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Rats of Tobruk Head Credits
Chamun Productions present THE RATS OF TOBRUK Screen Play by Charles and Elsa Chauvel Copyright MCMXLIV An RKO Radio Pictures Release Title: This Picture has been made possible by the co-operation of the Australian Army and particularly by the special Army Detachments which gave such devoted service. Appreciation is also extended to The Royal Australian Navy - The Royal Australian Air Force and to the Department of Information. Photography George Heath Sound Jack Bruce L. J. Stuart Editing Gus Lowry Musical Direction Lindley Evans Associates Willie Redstone Charles MacKerras Settings Edmund Barrie Filmed at the studios of Commonwealth Film Laboratories Pty. Ltd. Panophonic Raycophone Recording - Australian made sound system - logo Special Designs Eric Thompson Assistants to Director Harry Freeman Roy Sebastian Unit Management George Barnes Commentary Written by Maxwell Dunn Extra Photography Army Film Unit Army Liaison Major G. K. Austin Asst. Army Liaison Lt. A. E. Dunbar, M.M. Lt. G. Woods Miss Garrick's Costumes Curzons Home Furnishings by Bebarfalds The Players: Grant Taylor Peter Finch Chips Rafferty Pauline Carrick Mary Gay and George Wallace Supported by Joe Valli John Sherwood Walter Pym Norman Blackler Gilbert Ellis Robert Carlyle Joe Anderson Toni Villa The incidents in this film are founded upon fact but the characters portrayed are fictitious. Produced and Directed by Charles Chauvel Rolling title (read by narrator): For eight months at Tobruk in 1941 fifteen thousand Australians and eight thousand British and Indian troops held a German army seven times their number and in seven times their armour. The Germans, understanding machines, but not these men, flung an insult to them in a name - "The Rats of Tobruk". -
Amazon Adventure 3D Press Kit
Amazon Adventure 3D Press Kit SK Films: Facebook/Instagram/Youtube: Amber Hawtin @AmazonAdventureFilm Director, Sales & Marketing Twitter: @SKFilms Phone: 416.367.0440 ext. 3033 Cell: 416.930.5524 Email: [email protected] Website: www.amazonadventurefilm.com 1 National Press Release: FOR IMMEDIATE RELEASE AMAZON ADVENTURE 3D BRINGS AN EPIC AND INSPIRATIONAL STORY SET IN THE HEART OF THE AMAZON RAINFOREST TO IMAX® SCREENS WITH ITS WORLD PREMIERE AT THE SMITHSONIAN’S NATIONAL MUSEUM OF NATURAL HISTORY ON APRIL 18th. April 2017 -- SK Films, an award-winning producer and distributor of natural history entertainment, and HHMI Tangled Bank Studios, the acclaimed film production unit of the Howard Hughes Medical Institute, announced today the IMAX/Giant Screen film AMAZON ADVENTURE will launch on April 18, 2017 at the World Premiere event at the Smithsonian’s National Museum of Natural History in Washington, D.C. The film traces the extraordinary journey of naturalist and explorer Henry Walter Bates - the most influential scientist you’ve never heard of – who provided “the beautiful proof” to Charles Darwin for his then controversial theory of natural selection, the scientific explanation for the development of life on Earth. As a young man, Bates risked his life for science during his 11-year expedition into the Amazon rainforest. AMAZON ADVENTURE is a compelling detective story of peril, perseverance and, ultimately, success, drawing audiences into the fascinating world of animal mimicry, the astonishing phenomenon where one animal adopts the look of another, gaining an advantage to survive. "The Giant Screen is the ideal format to take audiences to places that they might not normally go and to see amazing creatures they might not normally see,” said Executive Producer Jonathan Barker, CEO of SK Films. -
The Story of Aliko and Ambai
The Story of Aliko and Ambai: Cinema and Social Change in Papua New Guinea A project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Mark Asbury Eby Bachelor of Arts, PLNU, Master of Arts, UCLA School of Media and Communication College of Design and Social Context RMIT University June 2017 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the project is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Mark Asbury Eby 30 June 2017 ii The Story of Aliko and Ambai Cinema and Social Change In Papua New Guinea iii Acknowledgements I thank my senior supervisor, Professor Heather Horst, for supporting me through the writing process of this project. Heather has never wavered in her steady, measured, conscientious and thoughtful responses to the constant stream of writing I have created in regards to my film production practice over the last few years. My overly- narrative writing style may not have been the best fit for academia but Heather’s patience, good humour, monthly word quotas, and continued requests for more analysis and less description has guided me to the finish line. I also appreciate being mentored through the academic publishing process, resulting in a publication at the end of last year. -
Persistence of the Mythic Hero in American Cinema
Colloquium: A Journal of the Arts Department (ISSN 2350-1251), Volume 5, 2018 URL of the Issue: http://colloquium.bescollege.net/V5 PDF URL: http://colloquium.bescollege.net/V5/v502.pdf Tales of violence and revival: Persistence of the mythic hero in American cinema Arup Ratan Samajdar College Whole Time Lecturer, Department of Film Studies, The Bhawanipur Education Society College When James Mangold’s Logan released in 2017, it was a highly anticipated superhero film.1 While the film was all set to become a landmark in the superhero genre, as soon as it opened in theatres, fans and critics immediately noted how far removed the film was from the usual superhero fanfare and how closely it resonated with westerns. In one of the earliest reviews, Peter Travers noted, “Logan has the shape of a classic western. Shane is directly referenced in one scene and the elegiac tone of the film recalls Clint Eastwood's Oscar-winning Unforgiven”.2 While Travers might have just scratched the surface, given the limited scope and immediacy of a review, Logan shares far deeper bonds with westerns than just familiar plotlines and iconographies. To understand the structural similarities which impart the film its identity as a western, one must go back to the most fundamental facets of the genre, namely the frontier myth and the notion of the mythic hero and address one of the foremost preoccupations of westerns, idea of masculinity. American West(ern): From history to myth "When the legend becomes fact, print the legend." - The Man Who Shot Liberty Valance (John Ford, 1962) The western has not only been the most distinctive genre in the American studio system but also a quintessential American institution. -
CONSIGNES Semaine Du 23 Au 27 Mars Travail À Faire Sur La
CONSIGNES Semaine du 23 au 27 mars Travail à faire sur la thématique des films Pour suivre le cours de cette semaine voici les étapes à suivre : 1- D’abord, vous lisez attentivement la trace écrite en page 2 puis vous la recopiez dans votre cahier. 2- Ensuite, vous compléter au crayon à papier la fiche en page 3. Pour faire cela, vous devez d’abord lire toutes les phrases à trou puis lire chaque proposition et ensuite essayez de compléter les trous. 3- Pour terminer, vous faites votre autocorrection grâce au corrigé qui se trouve en page 4 1 Monday, March 23rd Objectif : Parler des films Film vocabulary I know (vocabulaire de film que je connais) : - film (UK) / movie (USA) - actor = acteur / actress = actrice - a trailer = une bande annonce - a character = un personnage 1. Different types of films - Activity 2 a 1 page 66 (read, listen and translate the film types) An action film = un film d’action / a comedy = une comédie / a drama = un drame / an adventure film = un film d’aventure / an animation film = un film d’animation = un dessin animé / a fantasy film = un film fantastique / a musical = une comédie musicale/ a spy film = un film espionnage / a horror film = un film d’horreur / a science fiction film = un film de science fiction. - Activity 2 a 2 page 66 (listen to the film critic and classify the films) Johnny English Frankenweenie The Hobbit Les Misérables The Star Wars Reborn (French) series - A comedy, - An animation - A fantasy film - a musical - the series are film, science fiction - An action film - an adventure - a drama films and and - A comedy and film - adventure films - A spy film - A horror film 2. -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
2020 Yearbook
-2020- CONTENTS 03. 12. Chair’s Message 2021 Scholarship & Mentoring Program | Tier 2 & Tier 3 04. 13. 2020 Inductees Vale 06. 14. 2020 Legend of Australian Sport Sport Australia Hall of Fame Legends 08. 15. The Don Award 2020 Sport Australia Hall of Fame Members 10. 16. 2021 Scholarship & Mentoring Program | Tier 1 Partner & Sponsors 04. 06. 08. 10. Picture credits: ASBK, Delly Carr/Swimming Australia, European Judo Union, FIBA, Getty Images, Golf Australia, Jon Hewson, Jordan Riddle Photography, Rugby Australia, OIS, OWIA Hocking, Rowing Australia, Sean Harlen, Sean McParland, SportsPics CHAIR’S MESSAGE 2020 has been a year like no other. of Australian Sport. Again, we pivoted and The bushfires and COVID-19 have been major delivered a virtual event. disrupters and I’m proud of the way our team has been able to adapt to new and challenging Our Scholarship & Mentoring Program has working conditions. expanded from five to 32 Scholarships. Six Tier 1 recipients have been aligned with a Most impressive was their ability to transition Member as their Mentor and I recognise these our Induction and Awards Program to prime inspirational partnerships. Ten Tier 2 recipients time, free-to-air television. The 2020 SAHOF and 16 Tier 3 recipients make this program one Program aired nationally on 7mate reaching of the finest in the land. over 136,000 viewers. Although we could not celebrate in person, the Seven Network The Melbourne Cricket Club is to be assembled a treasure trove of Australian congratulated on the award-winning Australian sporting greatness. Sports Museum. Our new SAHOF exhibition is outstanding and I encourage all Members and There is no greater roll call of Australian sport Australian sports fans to make sure they visit stars than the Sport Australia Hall of Fame. -
Von Wildgänsen Und Pmcs
Von Wildgänsen und PMCs. Der Wandel in der gesellschaftlichen Wahrnehmung von Söldnern in Film und Fernsehen. Dissertation zur Erlangung des Doktorgrades der Philosophie an der Karl-Franzens-Universität Graz Eingereicht von David Christopher Jaklin, Mag. phil. am Institut für Geschichte Erstbegutachter: Dieter-Anton Binder, Ao. Univ.-Prof. Dr.phil. tit. Univ.-Prof. Zweitbegutachter: Helmut Konrad, O.Univ.-Prof. Dr.phil. Dr.h.c. 2017 2 Inhaltsverzeichnis Vorwort 5 I. Einleitung 6 A. Vorgehensweise 8 B. Aufbau der Arbeit 9 C. Verwendete Quellen und Literatur 10 II. Die Problematik der Terminologie 13 D. Definitions- und Differenzierungsversuche 14 1. Völkerrecht und internationale Organisationen 14 2. Die Problembeurteilung des UN Special Rapporteur on the use of mercenaries 19 E. Wissenschaftlicher Diskurs – ein Abwägen der Grauzonen 19 1. Differenzierung von Söldnern und PMCs 19 2. Das Artikulieren der definitorischen Grauzonen 21 3. Tim Spicer – aus den Augen und dem Mund eines Beteiligten 22 4. Die Rückkehr zum alten Söldnerbegriff 23 5. Die moralische Bewertung der “Söldner” 24 F. Exkurs: Die historische Genese der Söldner 25 1. Die Condottieri 26 2. Die Reisläufer 28 3. Die Landsknechte 29 4. Der Krieg im Wandel – der 30-jährige Krieg als Zäsur 29 G. Zwischenfazit – Das Spannungsfeld der Definition 31 H. Die für diese Arbeit verwendete Definition 33 I. Vorgehensweise und Methode 33 J. Forschungsfragen 37 III. Narrative und Stereotypen 38 K. Die weißen Söldner 40 1. Dark of the Sun – The Mercenaries – Katanga 42 2. The Wild Geese und Daniel Carneys Blick auf die Weißen Söldner seiner Zeit 49 3. The Dogs of War und Frederick Forsyths Beitrag zum Genre 56 4. -
Newsletter December 2018
Est. May 1979 The Oaks Historical Society Inc. 43 Edward St The Oaks 2570 (PO Box 6016) T: (02) 4657 1796 Newsletter E: [email protected] DECEMBER 2018 www.wollondillymuseum.org.au In 1947 when Eileen Holohan (O’Brien) was just 18, she Chips Rafferty’s real name was John William Pilbean met movie star, Chips Rafferty. The photo shows her Goffage, born 26 March 1909 at Broken Hill. He died of face alight with admiration for the very tall Chips Raf- a heart attack at 62 in Sydney. ferty. She probably met him at a dinner dance following Sadly we lost Eileen O’Brien recently. Eileen lived at her completion of the film. The movie, A Bush Christmas, Moore Park property in Burragorang until being forced featured him in a villainous role when he played a horse from her Valley thief tracked by five kids spending Christmas in the home in the fifties Blue Mountains and the beautiful Burragorang Valley. when it was cleared The film opened in Sydney in December 1947 and ran and flooded, some- for eight weeks. Writer and director Ralph Smart, thing she always although born in Britain (to Australian parents), had resented. worked in Australia from 1940-45 making shorts for the Department of Information and Royal Australian Air Force. The film offered many exotic and curious Eileen is pictured with elements for British children. Aboriginal actor Neza one of the ponies she was so fond of. Saunders, did a great job in showing the children how to find and cook bush food. -
Boxing, Governance and Western Law
An Outlaw Practice: Boxing, Governance and Western Law Ian J*M. Warren A Thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy School of Human Movement, Performance and Recreation Victoria University 2005 FTS THESIS 344.099 WAR 30001008090740 Warren, Ian J. M An outlaw practice : boxing, governance and western law Abstract This investigation examines the uses of Western law to regulate and at times outlaw the sport of boxing. Drawing on a primary sample of two hundred and one reported judicial decisions canvassing the breadth of recognised legal categories, and an allied range fight lore supporting, opposing or critically reviewing the sport's development since the beginning of the nineteenth century, discernible evolutionary trends in Western law, language and modern sport are identified. Emphasis is placed on prominent intersections between public and private legal rules, their enforcement, paternalism and various evolutionary developments in fight culture in recorded English, New Zealand, United States, Australian and Canadian sources. Fower, governance and regulation are explored alongside pertinent ethical, literary and medical debates spanning two hundred years of Western boxing history. & Acknowledgements and Declaration This has been a very solitary endeavour. Thanks are extended to: The School of HMFR and the PGRU @ VU for complete support throughout; Tanuny Gurvits for her sharing final submission angst: best of sporting luck; Feter Mewett, Bob Petersen, Dr Danielle Tyson & Dr Steve Tudor; -
The Representation of Suicide in the Cinema
The Representation of Suicide in the Cinema John Saddington Submitted for the degree of PhD University of York Department of Sociology September 2010 Abstract This study examines representations of suicide in film. Based upon original research cataloguing 350 films it considers the ways in which suicide is portrayed and considers this in relation to gender conventions and cinematic traditions. The thesis is split into two sections, one which considers wider themes relating to suicide and film and a second which considers a number of exemplary films. Part I discusses the wider literature associated with scholarly approaches to the study of both suicide and gender. This is followed by quantitative analysis of the representation of suicide in films, allowing important trends to be identified, especially in relation to gender, changes over time and the method of suicide. In Part II, themes identified within the literature review and the data are explored further in relation to detailed exemplary film analyses. Six films have been chosen: Le Feu Fol/et (1963), Leaving Las Vegas (1995), The Killers (1946 and 1964), The Hustler (1961) and The Virgin Suicides (1999). These films are considered in three chapters which exemplify different ways that suicide is constructed. Chapters 4 and 5 explore the two categories that I have developed to differentiate the reasons why film characters commit suicide. These are Melancholic Suicide, which focuses on a fundamentally "internal" and often iII understood motivation, for example depression or long term illness; and Occasioned Suicide, where there is an "external" motivation for which the narrative provides apparently intelligible explanations, for instance where a character is seen to be in danger or to be suffering from feelings of guilt. -
I Certify That the Thesis Entitled Twisted Things
I certify that the thesis entitled Twisted Things: Playing with Time submitted for the degree of Doctor of Philosophy is the result of my own work and that where reference is made to the work of others, due acknowledgment is given. I also certify that any material in the thesis which has been accepted for a degree or diploma by any university or institution is identified in the text. ʹI certify that I am the student named below and that the information provided in the form is correctʹ Full Name: Virginia Stewart Murray Signed ..................................................................................…….… Date .................................................................................…….…… Twisted Things: Playing with Time by Virginia Stewart Murray (BA Dip Ed) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University January 2012 Table of Contents Volume One Creative Component Introduction to Thesis 1 Preface: Neither Fish nor Fowl 3 TWISTED THINGS 7 Volume Two Exegesis Playing with time: an exegesis in three chapters Introduction 127 Chapter One: On the Beach: A Contextual History Part 1 141 Part II 158 Chapter 2: Glamour and Celebrity: 1950s Australian Style 172 Chapter 3: The Role of the Unconscious: Playing with Time in Film 236 Camera Consciousness and Reterritorialisation in 12 Monkeys 249 Sheets of the Past in Jacob’s Ladder 257 Incompossible Worlds in Donnie Darko 264 Suddenly Thirty and the Peaks of the Present 269 Conclusion 280 Works Cited 287 Filmography 299 Works Consulted