From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K

Total Page:16

File Type:pdf, Size:1020Kb

From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) W5780 WINTER OF OUR DREAMS (AUSTRALIA, 1981) Credits: director/writer, John Duigen. Cast: Judy Davis, Bryan Brown, Cathy Downes, Baz Luhrmann, Peter Mochrie. Summary: Melodrama set in contemporary Sydney, Aust. Rob (Brown) and Lou (Davis) meet while investigating the suicide of a former friend, a Sydney prostitute. All three had participated in the antiwar movement of the late 60’s. The film probes the interaction between Rob and Lou, who is also a prostitute, and shows how the protest movement had subsequently affected their lives. Bertrand, Ina. “Winter of our dreams” Vietnam war feature filmography (1992 draft) [GB] (p. 446-7) and Vietnam war films [GB] (Entry 665) Bisley, Steve (see under Ley, John) Branford, Martine. “Winter of our dreams” Photoplay 33 (Apr 1982), p. 26. Canby, Vincent. “An Australian ‘Winter of our dreams’” New York times 132 (Nov 10, 1982), p. C26. Coleman, John. “Dross show” New statesman 103 (Feb 12, 1982), p. 28. Connolly, Keith. “Winter of our dreams” Cinema papers no. 34 (Sep-Oct 1981), p. 395-6. [Extract reprinted in Australian film, 1979-1992 : a survey of theatrical features (edited by Scott Murray) Melbourne : Oxford Univ. Press, 1993. (p. 86)] Groves, Don (Dogo). “The winter of our dreams” Variety 304 (Oct 28, 1981), p. 16. __________. “The winter of our dreams” Variety 309 (Nov 3, 1982), p. 30. Hibbin, Sally. “Winter of our dreams” Films and filming n.330 (Mar 1982), p. 31. Imeson, Jo. “Winter of our dreams” Monthly film bulletin 49 (Mar 1982), p. 51. Koeser, Dorre. “Life of Bryan” Cinema papers n. 53 (Sep 1985), p. 16-19. Ley, John and Bisley, Steve. “Judy Davis” Cinema papers n. 32 (May-Jun 1981), p. 116-21. Moran, Albert. “Ethics of an outsider” Filmnews (Apr 1984), p. 10-12. Murray, Scott. “John Duigan and Winter of our dreams” Cinema papers n. 33 (Jul- Aug 1981), p. 226-9, 299. Nash, Eric. “Winter of our dreams” Film journal 85 (Dec 3, 1982), p. 11. Rattigan, Neal. Images of Australia: 100 films of the new Australian cinema Dallas : Southern Methodist Univ. Press, 1991. (p. 320-23) Rickey, Carrie. “Film: The winter of our malcontents” Village voice 27 (Nov 23, 1982), p. 58+ [2 p.] Sterritt, David. “On film: ... Australian film” Christian science monitor (Jan 6, 1983), p. 19. Sulkin, Oleg. “Zima nashikh nadezhd” Iskustvo kino n. 12 (1983), p. 90-91. [Winter of our dreams] Broadcast n. 1201 (Mar 28, 1983), p. 37. “Winter of our dreams” Film n. 104 (Mar 1982), p. 8. [Winter of our dreams] Films 2/4 (Mar 1982), p. 34-5. [Winter of our dreams] Hollywood reporter 271/2 (Mar 17, 1982), p. 22. “Winter of our dreams” Motion picture guide (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1985. (v. 9, p. 3879) [Winter of our dreams] Motion picture product digest 10/11 (Nov 17, 1982), p. 41, 43. [Winter of our dreams] Screen international n. 331 (Feb 20, 1982), p. 27. Zable, Arnold. “Winter of our dreams” Metro n. 57 (spring 1981), p. 68. c2005 J.K.M. Enterprises .
Recommended publications
  • For Release: on Approval Motion Picture Sound Editors to Honor
    For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story.
    [Show full text]
  • Download the List of History Films and Videos (PDF)
    Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future.
    [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]
  • Gillian Armstrong Gillian Armstong Came to Prominence in the 1970S
    Gillian Armstrong Gillian Armstong came to prominence in the 1970s as an outstanding young Australian film director, who has gone on to achieve sustained international success. Alongside filmmakers like Bruce Beresford, John Duigan, Phil Noyce, Fred Schepisi and Peter Weir, her early work was supported by a new national film industry, giving expression to an individual creative vision and an Australian content. Gillian Armstrong’s father was an amateur photographer, and as she grew up, she had her own camera and interest in photography. She studied a Diploma of Art (Film and Television) at Swinburne Technical College, graduating in 1971, Originally enrolled in costume design, she started attending the film course and became entranced with the medium and with the work the students were doing ... turning more and more to still photography and then to film’ (Stratton 1980, p.213). It was the first course in film and television in Australia, initially offered by Swinburne Art School within the Department of Graphic Design. Armstrong ‘experienced great stimulus from the art side of the course — for her the philosophy of film as a means of expression and vision came from the first two years of the course in art and graphic design’ (Paterson 1996, p.46). She graduated with the experimental film The Roof Needs Mowing , 1970. Brian Robinson, first head of the Swinburne Film School, was significant in the development and operation of this innovative course, and the creative learning experience of the small student intake. Regarding them as artists being trained in the technical skills of filmmaking, he thought they should all ‘aim at being producers and directors’ (Paterson 1996, p.
    [Show full text]
  • 1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
    1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth.
    [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]
  • All the Fun of the Fare
    FEATURE FoCUS n MArkEt bUzz n AlliAnCE FilMS n CnC n zEntropA n EUropE’S FilM tAx CrEditS n SightSEErS (Clockwise from left) Speranza13 Media’s Romeo & Juliet; Recreation’s Red Hook Summer; Jennifer Lawrence; Arnold Schwarzenegger; Exclusive Media’s Look Of Love; Matt Damon; Kristen Stewart; Liam Hemsworth All the fun of the fare As the Cannes Marché opens for business, Screen looks at the hottest titles debuting at the market — at all stages of production — from the US, Europe and across Asia US sellers thriller Lone Survivor, which starts shooting Sep- tional and along with head of sales Nadine de Bar- tember 15. ros will take point on the Robert Rodriguez duo By Jeremy Kay Panorama Media, the new player backed by Frank Miller’s Sin City: A Dame To Kill For in 3D Lionsgate’s Patrick Wachsberger and Helen Lee Megan Ellison and run by Marc Butan and sales and Machete Kills (both in pre-production). Kim will kick off pre-sales on Catching Fire, the head Kim Fox, will introduce buyers to Kathryn Camela Galano’s Speranza13 Media will show a aptly named sequel to this year’s $625m-plus Bigelow’s Osama Bin Laden project Zero Dark promo from Romeo & Juliet based on Julian Fel- indie global behemoth The Hunger Games. The Thirty, currently shooting. lowes’ adapted screenplay. Hailee Steinfeld from merger with Summit has added thriller Red 2 (in Stuart Ford and sales chief Jonathan Deckter of True Grit stars alongside Douglas Booth. pre-production) to the pipeline. Other hot titles IM Global arrive on the Croisette with Robert The Solution Entertainment Group principal are Roman Polanski’s thriller D and Denis Ville- Luketic’s corporate espionage thriller Paranoia, to Lisa Wilson arrives with thriller Grand Piano neuve’s Prisoners.
    [Show full text]
  • The Byron Kennedy Award
    THE BYRON KENNEDY AWARD The Byron Kennedy Award is awarded for outstanding creative enterprise within the film and television industries. The Award is given to an individual or organization whose work embodies the qualities of Byron Kennedy: innovation, vision and the relentless pursuit of excellence. The Award is presented by Kennedy Miller, in association with AFI | AACTA, and includes a cash prize of $10,000. 1984 Roger Savage for his innovative and pioneering work in film and television sound. 1985 Andrew Pike for his unorthodox and comprehensive contribution to the film industry. 1986 Nadia Tass and David Parker for their fiercely independent approach to filmmaking. 1987 Martha Ansara for her uncompromising use of film as a vehicle for consciousness- raising and her consistent help to filmmakers at the beginning of their careers. 1988 George Ogilvie for the profound wisdom of his work in theatre, film, television and ballet, and his highly influential workshops on ensemble performance. 1989 Jane Campion for her innovative, highly individual and uncompromising work in writing, producing and directing a body of outstanding films and television programmes which have gained recognition both in Australia and overseas. 1990 Dennis O'Rourke for his consistent innovation as an artist in the field of documentary. 1991 John Duigan for an impressive and original body of work both as writer and director, and through that work, his discovery and encouragement of new talent. 1992 Robin Anderson & Bob Connolly whose films are not only fine documentaries - they are great human dramas. They will allow no obstacle to divert their single-minded pursuit of excellence.
    [Show full text]
  • Hliebing Dissertation Revised 05092012 3
    Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee.
    [Show full text]
  • HAYWOOD Chris
    SHANAHAN CHRIS HAYWOOD | Actor FILM Year Production / Character Director Company 2018 DIRT MUSIC Gregor Jordan Wildgaze Films Warwick 2017 AUSTRALIA DAY Kriv Stenders Hoodlum Entertainment Dr. Norris 2015 BOAR Chris Sun Pig Enterprises Pty Ltd Jack 2014 TRUTH James Vanderbilt FEA Productions Pty Ltd Bill Hollowell 2014 LOVE IS NOW Jim Lounsbury Eponine Films Ben 2012 NIM’S ISLAND 2 Brendan Maher Nim’s Productions P/L. Grant 2012 ALMAYER’S FOLLY U-Wei Haji Saari Tanah Licin Sdn Bhd Captain Ford 2011 PALAWAN FATE Auraeus Solito Cinemalaya Foundation Landowner 2011 SWERVE Craig Lahiff Duo Art Productions Armstrong 2011 SLEEPING BEAUTY Julia Leigh Sleeping Beauty Productions Man 2 2010 HELL’S GATE Noise & Light Pty Ltd Old Soldier 2009 BENEATH HILL 60 Jeremy Sims The Silence Productions Colonel Rutledge Shanahan Management Pty Ltd PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] SHANAHAN 2009 SAVAGES CROSSING Kevin James Dobson Show Film Chris 2009 REINCARNATION OF WILLIAM Malcolm McDonald December Films BUCKLEY John Morgan 2008 BOYS ARE BACK IN TOWN Scott Hicks SLF Boys Production P/L Tom 2008 THE LAST CONFESSION OF Michael James Rowland Essential Viewing ALEXANDER PEARCE Knopwood 2007 RETURN TO GREENHAVEN DRIVE The McCrae Brothers Screentime Dashiell 2006 SALVATION Paul Cox Illumination Films Architect 2006 THE BRIDGE John Gaeta 21st Century Productions Tokyo Dr Hecks 2005 SOLO Morgan O’Neill Screentime Pty Ltd/Project Greenlight Arkan 2005 JINDABYNE
    [Show full text]
  • The Representation of the Colonial Past in French and Australian Cinema, from 1970 to 2000
    The Representation of the Colonial Past in French and Australian Cinema, from 1970 to 2000 John James Emerson Thesis presented for the degree of Doctor of Philosophy Department of French Studies Centre for European Studies and General Linguistics University of Adelaide South Australia July 2002 ii This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference is made in the text. I give consent for a copy of my thesis to be deposited in the University Library and to be made available for loan and photocopying. ohnJ amesJ Emerson. iii Acknowledgments: This thesis could not have been completed without the postgraduate scholarships awarded by the Commonwealth Government of Australia, and the various scholarships awarded by Adelaide University and its French Department, now part of the Centre for European Studies and General Linguistics. I wish to thank especially Dr Jean Fornasiero for support well beyond the call of normal duty. I wish to thank also my supervisor Dr Blandine Stefanson and Professor Peter Mühlhäusler, my associate supervisor for fifteen months. For their readings and comments, I thank Dr Philip Butterss and Catharine Abell. I wish to extend my gratitude to Hans Albers and Gilly Albers for being able to take my thesis up to Anlaby Station away from the urban distractions. In France I wish to thank Jean-Paul Delamotte, Monique Delamotte, Elaine Lewis, Abdelkader Benali, Floréal Jiminez, Francis Ramirez (Université de la Sorbonne Nouvelle - Paris III), Bertrand Tavernier, Muriel Carpentier (Forum des Images - formerly the Vidéothèque de Paris), and the staff of the Maison des Sciences de l’Homme, all of whom provided indispensable support and guidance.
    [Show full text]
  • Naomi Enfield
    NAOMI ENFIELD 1ST ASSISTANT DIRECTOR Contact: mobile: 0414 622 166 email: [email protected] Booking Agent: Top Technicians Management Ph: 99581611 email: [email protected] Television Commercials 1st Assistant Director - Selected Credits - 2005 - 2019 (in no particular order) Plaza Paul Middleditch ANZ Bank, Optus Samsung, Amazon, Rabbit Content Zoe McIntosh Australian Government Dave Wood TAB Natalie van den Dungen Pizza Hut Nick Reynolds LG, Hutchinson 3, Nissan, Optus, Toyota,Telstra Dan Mitchell Qantas Scoundrel Tim Bullock Reflex, Lotto (NZ), Gippsland Dairy Jessie McElroy VW Mike Daly Kia Carnival Lachlan Dickie MLA Peter Carstairs Aldi Jeff Low Aldi Jim Hosking Aldi Abe Forsythe Big W, St George Tom Noakes Momentum, Hotels.com, Foxtel, Owen Trevor Holden James Dive H&R Block, Difflam Dale Oates Ikea Photoplay Husein Alicajic Taubmans, Sanitarium, Best and Less, Thirteen and co Armand de Saint Salvy Kennards, Westpac Hungry Jacks x4 Kelloggs, Continental, Powerade, Pete Moore Best and Less Specsavers, Curash, McDonalds (x2) , Subaru, Lester Jones Telstra, Australian Ballet Freedom Foods, Pepsi, Target Babies, Collider Patrick Fileti Lexus, NRMA Scott Otto Anderson Dulux, Mazda 3, CBA, Sydney Film Festival, Damon Cameron Gut Foundation, Big W Hyundai, Ajax Ben Briand Qantas Gary John Local Agent Finder, CBA, Avocados, Vaalia, Exit Darren Ashton Mello Yello, Ikea, P&O, Pet Barn Phil Joanou (US) Toyota hybrid Joel Nordstrom Vegemite Mike Daly Invocare Armand De Saint Salvy Holden The Sweetshop Kathi Prosser KFC,
    [Show full text]