Annual Report 2001-2002

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2001-2002 2001 – 2002 Annual Report INVESTING IN CONTENT / FOR WORLD SCREENS CONTENTS Vision Letter From the Chairman ....................................................................... Pg 4 ScreenWest Board.................................................................................... Pg 6 Report on Activity and Operations To lead the screen industry to a level of creative and commercial Funding Program...................................................................................... Pg 9 success which is a source of pride and opportunity for all Awards....................................................................................................... Pg 9 Western Australians Visitors to the State................................................................................ Pg 10 Business Development.......................................................................... Pg 10 Details of Productions with ScreenWest Funding Support ................Pg 11 Funding Approvals................................................................................. Pg 15 Matching Funding 2001 – 2002.............................................................. Pg 22 Core Purpose Screen Industry Partnership – GrandaWest Funding......................... Pg 23 ScreenWest Staff.................................................................................... Pg 24 Panel Meetings and Members............................................................... Pg 25 To provide strategic support, funding and services to expand the Reports and Accountability Issues ...................................................... Pg 29 screen industry in Western Australia. Performance Indicators and Measures Opinion of the Auditor General on Performance Indicators.............. Pg 32 Certification of Performance Indicators .............................................. Pg 33 Performance Indicators......................................................................... Pg 34 Financial Statements Opinion of the Auditor General............................................................. Pg 36 Certification of Financial Statements................................................... Pg 37 Statement of Financial Performance.................................................... Pg 38 Statement of Financial Position............................................................ Pg 39 Statement of Cash Flows....................................................................... Pg 40 Notes to the Financial Statements........................................................ Pg 41 CONTENTS Letter From the Chairman ....................................................................... Pg 4 ScreenWest Board.................................................................................... Pg 6 Report on Activity and Operations Funding Program...................................................................................... Pg 9 Awards....................................................................................................... Pg 9 Visitors to the State................................................................................ Pg 10 Business Development.......................................................................... Pg 10 Details of Productions with ScreenWest Funding Support ................Pg 11 Funding Approvals................................................................................. Pg 15 Matching Funding 2001 – 2002.............................................................. Pg 22 Screen Industry Partnership – GrandaWest Funding......................... Pg 23 ScreenWest Staff.................................................................................... Pg 24 Panel Meetings and Members............................................................... Pg 25 Reports and Accountability Issues ...................................................... Pg 29 Performance Indicators and Measures Opinion of the Auditor General on Performance Indicators.............. Pg 32 Certification of Performance Indicators .............................................. Pg 33 Performance Indicators......................................................................... Pg 34 Financial Statements Opinion of the Auditor General............................................................. Pg 36 Certification of Financial Statements................................................... Pg 37 Statement of Financial Performance.................................................... Pg 38 Statement of Financial Position............................................................ Pg 39 Statement of Cash Flows....................................................................... Pg 40 Notes to the Financial Statements........................................................ Pg 41 SCREENWEST INC Contact Details: LEVEL 7 / LAW CHAMBERS / 573 HAY STREET / PERTH / WESTERN AUSTRALIA / 6000 PO BOX 8349 / PERTH BUSINESS CENTRE / WESTERN AUSTRALIA / 6849 / tel [61 8] 9224 7340 fax [61 8] 9224 7341 / ABN 52 769 263 442 / www.screenwest.com.au [email protected] Letter From the Chairman Letter From the Chairman LETTER FROM THE CHAIRMAN The 2001 – 2002 financial year was a year in which ScreenWest focussed upon strengthening the financial and infrastructure support for the Western Australian screen industry. Industry feedback to the Independent Review of the Operations of ScreenWest by Long and Associates, which was delivered in June, 2001, clearly endorsed the fundamental recommendation of the Report that: “Implementing the Taskforce Report recommendations will be of major benefit to the screen industry in Western Australia and must be ScreenWest’s first organisational priority”. ScreenWest continued to lobby for additional Government funding towards the first recommendation of the Screen Industry Taskforce Report Content is the Key, for the creation of a new screen industry incentive package of $18.85 million over five years. While this funding was not secured, support was given for the reconfiguration of theScreen Industry Partnership Fund with new market partners, which will result in additional production activity in the 2002 – 2003 financial year and beyond. A major infrastructure advance resulted from negotiations between ScreenWest, the Department of Industry and Technology and the ABC, when the ABC announced in April 2002 that it would fully-fund the construction of a state-of-the-art $7.5 million, 600 square metre production studio as part of its relocation to new digital broadcast facilities in East Perth. This is a major achievement for Western Australia, as the new studio is likely to be a strong magnet for increased drama production in the State and will be completed in 2004. Support from the Lotteries Commission of Western Australia was again critical to the success of the screen industry, with funding being increased to base funding of $2.6 million (from $2.3 million), plus special initiative funding of $400,000 towards the costs of exciting new production initiatives with the SBS Independent and the ABC. Western Australian documentary makers are recognised internationally as the creators of excellent series and one episode documentaries. This year productions included The Accused, Aussie Animal Rescue, Dinosaur Dealers, Return to Eden, Child Soldiers, Shipwreck Detectives, Disturbing Dust, Little Yugal, Madam Mary, Soccer Dreams, Fearless and Me and You. Major drama highlights for this year included the production of two feature films,Let’s Get Skase and Teesh and Trude, the family telemovie Southern Cross and the children’s series Ocean Star, set in Broome. It was also exciting to see sequels commissioned by SBS Independent for two series: the animated co-production drama series Quads II and the popular Mary G Show. ScreenWest: Annual Report 2001 – 2002 4 ScreenWest: Annual Report 2001 – 2002 5 Letter From the Chairman Letter From the Chairman In addition, a new joint initiative was established between the ABC, ScreenWest and the Film & Television Institute for the Year of the Outback entitled Outback Upfront to showcase short films by fourteen emerging filmmakers. Each program has a single theme of relevance to Outback Australia and will seek to define the nature of the outback and the Australians who live in it. The series will be screened in late 2002. As a result of the new production industry funding from the Lotteries Commission, 5 x 5 minute documentaries were produced for SBS Independent and international partners entitled Making It and development funding for a number of 50 minute drama scripts for the Family Matters Initiative was provided, one of which will enter production in 2002 – 2003 financial year. The significant social and economic benefits of the film & television industry in Western Australia remain largely unrecognised by the community. The film & television industry has a significant impact on tourism, showcasing our locations and lifestyle internationally. It attracts substantial export revenue, with each dollar invested by ScreenWest in production securing a further 4–10 times its funding and this expenditure then results in indirect expenditure of a further 3 times this amount in Western Australia. It is an industry which delivers high employment opportunities and an essential part of the new economy. Regrettably, the Western Australian screen industry is currently underfunded and can not compete with the funding provided in other States. In order to assist the industry to expand and to prevent the on-going talent drain
Recommended publications
  • MICHAEL YEZERSKI Composer FILM CREDITS
    MICHAEL YEZERSKI Composer Michael Yezerski’s musical works are highly evocative, original and diverse. From the symphonic grittiness of THE TAX COLLECTOR to the quiet drama of BLINDSPOTTING; from the avant- garde horror drones of THE DEVIL’S CANDY to the heartfelt FEEL THE BEAT and THE BLACK BALLOON; Michael brings a signature musical intensity to every project he takes on. Hailing originally from Australia, and with a background in both contemporary concert music and electronic music production, Michael blends styles and influences in a way that pushes the boundaries of what dramatic film music can be. Rich in technique and sitting comfortably at the border with avant-garde music design, Michael’s work is nevertheless fundamentally human and melodic at its core. Born in Sydney, Michael is a multiple award-winning composer who creates music that is shaped from the perspective of an outsider – constantly fluid, ever changing, unbound by system – curious and always evolving. Recent projects include the hit international series MR INBETWEEN, Keith Thomas’ wondrously terrifying THE VIGIL and the Stephen Dorff starrer DEPUTY for FOX / Cedar Park. Earlier career highlights include HBO’s ONLY THE DEAD SEE THE END OF WAR, his first feature film THE BLACK BALLOON (winner of 8 AFI/AACTA Awards including Best Picture), PJ Hogan’s MENTAL, WOLF CREEK SERIES 2, CATCHING MILAT, PETER ALLEN, the Academy Award winning animated short, THE LOST THING and his collaboration with Richard Tognetti and the Australian Chamber Orchestra, THE RED TREE. Michael
    [Show full text]
  • Year 7 / 2021 Please Note
    Required Campion St Caths Office Book Title Edition RRP Selling Price Quantity Use Only Year 7 / 2021 please note Chinese Easy Steps to Chinese 1: Textbook & CD [Yamin Ma et al] required years 7 and 8 69.95 47 English Oxford Australian Pocket Dictionary (8E) (H/B) [Gwynn (Ed)] retain years 7-10 and VCE units 1-4 8E 29.95 20 English Hitlers Daughter (Novel) [French) CLEAN copy 16.99 11 English Wonder (P/B) [RJ Palacio] CLEAN copy 19.99 13 French Pearson Quoi de Neuf? 1SB/EB 2E (Comley et al) 2E 33.95 23 Geography/History Jacaranda AC 7 History Alive Print/LearnON 2E [Darlington] 2E 69.95 47 Geography/History Jacaranda AC 7 Geography Alive Print/LearnON/Atlas 2E [Mraz] Retain for years 7 & 8 2E 114.95 77 Japanese Hai 1 Textbook/Workbook [Burnham] CLEAN set only 52.95 35 set must be complete Japanese Hiragana in 48 Minutes Student Card Set [Quackenbush] required years 7 and 8 25.95 17 RRP reduced to 2/3 to reflect need to Mathematics Cambridge VIC Essential Maths 7 (Print & Digital) 2E (Greenwood et.al.) purchase reactivation code 2E (2020) 49 33 Science Cambridge VIC Science Year 7 (Print&Digital) [Shaw et.al.] 69.95 47 NOTE: St Cath's Science Resource Fee MUST be purchased through Campion as per book list TOTAL BOOKS CONSIGNED TO SALE THIS PAGE Required Campion St Caths Office Book Title Edition RRP Selling Price Quantity Use Only Year 8 /2021 please note Chinese Easy Steps to Chinese 2: Textbook & CD [Yamin Ma et al] required years 7 and 8 69.95 47 Chinese Easy Steps to Chinese 1: Textbook & CD [Yamin Ma et al] retain from Year 7 3E 69.95
    [Show full text]
  • Autism and Aspergers in Popular Australian Cinema Post-2000 | Ellis | Disability Studies Quarterly
    Autism and Aspergers in Popular Australian Cinema Post-2000 | Ellis | Disability Studies Quarterly Autism & Aspergers In Popular Australian Cinema Post 2000 Reviewed By Katie Ellis, Murdoch University, E-Mail: [email protected] Australian Cinema is known for its tendency to feature bizarre and extraordinary characters that exist on the margins of mainstream society (O'Regan 1996, 261). While several theorists have noted the prevalence of disability within this national cinema (Ellis 2008; Duncan, Goggin & Newell 2005; Ferrier 2001), an investigation of characters that have autism is largely absent. Although characters may have displayed autistic tendencies or perpetuated misinformed media representations of this condition, it was unusual for Australian films to outright label a character as having autism until recent years. Somersault, The Black Balloon, and Mary & Max are three recent Australian films that explicitly introduce characters with autism or Asperger syndrome. Of the three, the last two depict autism with sensitivity, neither exploiting it for the purposes of the main character's development nor turning it into a spectacle of compensatory super ability. The Black Balloon, in particular, demonstrates the importance of the intentions of the filmmaker in including disability among notions of a diverse Australian community. Somersault. Red Carpet Productions. Directed By Cate Shortland 2004 Australia Using minor characters with disabilities to provide the audience with more insight into the main characters is a common narrative tool in Australian cinema (Ellis 2008, 57). Film is a visual medium that adopts visual methods of storytelling, and impairment has become a part of film language, as another variable of meaning within the shot.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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”.
    [Show full text]
  • JANE GRIFFIN FREELANCE Line Producer / Production Manager [email protected] +61 417 213 967 Top Technicians Mgmt 02 9958 1611
    JANE GRIFFIN FREELANCE Line Producer / Production Manager [email protected] +61 417 213 967 Top Technicians Mgmt 02 9958 1611 Below are highlights of projects I have worked on over the years. I believe it reflects my skills and breadth of experience . Please feel free to contact me if you require further specifics or clarification regarding my Resume. TVC: Production Management – some recent contracts Amarok Goodoil Films Precision driving and VFX on NSW largest Sheep Station Jim Beam Goodoil Films Cast and extras x 200 in around Sydney City streets over 3 days SI Amarni Beach House Films Cate Blanchett campaigns NSW Roads and Safety Paper Dragon Motor Bike Safety Campaign – large stunts and pyrotechnics Carnival Cruise Robbers Dog Filming on board the ship with a film crew of 20 between Syd and Sth Pacific DRAMA CREDITS : Production Line Producer Queer Eye YASS QUEEN Australian Promo for US TV Reality Line Producer Dead Beat Dads MTV Project 1 x ½ TV Pilot - Advisor Kim Vecera Scheduling PM The Shire Shine TV Australia Australian PM HG TV International Residents HIGH NOON TV USA: 2 x ½ hr episodes EP: Graham Clarke, Producer: Laurie Bain Prod Mgr One More Day NIDA/AFTRS 50YR Anniversary Feature Film Production Producers: Sandra Levy, Daphne Paris 4 x 1/2hr films Drama Producer Unfolding Florence Docu-Drama Dir: Gillian Armstrong / Prod: Sue Clotheir 2ND UNIT PM The Matrix Dir: Wachowski Bros / Prod: Joel Silver / Prod: Barry Osborne DRAMA CREDITS: Assistant Directing 2nd AD Ladies in Black Dir: Bruce Beresford/Prod: Sue Milliken 2nd AD Return to Devils Playground Matchbox Pictures: Producer Helen Bowden.
    [Show full text]
  • 7-9 Booklist by Title - Full
    7-9 Booklist by Title - Full When using this booklist, please be aware of the need for guidance to ensure students select texts considered appropriate for their age, interest and maturity levels. This title also appears on the 9plus booklist. This title is usually read by students in years 9, 10 and above. PRC Title/Author Publisher Year ISBN Annotations 5638 1000-year-old boy, The HarperCollins 2018 9780008256944 Alfie Monk is like any other pre-teen, except he's 1000 years old and Welford, Ross Children's Books can remember when Vikings invaded his village and he and his family had to run for their lives. When he loses everything he loves in a tragic fire and the modern world finally catches up with him, Alfie embarks on a mission to change everything by finally trusting Aidan and Roxy enough to share his story, and enlisting their help to find a way to, eventually, make sure he will eventually die. 22034 13 days of midnight Orchard Books 2015 9781408337462 Luke Manchett is 16 years old with a place on the rugby team and the Hunt, Leo prettiest girl in Year 11 in his sights. Then his estranged father suddenly dies and he finds out that he is to inherit six million dollars! But if he wants the cash, he must accept the Host. A collection of malignant ghosts who his Necromancer father had trapped and enslaved! Now the Host is angry, the Host is strong, and the Host is out for revenge! Has Luke got what it takes to fight these horrifying spirits and save himself and his world? 570824 13th reality, The: Blade of shattered hope Scholastic Australia 2018 9781742998381 Tick and his friends are still trying to work out how to defeat Mistress Dashner, James Jane, but when there are 13 realities from which to draw trouble, the battle is 13 times as hard.
    [Show full text]
  • Sydney Film Festival Award Winners Announced at Closing Night Gala 19/06/2016
    MEDIA RELEASE EMBARGOED UNTIL 08:30PM SUNDAY 19 JUNE 2016 SYDNEY FILM FESTIVAL AWARD WINNERS ANNOUNCED AT CLOSING NIGHT GALA The 63rd Sydney Film Festival tonight awarded Aquarius, directed by Kleber Mendonça Filho, the prestigious Sydney Film Prize, out of a selection of 12 Official Competition films. The $63,000 cash prize was awarded at the Festival’s Closing Night Gala awards ceremony and event: the Australian premiere screening of Whit Stillman’s Love & Friendship, held at the State Theatre. Sydney filmmaker Dan Jackson was awarded the Documentary Australia Foundation Award for Australian Documentary, a $15,000 cash prize, for In the Shadow of the Hill; with a special mention going to Destination Arnold directed by Sascha Ettinger Epstein. The Dendy Awards for Australian Short Films were announced; awarding Slapper, directed and written by Luci Schroder, The Dendy Live Action Short Award; The Crossing, directed and written by Marieka Walsh, The Yoram Gross Animation Award; and Goran Stolevski, the Rouben Mamoulian Award for Best Director, for You Deserve Everything. The Event Cinema Australian Short Screenplay Award was awarded to Spice Sisters, written and directed by Sheila Jayadev, who received a $5,000 cash prize, with a special mention to Matthew Vesely for My Best Friend Is Stuck On The Ceiling. The new annual Sydney UNESCO City of Film Prize was awarded to Ms Lynette Wallworth, who received $10,000 prize awarded by Screen NSW, presented by Margaret Pomeranz AM. Sydney Film Festival CEO Leigh Small said, “Cinemas were full again this year with an average of 73% capacity across all sessions and more sellouts than ever before.
    [Show full text]
  • Fax Transmission
    LAWRENCE WOODWARD STUNT COORDINATOR 0417 405 540 [email protected] [email protected] 19 Jugiong Street, Pymble 2073 Australia Telephone:+61 2 9440 0070 Fax:+61 2 9440 3700 FEATURE FILMS, Stunt Coordinator Director: Fury Road Sequence Stunt Coord 2012 George Miller Beneath Hill 60 2009 Jeremy Sims Australia 2007 Baz Luhrmann The Black Balloon 2007 Elissa Down King Narasuen (Thailand) 2004 Chatri Yokul Cold Turkey 2002 Stephen McGregor Man Who Sued God 2001 Mark Joffe Garage Days 2001 Alex Proyas IMAX - Equus The Story of the Horse 2001 Micheal Caulfield Lantana 2000 Ray Lawrence Moulin Rouge Additional Coord 2000 Baz Luhrmann He Died with a Felafel in His Hand 1999 Richard Lowenstien Looking for Alibrandi 1998 Kate Woods Holy Smoke 1998 Jane Campion Thunderwith 1998 Simon Wincer Never Tell Me Never 1998 David Elflick A Wreck A Tangle 1998 Scott Paterson Terra Nova 1996 - 1997 Paul Middleditch Radiance 1997 Rachel Perkins The Boys 1997 Rowan Woods In The Winter Dark 1997 James Bogle TELEVISION FEATURES Survivors – Canyon (US) 2006 Nick Copus Survivors - Opposite of Lucky (UK) 2005 Nick Copus Salem’s Lot (US) 2003 Mikael Salomon South Pacific (US) 2000 Richard Pearce TELEVISION SERIES Ice (UK, shoot NZ) + 2nd UNIT DIRECTOR 2009 Nick Copus The Pacific (US) 2007 David Nutter Water Rats 2001 Amazon 1999 Water Rats 1999 Lost World 1999 Sabrina – Teenage Witch 1999 All Saints 1998 - 2001 Farscape 1998 - 1999 Wildside 1997 Home and Away 1997 19 Jugiong Street, Pymble 2073 Australia Telephone:+61 2 9440 0070 Fax:+61 2 9440 3700
    [Show full text]
  • Resume Wizard
    Expressive Culture: Film Class Code CORE-UA 9750 – 001 Instructor Dr Anne Barnes Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Spring 2016 Expressive Culture: Film Monday 3:00 – 7:00pm (4 hours per week including film screening) February 1 to May 9 Room 302 NYU Sydney Academic Centre 157-161 Gloucester St, The Rocks 2000 Prerequisites None Class How has Australian cinema engaged with significant and often contested historical, political Description and cultural events in the nation’s past? The films in this course offer critical perspectives on the history of colonisation in Australia; the legacies of the Stolen Generations; the controversies surrounding Australia’s role in World War One; as well as Australia’s relationships with its Pacific Asian neighbours. We will focus on films that have marked significant shifts in public consciousness about the past such as Gallipoli (1981), Rabbit-Proof Fence (2002) and Balibo (2009). We will also draw on films that have employed innovative narrative and aesthetic strategies for exploring the relationship between the past and the present such as Ten Canoes (2006) and The Tracker (2002). Throughout the course, students will develop their understanding of the basic methods and concepts of cinema studies. In particular, students will develop a critical vocabulary for analysing how filmmakers have approached the use of memory, testimony, re-enactment, researched detail, allegory and archives across a diverse range of examples. Desired By the end of the course students will be able to: Outcomes • Apply the basic vocabulary of film form.
    [Show full text]
  • All in the Family: Three Australian Female Directors Brian Mcfarlane
    ALL IN THE FAMILY: THREE AUSTRALIAN FEMALE DIRECTORS BRIAN MCFARLANE y any standards, apart perhaps from box-office takings, 2009 was a banner year for Australian films. There were Balibo and Samson and Delilah, Disgrace and Last Ride, but what is really impressive is that three of the most memorable entries in this memorable year were directed by women, in an industry where Bdirection has long been dominated by men. I don’t want to make any special, essentialist point about what’s attracting female directors: male directors have been just as often drawn to the conflicts that rend families (think of such recent Australian films as Steve Jacobs’ Disgrace, Tony Ayres’ The Home Song Stories, Glendyn Ivin’s Last Ride, Dean Murphy’s Charlie & Boots). I just want to celebrate three very significant films by female directors. On the international scene, Kathryn Bigelow’s The Hurt Locker has won and been nominated for numerous awards, and neither in this nor her earlier films has the family been the site of her chief interest. Perhaps film directing is no longer a male preserve, and female directors are not to be confined by the parameters of what used to be patronisingly characterised as ‘the women’s picture’. With this sort of proviso understood, the three major films I want to highlight here—Sarah Watt’s My Year without Sex, Rachel Ward’s Beautiful Kate and Ana Kokkinos’s Blessed—indeed foreground family matters and do so with rigour and perception, but there the similarities end. 82 The three films are tonally distinct from each other.
    [Show full text]