haute, et, de surcroît, à l’une des plus grandes stars de la musique afro-américaine. Avec cet album, il s’impose également d’évoquer les nouvelles technologies et la musique programmée, singularité dans l’œuvre du trompettiste. Cet article propose une vaste étude de la musique de Miles Davis et de ses contemporains. Les principaux courants sont présentés depuis le be-bop jusqu’au doo-bop, via la période électrique. Suit un avant-propos de l’ensemble de l’album Tutu, avant de se concentrer dans le détail à l’analyse musicale des trois morceaux imposés (Tutu, Tomaas, Portia). Préambule peintre (au sens propre comme au sens figuré), « coloriste », « architecte » des sons, « sculpteur », e « L’histoire du jazz au 20 siècle est aussi variée, « conteur », « poète » de la trompette, « Miles » s’est complexe, voire profuse, que la musique dite essayé, on ne peut dire à tous les courants, mais à sérieuse ; des liens qui les unissent existent pourtant, la plupart des styles ouvrant à la modernité qu’il souvent plus resserrés, intenses et intimes qu’on a très fréquemment impulsés. C’est en ce sens, 1 pourrait le suspecter . » probablement, le musicien le plus évolutif, celui Cette phrase semble vraie. Mais, comme d’autres qui ne regarde pas derrière lui et ne s’arrête pas en sur ce sujet, elle n’est pas ou plus tout à fait chemin, sauf pour laisser place au silence, oubliant juste. -
Sound in the Films of Rolf De Heer
AURAL AUTEUR: SOUND IN THE FILMS OF ROLF DE HEER. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Published Papers in the Creative Industries Faculty at the Queensland University of Technology (QUT), Brisbane, Australia. Supervisors: Ms. Helen Yeates Lecturer, Film and TV, Creative Industries Faculty, QUT. Dr. Vivienne Muller Lecturer, Creative Writing and Literary Studies, Creative Industries Faculty, QUT. Associate Professor Geoff Portmann Discipline Leader, Film and TV, Creative Industries Faculty, QUT. Written and submitted by David Bruno Starrs BSc (ANU), PGDipHlthSc (Curtin), BTh (Hons) (JCU), MFTV (Bond), MCA (Melb). Self-archived publications available at: http://eprints.qut.edu.au/view/person/Starrs,_D._Bruno.html January 2009. Aural Auteur: Sound in the Films of Rolf de Heer. 2 Aural Auteur: Sound in the Films of Rolf de Heer. ABSTRACT. Aural Auteur: Sound in the Films of Rolf de Heer. An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
UNDERSTANDING MILES DAVIS in 9 PARTS by Greg Cwik and David Marchese ______
UNDERSTANDING MILES DAVIS IN 9 PARTS by Greg Cwik and David Marchese ________________________________________________________ [*This article appeared in the September 21, 2015 issue of New York Magazine.] PHOTO CREDIT DAVID REDFERN/REDFERNS/GETTY IMAGES hen Miles Ahead, directed by and starring Don Cheadle, premieres at the New York Film Festival in October, 2015, it’ll mark the first time that the W jazz genius Miles Davis has been the subject of a non-documentary film. It wasn’t a lack of interest that has kept Davis from movie theaters till now. Nor was it lack of material: Davis, who died in 1991, lived a dynamic and controversial life, both personally and musically. (Multiple biopics wound up in development hell.) Cheadle’s film focuses on a period when the trumpeter was living in seclusion, so here’s a broader overview of one of American music’s true giants. 1. What to Know About His Sound ____________________________________________ Grammy-nominated trumpeter and jazz educator Jon Faddis explains: “The thing that is special about his sound is economy when he was improvising. Before Miles, most people thought of the trumpet as a very extroverted instrument. Miles was more introverted in his approach. He used a Harmon mute — it wasn’t really popular before he started to use it — and it’s a very beautiful sound. I also 1 Jon Faddis: one of the things that set Miles apart was his use of space, making the space a part of the music… think his minimal use of vibrato was a tremendous influence on instrumentalists. Recordings like Round Midnight, Someday My Prince Will Come, I Thought About You were ingenious. -
Wadu Matyidi
WADU MATYIDI Press Kit Enquiries: Marjo Stroud Mob: 0432 504 037 [email protected] Sonja Vivienne Mob: 0418 660 908 [email protected] 0 Contents Audience Blurbs and Synopsis 2 Behind the Scenes (documentaries) 3 Location 5 Production Overview 6 Adnyamathanha Ngawarla Glossary 8 Production Team 9 Visual References 12 1 General Audience Blurb – Wadu Matyidi (War-do Mudgee-dee) breaks new ground in Indigenous animation. This eight minute dramatization brings the past to life through the imagination of a talented Adnyamathanha language revival class. It is accompanied by back-story documentaries featuring students of the class and their community. Child Audience Blurb – Imagine it! Non-stop fun and games with cheeky little brother in a totally awesome, adult-free, adventure playground. Throw in some supernatural creature possibilities, well-timed burps and farts and some seriously bad weather and anything could happen! Synopsis Wadu Matyidi – A Time Long Gone In this short animated film we’re taken back to pre-contact times (early 1800s) when Adnyamathanha children of the Flinders Ranges were inspired, schooled and entertained by their interactions with ‘country’. The characters in the story are three adventurous Adnyamathanha kids who set out for a day of exploration near their camp. The children play traditional games and spook one another with tales of the ancient creatures of their country. They see unusual tracks that set their hearts and imaginations racing. Then, unexpectedly they make a discovery that changes their lives forever. Unlike many animations with an Aboriginal theme, Wadu Matyidi diverges from Dreaming story traditions. Almost like an ancestral memory, this story set two hundred years in the past has arisen from the imaginations of students attending an Adnyamathanha Ngawarla (language) class from 2008 to 2010. -
Miles Davis (1926-1991)
Roots of American Music Biography: Miles Davis (1926-1991) Miles Davis is the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century. He was the first jazz musician of the post-hippie era to incorporate rock rhythms, and his immeasurable influence on others, in both jazz and rock, encouraged a wealth of subsequent experiments. From the bebop licks he initially played with saxophonist Charlie Parker to the wah-wah screeds he concocted to keep up with Jimi Hendrix, Davis was as restless as a performer could get. Davis was raised in an upper-middle-class home in an integrated East St. Louis neighborhood. His father was a dentist; his mother, a music teacher. In 1941 he began playing the trumpet semiprofessionally with St. Louis jazz bands. The skills were there. Four years later, his father sent him to study at New York's Juilliard School of Music. Immediately upon arriving in New York City, Davis sought out alto saxophonist Parker, whom he had met the year before in St. Louis. He became Parker's roommate and protégé, playing in his quintet on the 1945 Savoy sessions, the definitive recordings of the bebop movement. He dropped out of Juilliard and played with Benny Carter, Billy Eckstine, Charles Mingus, and Oscar Pettiford. As a trumpeter Davis was far from virtuosic, but he made up for his technical limitations by emphasizing his strengths: his ear for ensemble sound, unique phrasing, and a distinctively fragile tone. He started moving away from speedy bop and toward something more introspective. -
Department of Foreign Affairs and Trade) (PDF 253KB
Submission No 38 Inquiry into Australia’s relationship with India as an emerging world power Organisation: Department of Foreign Affairs and Trade AusArts Contact Person: Address: Joint Standing Committee on Foreign Affairs, Defence and Trade S * MisArts India AusArts India is a two year cultural program focused on consolidating Australia’s presence at major festivals of music, film, literature and visual arts. Presented by the Australian Government, through the Department of Foreign Affairs and Trade’s Australia International Cultural Council, the program offers a snapshot of contemporary Australia and presents the opportunity to celebrate the wid&-ranging and vibrant relationship between Australia and India. Key partners include the AustraliaIndia Council (Ale), the Australia Council and the Australian Film Commission (AFC). AusArts India is designed raise appreciation throughout India of Australia’s cultural sophistication and diversity, consolidate institution-to-institution links with a view to longer-term co-operation and exchange, to project Australia as an economically successful and innovative trading nation and provide a platform to engage government and decision makers to promote Australia’s foreign and trade policy. The first stage of the program, held from November 2005 to February 2006, focused solely on film and literature. The second phase from November 2006 to March 2007 has a strong focus on performing and visual arts and will see Australia as focus country at several leading Indian festivals, as well as a return to identified film and literature festivals including the Kolkata Book Fair where Australia is Focus country. Film The second stage of the program will commence in November 2006 with an Australian showcase at three film festivals: the Kolkata Film Festival (1O~ 17 November); the International Film Festival of India (IFFI) (23 November -~ 3 December) and the Chennai International Film Festival (17-25 December).