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Open Tues-Fri 10Am-5Pm Weekends 12-4Pm Corner Kembla & Burelli
open Tues-Fri 10am-5pm Wollongong Art Gallery is a service of Wollongong City weekends 12-4pm Council and receives assistance from the NSW Government Corner Kembla & Burelli through Create NSW. Wollongong Art Gallery is a member streets Wollongong of Regional and Public Galleries of NSW. phone 02 4227 8500 www.wollongongartgallery.com www.facebook/wollongongartgallery When I think of television, I automatically think of my youth. It’s a time machine set for 1985. Jana Wendt and her big hair interviewing style Simon Townsend and his sad looking dog Being afraid of Norman Gunston And bewildered by Jeanne Little If nostalgia was an object it would be a TV Guide. The bible for the week - Graffitied in black marker so the days, nights and weekends were planned, Watched and then forgotten - Only to be remembered many years later at the pub, When new friends bonded by Recounting soap opera theme songs or word for word advertising jingles. The big box housing the television was Saturday’s dusting date with Mr Sheen and we danced upon that chipboard veneer and elegantly glided over the glass. Pleasure Drill, 2018, Two channel digital video with sound Videographer: Dara Gill. Special thanks to Michael and Di Kershaw. Courtesy of the artist As an indicator of how life could be represented, measured and performed - The TV was my sometimes stand-in for divorcing parents. Loving fictional families were there to council you, cover you cosy - Pleasure Drill is a two channel video that explores the false many years of failed applications to be part of the TV show The In a 30-minute hug. -
Semaphore Sea Power Centre - Australia Issue 8, 2017 the Royal Australian Navy on the Silver Screen
SEMAPHORE SEA POWER CENTRE - AUSTRALIA ISSUE 8, 2017 THE ROYAL AUSTRALIAN NAVY ON THE SILVER SCREEN In this day and age, technologies such as smart phones and tablets allow users to film and view video streams on almost any topic imaginable at the convenience of their fingertips. Indeed, most institutions, including the Royal Australian Navy (RAN), promote video streaming as part of carefully coordinated public relations, recruiting and social media programs. In yesteryear, however, this was not a simple process and the creation and screening of news reels, motion pictures and training films was a costly and time consuming endeavor for all concerned. Notwithstanding that, the RAN has enjoyed an ongoing presence on the silver screen, television and more recently the internet on its voyage from silent pictures to the technologically advanced, digital 21st century. The RAN’s earliest appearances in motion pictures occurred during World War 1. The first of these films was Sea Dogs of Australia, a silent picture about an Australian naval officer blackmailed into helping a foreign spy. The film’s public release in August 1914 coincided with the outbreak of war and it was consequently withdrawn after the Minister for Defence expressed security concerns over film footage taken on board the battlecruiser HMAS Australia (I). There was, however, an apparent change of heart following the victory of HMAS Sydney (I) over the German cruiser SMS Emden in November 1914. Australia’s first naval victory at sea proved big news around the globe The Art Brand Productions - The Raider Emden. and it did not take long before several short, silent propaganda films were produced depicting the action. -
[Warning - This Film Contains Nudity and References to Drugs]
[Warning - This film contains nudity and references to drugs] [What A Life! Rock Photography by Tony Mott - a free exhibition until 7 February 2016. Solid Gold - Jeff Apter & Philip Morris, Metcalfe Theatre, State Library of NSW, 5th December 2015] [Dressed in a black shirt and dark jeans, grey-haired Philip Morris sits beside his interviewer Jess Apter, a bald man dressed casually] [JEFF APTER] Thank you. Before starting, I want to say I was really fortunate to be able to work with Philip on this book. [Jeff Apter holds up a coffee table book] [JEFF APTER] And it was one of the more interesting exercises, wasn't it? Because we were given a directive to come up with... Was it 200 photos? ..for this book. [PHILIP MORRIS] That's right. [JEFF APTER] And Philip's archive is so fantastic and so rich, that I think we got it down to, what, 600? [PHILIP MORRIS] Yeah. [Audience laughs] [JEFF APTER] Was it 600 to start with? It was something like that. And it's staggering, really. It's a really great document of Australian rock history at a really interesting turning point. So to get it down to this... It's begging for a second edition, by the way. There's so many great photos. So it was a real honour to be able to... to do that. It was a lot of fun. [PHILIP MORRIS] Yeah, it was. [JEFF APTER] We actually had built into our contract... Our agreement was an understanding that we would never work in a boring situation. -
Mcdonald Garry
GARRY MCDONALD | Actor FILM Year Production / Character Director Company 2014 THE LIGHT BETWEEN OCEANS Derek Cianfrance LBO Productions Bill Graysmark 2012 VENICE Miro Bilbrough Venice Productions. Arthur 2011 BURNING MAN Jonathon Teplitzky Burning Man Productions. Doctor 2010 DON’T BE AFRAID OF THE DARK Troy Nixey Don’t Be Afraid (Aust) Pty Ltd. Emerson Blackwood 2002 THE RAGE IN PLACID LAKE Tony McNamara Rapacious Pictures. Doug Lake 2000 RABBIT PROOF FENCE Phil Noyce Jabal Films. Mr Neal 1999 MOULIN ROUGE Baz Luhrmann Bazmark. The Doctor 1998 MR ACCIDENT Yahoo Serious Happy Brand Films. Kelvin 1991 STRUCK BY LIGHTNING Jerzy Domaradzki Dark Horse Pictures. Rennie 1986 THOSE DEAR DEPARTED Ted Robinson Phillip Emanuel Productions. Max Falcon 1986 THE BEE-EATER George Ogilvie Daedalus Films. Shanahan Management Pty Ltd Level 3 | Berman House | 91 Campbell Street | Surry Hills NSW 2010 PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] Dan Burroughs 1985 WILLS AND BURKE: THE UNTOLD Bob Weis Stoney Desert Limited. STORY Robert O'Hara Burke 1982 MOLLY Ned Lander Troplisa Productions. Jones 1982 GINGER MEGGS Jonathan Dawson John Sexton Productions. Mr Meggs 1982 THE PIRATE MOVIE JHI Productions Police Sergeant, French Inspector, Long John Silver, and the voice of the Parrot. 1977 PICTURE SHOW MAN John Power Limelight Productions. Lou 1975 PICNIC AT HANGING ROCK Peter Weir Picnic Productions. Const. Jones 1974 STONE Sandy Harbutt Hedon Productions. Mechanic 1973 AVENGERS OF THE REEF Chris McCullough Timon Productions. Updike’s Aide TELEVISION Year Production/Character Director Company 2014 OFFSPRING: SERIES 5 Various Southern Star. -
Australian Broadcasting Tribunal Annual Report 1981-82 Annual Report Australian Broadcasting Tribunal 1981-82
AUSTRALIAN BROADCASTING TRIBUNAL ANNUAL REPORT 1981-82 ANNUAL REPORT AUSTRALIAN BROADCASTING TRIBUNAL 1981-82 Australian Government Publishing Service Canberra 1982 © Commonwealth of Australia 1982 ISSN 0728-606X Printed by Canberra Publishing & Printing Co .. Fyshwick. A.C.T. 2609 The Honourable the Minister for Communications In conformity with the provisions of section 28 of the Broadcasting and Television Act 1942, as amended, I have pleasure in presenting the Annual Report of the Australian Broadcasting Tribunal for the period l July 1981 to 30 June 1982. David Jones Chairman iii CONTENTS PART/ INTRODUCTION Page Legislation 1 Functions of the Tribunal 1 Membership of the Tribunal 1 Meetings of the Tribunal 2 Addresses given by Tribunal Members and Staff 2 Organisation and Staff of the Tribunal 4 Location of the Tribunal's Offices 4 Overseas Visits 5 Financial Accounts of the Tribunal 5 PART II GENERAL Broadcasting and Television Services in operation since 1953 6 Financial results - commercial broadcasting and television stations 7 Fees for licences for commercial broadcasting and television stations 10 Broadcasting and Televising of political matter 13 Political advertising 15 Administration of Section 116(4) of the Act 16 Complaints about programs and advertising 18 Appeals or reviews of Tribunal Decisions and actions by Commonwealth 20 Ombudsman, AdministrativeReview Council and Administrative Appeals Tribunal Reference of questions of law to the Federal Court of Australia pursuant 21 to Section 22B of the Act PART III PUBLIC INQUIRIES -
Narelle Gee Thesis
MAINTAINING OUR RAGE: INSIDE AUSTRALIA’S LONGEST-RUNNING MUSIC VIDEO PROGRAM. By Narelle Gee BA/DipEd (University of NSW) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Creative Industries) School of Media, Entertainment, Creative Arts, Film, Screen and Animation Creative Industries Faculty Queensland University of Technology 2015 Key Words ABC Music Television Alternative Music Music Videos Australian Broadcasting Corporation Popular Music Australian Cultural Industries Production Cultures Australian Television Public Service Broadcasting Creative Labour rage Cultural Production Television Broadcasting Media Culture Television Production Music Industry TV Programs 2 Abstract The thesis, “Maintaining our rage: inside Australia’s longest-running music video program”, takes a reflective and reflexive narrative journey across the decades of rage, from its 1987 creation through to the program’s current incarnation, providing unique insider perspectives and affordances. Australia’s longest-running music video program is also, arguably, the most sustained such program globally (Bodey, 2012; Helper, 2012). Despite its longevity, there has been scarce scholarly analysis of rage, and of what has underpinned its unusual endurance; many music video programs have come and gone during the program’s long-held tenure. How has rage survived the vicissitudes of network programming – particularly within the capricious space of music video programming - and maintained its cultural place and role, for more than a quarter of a century? The significance of this research is that it explores rage’s unusual durability, examines the program’s unique elements, and answers three key research questions: What has been the history of rage as a program and a cultural entity? What has been the cultural significance of rage? How did rage create a shift within the music industry ecology of Australia? This thesis presents an insider’s account of rage, exploring it within its ABC TV and public broadcasting context. -
Denise Drysdale
Denise Drysdale Entertainment Icon, MC & Host Denise Drysdale has been entertaining Australians for an incredible five decades. A talented actor, dancer, media host and comedian, she is much loved for her wicked and fast sense of humour. Denise has been recognised with two TV Week Gold Logies. She is the co-host of a number one podcast and a popular MC/ host who is renowned for her “let’s entertain them” philosophy. Denise’s motto of “no job too small” has led to her working with corporate clients that have included: Telstra, Australia Post, Kidz Biz, The Housing Commission Association, Freight Awards, Asia on Parade, International Lifestyle Convention, Recycling Australia, and the Grand Prix Victoria. More about Denise Drysdale: Originally from Victoria, Denise Drysdale was employed as Melbourne’s first television go-go dancer at the age of just 17. Her popularity led to the Australian Government inviting her to perform for troops in Vietnam in 1967. Denise is still actively involved with the Vietnam Veterans Association. In 1974 Denise became Ernie Sigley’s barrel girl on The Ernie Sigley Show, where she was affectionately named Ding Dong. In 1975 and 1976 Denise won the TV Week Gold Logie Award for the Most Popular Female Personality on Australian television. She also won the TV Week Silver Logie Award for Most Popular Female Personality in both of those years. As an actress, Denise has appeared in a number of movies including The Last of the Knucklemen, Snap Shot and Blowing Hot and Cold. Denise has also starred on stage in Salad Days, Grease, The Barry Crocker Show, Two Gentlemen of Verona and Hello Dolly. -
Bogan-Ville: Reframing Class and Place Through Humour
University of Wollongong Research Online Faculty of Science, Medicine and Health - Papers: part A Faculty of Science, Medicine and Health 19-2-2013 Welcome to Bogan-ville: reframing class and place through humour Chris Gibson University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/smhpapers Part of the Medicine and Health Sciences Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gibson, Chris, "Welcome to Bogan-ville: reframing class and place through humour" (2013). Faculty of Science, Medicine and Health - Papers: part A. 173. https://ro.uow.edu.au/smhpapers/173 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Welcome to Bogan-ville: reframing class and place through humour Abstract On August 4, 2009, Australian online news commentary website the Punch announced that Albion Park, in the Australian industrial city of Wollongong, was one of the nation's top ten “most bogan” places. This paper explores what it means to be bogan in Australia, tracing historical antecedents, local debate at the time of this media event, and the manner in which the politics of class and place identity are negotiated through humour. Some local residents railed against associations with “lower-class” culture or feared damaged reputations for their neighbourhoods; others responded in sometimes unexpected and creative ways—through humour, and by claiming bogan as an alternative source of legitimacy for working-class identity. I reflect on this case for how humour operates ambiguously in an age of email, blogs, and social media technologies—building on previous norms of media dialogue and on established understandings of class polarisation in Australian cities. -
A Study Guide by Marguerite O'hara
CHARTING A COURSE THROUGH THE STORY OF AUSTRALIAN COMEDY … … A THREE-PART DOCUMENTARY NARRATED BY ERIC BANA. © ATOM 2015 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-568-1 http://www.theeducationshop.com.au Introduction Stop Laughing…this is serious is a three-part television series charting a course through the story of Australian performances, featuring insight and the Australian History curriculum as a comedy, featuring over 60 interviews anecdotes from what Barry Humphries way of understanding how Australians with the men and women who make calls ‘the cheering up business’. have come to express themselves us laugh. Through a blend of social both at home and abroad. This pro- history, extensive archive material and The series explores how comedy gram goes to the heart of Australian intimate interviews with the country’s ties us together as a nation, travers- cultural studies and entertainment, most loved comedians, we travel via ing generations and bridging cultural exploring issues of class, ethnicity, stand up, radio, television, theatre and divides. We Aussies love to laugh language and identity and how these film from indigenous comedy to new at ourselves, our politics, our fellow aspects of Australian life have been viral media jokers of today, revealing Australians – are there are no sacred responded to and shaped by a range how humour, laughter and comedy are cows? Along the way the viewer will of writers, artists and performers over integral to our national identity. laugh but also come to appreciate time. Is it the case that Australians the craft of our greatest comedians love to laugh at themselves and oth- By unpicking our cultural cringe, who ultimately reveal important truths ers, that their larrikin qualities are poking fun at our national identity, about the world in which we live. -
Bert Newton Has Proved the Teacher’S If You Loved Sport, Chances Are Once Considered the Poor Hint of the Skills Bert Newton Instincts Were Right on the Money
02 SUNDAY, JUNE 21, 2015 HERALDSUN.COM.AU Some of our favourite actors The most controversial list on TV — who made it and why “GOOD evening and welcome to to iconic series such as Number 96, television.” Prisoner, The Sullivans, Neighbours, With those words, uttered by Home and Away, SeaChange and Bruce Gyngell in a Sydney studio Blue Heelers. on the evening of Sunday Steve Vizard believes the power September 16, 1956, Australian of television lies in its ability to audiences got their first glimpse of bring together people from all the medium which would walks of life. “The magic of live TV ultimately unite us in collective is its ability to connect people in moments of joy, laughter, sadness, different cities around the country shock and relief. through a shared moment, whether It is easy to forget, when you it be a shared laugh, a shared gasp switch on the box at night, how or a shared tear,” he says. much it has influenced Australia. Daryl Somers, who led Ossie It was television which allowed and the gang on Hey Hey It’s us to share Cathy Freeman’s jubilant Saturday for 27 years, is an victory at the Sydney Olympics. It outspoken advocate for the need left us weeping over the death of to honour and preserve our Grace in The Sullivans, but clutching television history. He says our sides with laughter thanks to watching old episodes of shows is Norman Gunston, Paul Hogan and like peering inside a time capsule. Kath & Kim. “They offer insights into what Next year Australian television people were talking about at the celebrates its 60th birthday. -
From The'little Aussie Bleeder'to Newstopia:(Really) Fake News In
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Harrington, Stephen (2012) From the ’little Aussie bleeder’ to newstopia: (Really) fake news in Aus- tralia. Popular Communication, 10(1 - 2), pp. 27-39. This file was downloaded from: https://eprints.qut.edu.au/48573/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/15405702.2012.638571 From The “Little Aussie Bleeder” to Newstopia: (Really) Fake News in Australia Stephen Harrington Media & Communication Queensland University of Technology GPO Box 2434 Brisbane, QLD 4001 Australia Ph: (07) 3138 8177 Fx: (07) 3138 8195 [email protected] Abstract This paper offers an overview of the key characteristics of “fake” news in the Australian national context. -
Australian Broadcasting Tribunal Annual Report 1980-81 Annual Report Australian Broadcasting Tribunal 1980-81
AUSTRALIAN BROADCASTING TRIBUNAL ANNUAL REPORT 1980-81 ANNUAL REPORT AUSTRALIAN BROADCASTING TRIBUNAL 1980-81 Australian Government Publishing Servi(;e Canberra 1981 © Commonwealth of Australia 1981 Printed by Courier-Mail Printing Service, Campbell Street, Bowen Hills, Q. 4006 The Honourable the Minister for Communications In conformity with the provisions of section 28 of the Broadcasting and Television Act 1942, as amended, I have pleasure in presenting the Annual Report of the Australian Broadcasting Tribunal forthe period l July 1980 to 30 June 1981. David Jones Chairman 11 August 1981 CONTENTS PART/ INTRODUCTION Page Legislation 1 Addresses given by Tribunal Members and Staff 4 Membership of the Tribunal 6 Functions of the Tribunal 7 Meetings of the Tribunal 7 Organisation and staffof the Tribunal 8 Locationof Tribunal's offices 8 Overseas visits 9 Financial accounts of the Tribunal 11 PART II GENERAL Broadcasting and television services in operation since 1952 12 Financial results - commercial broadcasting and television stations 12 Fees forlicences forcommercial broadcasting and television stations 15 Broadcasting and televising of political· matter 16 Poiitical advertising 24 Complaints about programs and advertising 25 Appeals or reviews of Tribunal decisions and actions by Commonwealth 27 Ombudsman, Administrative Review Council, and Administrative Appeals Tribunal Senate Standing Committee on Education and the Arts 29 PART/II PUBLIC INQUIRIES Introduction 31 Legislation 31 Proceduresfor inquiries 32 Licence renewal inquiries