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Bruce Beresford's Breaker Morant Re-Viewed
FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam. -
SOUTH AUSTRALIAN FILM CORPORATION BRG 276 Series 1-3 Special Lists ______
__________________________________________________________________ SOUTH AUSTRALIAN FILM CORPORATION BRG 276 Series 1-3 Special Lists __________________________________________________________________ SOUTH AUSTRALIAN FILM CORPORATION BRG 276 Series 1 Special list __________________________________________________________________ 1. Aarons Way 1.1 Pt 1 & 2 - Third Draft Revised Dec. 22 1986. 2. Australia 2.1 Screenplay - Provisional Title, June 1987. 2.2 Screenplay - Working Title, May 1988. 3. The Battlers 3.1 Screenplay - First Draft, Feb. 1989. 3.2 Screenplay - Second Draft, June 1989. 3.3 Screenplay - Third Draft, Aug. 1989. 3.4 Screenplay - Fourth Draft, March 1991. 3.5 Story for Mini Series - (Master Copy) Second Draft, Dec. 1988. 3.6 Story for Mini Series - 1988 3.7 Story for Mini Series - 1989 3.8 Mini Series - Second Draft (with added notes) 1989. 3.9 Mini Series - Third Draft, July 1989 3.10 Synopsis - Brief outline of story for the Mini Series. 4. Blue Fin 4.1 Screenplay - Third Draft. 4.2 Screenplay - Fourth & Final Draft. 4.3 Screenplay - May 3rd 1978. 4.4 Screenplay - Script for Rewrites, May 11th 1978 (short and long version). 4.5 Continuity Script. 4.6 Folder includes : Script notes, Revisions and Amendments, and correspondence from the S.A. Film Corporation. 4.7 Folder includes: Media Releases, Posters, Newsletters, Minutes regarding promotion of Blue Fin, the Project Blue Fin School Package and merchandising of Blue Fin products. 4.8 Synopsis - Brief outline of Story. 4.9 Production Notes - include Synopsis, Photo’s, Character Biographies and Newspaper clippings. 4.10 Trailer - TV Advertisement Script. 4.11 Shooting Script. 5. Breaker Morant 5.1 Script - First Draft by Michael Craig, Nov. -
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 -
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. -
Driving Miss Daisy
COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
E Office of the City Engineer Los Angeles
ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk- PAUL MAZURSKY RECOMMENDATIONS: A. That the City Council designate the unnumbered location situated one sidewalk square northerly of and between numbered locations 12H and 12h as shown on Sheet # 16 of Plan D-13788 for the Hollywood Walk of Fame for the installation of the name of Paul Mazursky at 6667 Hollywood Boulevard. B. Inform the Hollywood Chamber of Commerce of the Council's action on this matter. C. That this report be adopted prior to the date of the ceremony on December 13,2013. FISCAL IMPACT STATEMENT: No General Fund Impact. All cost paid by permittee. TRANSMITTALS: 1. Unnumbered communication dated November 5, 2013, from the Hollywood Historic Trust of the Hollywood Chamber of Commerce, biographical information and excerpts from the minutes of the Chamber's meeting with recommendations. City Council - 2- C. D. No. 13 DISCUSSION: The Walk of Fame Committee of the Hollywood Chamber of Commerce has submitted a request for insertion into the Hollywood Walk of Fame the name of Paul Mazursky. The ceremony is scheduled for Friday, December 13,2013 at 11:30 a.m. The communicant's request is in accordance with City Council action of October 18, 1978, under Council File No. 78-3949. Following the Council's action of approval, and upon proper application and payment of the required fee, an installation permit can be secured at 201 N. -
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. -
We See and All We Seem…” – Australian Cinema and National Landscape
“All we see and all we seem…” – Australian Cinema and National Landscape Nick Prescott Note: The paper as envisioned in this abstract may prove too large in scope to fit within the parameters of the symposium. If this is the case, I propose not to explore those films I have called “transitional” in detail, but to allude to them as significant texts that can be explored elsewhere. The central argument I am making in this paper is that Australian filmmakers’ uses of “landscape” have changed significantly since the mid-1970s, and that this change can be meaningfully described by looking at what characterised 1970s Australian films’ depictions of landscape and contrasting that with current stylistic trends. In this paper I will argue that Australian feature filmmakers’ uses and depictions of “the Australian landscape” in their cinema have undergone a striking and important transformation since the 1970s, and that this transformation, while reflecting a developing and modulating sense of Australian cultural identity, has also been crucially linked with changes and developments in the Australian film industry itself, changes which relate to Government investment initiatives, increasingly complex production and co-production strategies, and, more recently, off-shore production by major Hollywood studios. During the 1970s, following the confluence of numerous different factors, there was an extraordinary revival of Australian film. The graduation of the first group of students from the newly-created Australian Film, Television and Radio School (AFTRS), was one factor; students like Gillian Armstrong and Philip Noyce left their studies and began to work in the industry, and settled alongside filmmakers like Fred Schepisi, Bruce Beresford and Peter Weir, who had entered the industry in other ways. -
Filming Feminist Frontiers/Frontier Feminisms 1979-1993
FILMING FEMINIST FRONTIERS/FRONTIER FEMINISMS 1979-1993 KATHLEEN CUMMINS A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN WOMEN’S, FEMINIST AND GENDER STUDIES YORK UNIVERSITY TORONTO, ONTARIO November 2014 © Kathleen Cummins, 2014 ii ABSTRACT Filming Feminist Frontiers/Frontier Feminisms is a transnational qualitative study that examines ten landmark feature films directed by women that re-imagined the frontiers of Canada, Australia, New Zealand, and the U.S through a feminist lens. As feminist feature films they countered Eurocentric and masculinist myths of white settlement and expansionism in the grand narrative tradition. Produced between 1979 and 1993, these films reflect many of the key debates that animated feminist scholarship between 1970 and 1990. Frontier spaces are re-imagined as places where feminist identities can be forged outside white settler patriarchal constructs, debunking frontier myths embedded in frontier historiography and the Western. A central way these filmmakers debunked frontier myths was to push the boundaries of what constitutes a frontier. Despite their common aim to demystify dominant frontier myths, these films do not collectively form a coherent or monolithic feminist revisionist frontier. Instead, this body of work reflects and is marked by difference, although not in regard to nation or time periods. Rather the differences that emerge across this body of work reflect the differences within feminism itself. As a means of understanding these differences, this study examines these films through four central themes that were at the centre of feminist debates during the 1970s, 80s, and 90s. -
CV-Word 2017
GEOFFREY SIMPSON A.C.S. CINEMATOGRAPHER SYDNEY toptechniciansmanagementGroup +61 2 9958 1611 LA The Murtha Skouras Agency +1 310 395 4600 Feature film Credits + Short Films 2019 LONE WOLF Dir: Jonathan Ogilvie Future Pictures Australia 2017 SHANGHAI FORTRESS Dir: Hua-Tao Teng HS Entertainment China // Netflix 2017 FIGHTING SEASON Dir: Kate Woods + Ben C Lucas Goalpost Pictures Australia 2016 CARGO Dir: Yolanda Rampke+Ben Howling Causeway Films Australia 2016 PLEASE STAND BY Dir: Ben Lewin 2929 USA 2015 KILL YOUR DINNER Dir: Bryn Chainy Short Film Revolver Films 2015 WHOEVER WAS USING THIS BED Dir: Andrew Kotatko Short film Midnight Coffee Films Australia 2014 MONK COMES DOWN THE MOUNTAIN Dir: Chen Kaige New Classics Media/China 2013 KILL ME THREE TIMES Dir: Kriv Stenders KM3T Productions//Australia 2013 MY MISTRESS Dir: Stephen Lance My Mistress Films//Australia 2011 SATELLITE BOY Dir. Catriona McKenzie Satellite Films//Australia 2011 THE SESSIONS Dir. Ben Lewin US The Surrogate Pictures USA 2010 SLEEPING BEAUTY Dir. Julia Leigh Aust. Australian Academy Cinema Television Arts Cinematography Nomination Magic Films//Australia 2009 THE DRAGON PEARL Dir. Mario Andreacchio Heng Dien /AMPCO//Australia 2008 THE TENDER HOOK Australian Academy Cinema Television Arts Cinematography Nomination Dir: Jonathan Ogilvie Mandella Films//Australia 2007 THE STARTER WIFE Dir: Jon Avnet 6 x 1 Hour TV Series NBC Universal Television USA 2007 ROMULUS MY FATHER Australian Academy Cinema Television Arts Cinematography Nomination Dir: Richard Roxborgh Arena Films Australia 2005 THE LAST HOLIDAY Dir: Wayne Wang Paramount Pictures USA 2003 UNDER THE TUSCAN SUN Dir: Audrey Wells Touchstone Pictures USA 2002 BLACK AND WHITE Dir: Craig Lahiff B&W Productions Australia. -
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.