DOCSLIB.ORG

Bibliography General References Adams, Alice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 bibliography general references Adams, Alice. 'Maternal Bonds: Recent Literature on Mothering'. Signs: Journal of Women in Culture and Society, volume 20, number 2, Winter 1995, pp. 414-27. Adler, Dan L. 'Matriduxy in the Australian Family', in A.F. Davies & S. Encel, (eds). Australian Society: A Sociological Introduction. Pall Mall, London, 1965, pp. 149-55. Alexander, Sally. Becoming a Woman and Other Essays in 19th and 20th Century Feminist History. Virago, London, 1994. Allen, J. 'Octavius Beale re-considered: Infanticide, baby farming and abortion in NSW 1880-1939', in Sydney Labour History Group, What Rough Beast? The State and Social Order in Australian History. George Allen & Unwin, Sydney, 1982, pp. 111-29. Alysen, Barbara, 'Australian Women in Films', in A. Moran & T. O'Regan, (eds). An Australian Film Reader. Currency, Sydney, 1985, pp. 302-13. Ambert, Anne-Marie. The Effect of Children on Parents. Haworth Press, NY, 1992. Anderson, Robyn, & Sue Adler. 'Jim Sharman'. Cinema Papers 20, March/April 1979, pp. 268-71. Appignanesi, Lisa, & John Forrester. Freud's Women. Virago, London, 1993. Arcana, Judith. Our Mother's Daughters. The Women's Press, London, 1984, (1979). Aspin, L.J. The Family: An Australian Focus. Longman Cheshire, Melbourne, 1987, (1982). Attwood, Alan. 'Girls Just Wanna be Mums'. Sydney Morning Herald, 23 February 1998, p. 11. Auerbach, Nina. Woman and the Demon: The Life of a Victorian Myth. Harvard University Press, Cambridge, Massachusetts, 1982. Aveling, Marian, & Joy Damousi. Stepping Out of History: Documents of Women at Work in Australia. Allen & Unwin, Sydney, 1991. Backett, Kathryn C. Mother and Fathers: A Study of the Development and Negotiation of Parental Behaviour. Macmillan, London, 1982. Badinter, Elizabeth. The Myth of Motherhood: An Historical View of the Maternal Instinct. Souvenir Press, London, 1981. Bail, Kathy. 'Fringe Benefits'. Cinema Papers 58, July, 1986. pp. 14-17. Barlow, Helen. 'Hightide' [rev. art.], in S. Murray (ed.). Australian Film, 1978-1992: A Survey of Theatrical Features. Oxford University Press/AFC and Cinema Papers, South Melbourne, 1993. Barnett, Rosalind C., Nazli Kibria, Grace K. Baruch & Joseph H. Pleck. 'Adult Daughter-Parent Relationships and their Associations with Daughters' Subjective Well-Being and Psychological Distress'. Journal of Marriage and the Family 53, February 1991, pp. 29-42. Bart, Pauline. 'Review of Chodorow's Reproduction of Mothering', in J. Trebilcot, (ed.). Mothering: Essays in Feminist Theory. Rowman & Allanheld, Totowa, NJ, 1984, pp. 147-52. Basow, Susan. Gender Stereotypes and Roles. Third Edition, Brooks/Cole, Pacific Grove, California, 1992, (1980). Bassin, Donna, Margaret Honey & Meryle Mahrer Kaplan. Representations of Motherhood. Yale University Press, New Haven, 1994. 2 Baxter, John. 'Hightide', [rev. art.]. Cinema Papers 65, September 1987, p 45. Beauvoir, Simone de. The Second Sex. Translated and edited by H.M. Parshley, Landsborough, London, 1960, (1949). Benjamin, Jessica. The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination. Pantheon, NY, 1988. ——. 'The Omnipotent Mother', in D. Bassin, M. Honey & M.M. Kaplan (eds). Representations of Motherhood. Yale University Press, New Haven, 1994, pp. 129-46. Berg, Rigmor. 'Sexuality: Why do women come off second best?', in N. Grieve & A. Burns, (eds). Australian Women New Feminist Perspectives. Oxford University Press, Melbourne, 1990, (1986), pp. 155-70. Bernard, Jessie. The Future of Motherhood. Dial Press, NY, 1974. Berryman, Ken. Focus on Reel Australia: A Collection of Early Australian Feature Films. The Australia Council of Government Film Libraries/NFSA, Hendon, SA, 1990. Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Penguin, London, 1982, (1976). Blackburn, Jean, & Thelma Jackson, (eds). Australian Wives Today. Victorian Fabian Society, Melbourne, 1963. Blaetz, Robin. 'In Search of the Mother Tongue: Childbirth and the cinema'. The Velvet Light Trap: Review of Cinema 29, Spring 1992, pp. 15-20. Block, Joyce. Motherhood as Metamorphosis: Change and Continuity in the Life of a New Mother. Dutton, NY, 1990. Blonski, Annette, & Freda Freiberg. 'Double Trouble: Women's Films' in A. Moran & T. O'Regan, (eds). The Australian Screen. Penguin, Ringwood, Victoria, 1989, pp. 191-215. Bordwell, David, & Kristin Thompson. Film Art: An Introduction. Third Edition, McGraw-Hill, NY, 1990, (1979). Bowlby, John. Child Care and the Growth of Love. Second Edition, Penguin, Harmondsworth, Middlesex, 1974, (1953). Boyd, Carol J. 'Mothers and Daughters: A Discussion of Theory and Research'. Journal of Marriage and the Family 51, May 1989, pp. 291-301. Breen, Dana. The Birth of a First Child: Toward an Understanding of Femininity. Tavistock, London, 1975. Brown, Stephanie, Rhonda Small & Judith Lumley. 'Troubled Thoughts on Being a "Good" Mother', in S. Brown, J. Lumley, R. Small & J. Astbury, (eds). Missing Voices: The Experience of Motherhood. Oxford University Press, Melbourne, 1994, pp. 139-60. Brown, Suzanne. 'Bushfire Moon', [rev. art.] in S. Murray, (ed.). Australian Film 1978-1992: A Survey of Theatrical Features. Oxford University Press/AFC and Cinema Papers, South Melbourne, 1993. Bryson, Lois. 'The Australian Patriarchal Family', in S. Encel, M. Barry, L. Bryson, M. de Lepervanche, T. Rowse & A. Moran, (eds). Australian Society: Introductory Essays. Fourth Edition, Longman Cheshire, 1990, (1984), pp. 113-69. Bundtzen, Lynda K. 'Monstrous Mothers: Medusa, Grendel, and now Alien'. Film Quarterly, volume XL, number 3, Spring 1987, pp. 11-17. Byrnes, Paul. 'Fran', [rev. art.]. Cinema Papers 55, January 1986, p. 62. 3 Caine, Barbara & Rosemary Pringle, (eds). Transitions: New Australian Feminisms. Allen & Unwin, St Leonards, 1995. Cameron, Barbara. 'The flappers and the feminists: A study of women's emancipation in the 1920s', in M. Bevege, M. James & C. Shute, (eds). Worth Her Salt: Women at Work in Australia. Hale & Iremonger, Sydney, 1982, pp. 257-69. Caplan, Paula J. Don't Blame Mother: Mending the Mother-Daughter Relationship. Harper & Row, NY, 1986. Carlsson, Susanne Chauvel. Charles and Elsa Chauvel: Movie Pioneers. University of Queensland Press, St. Lucia, Queensland, 1989. Carroll, John, (ed.). Intruders in the Bush: The Australian Quest for Identity. Oxford University Press, Melbourne, 1982. Chodorow, Nancy, & Susan Contratto. 'The Fantasy of the Perfect Mother', in B. Thorne & M. Yalom, (eds). Rethinking the Family: Some Feminist Questions. Longman, NY, 1982, pp. 54-75. Chodorow, Nancy. 'Family Structure and Feminine Personality', in M.Z. Rosaldo & L. Lamphere, (eds). Woman, Culture, and Society. Stanford University Press, Stanford, California, 1974, pp. 43-66. ——. The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender. University of California Press, Berkeley, 1978a. ——. 'Mothering, Object-Relations, and the Female Oedipal Configuration'. Feminist Studies, volume 4, number 1, February 1978b, pp. 137-58. ——. 'Reply: On The Reproduction of Mothering: A Methodological Debate'. Signs: Journal of Women in Culture and Society, volume 6, number 3, Spring 1981, pp. 500-14. ——. Feminism and Psychoanalytic Theory. Yale University Press, New Haven, Connecticut, 1989. Clark, Charles Manning Hope. A History of Australia III, The Beginning of an Australian Civilization 1824-1851. Melbourne University Press, Carlton, Victoria, 1973. Coelho, Paulo. By the River Piedra I Sat Down and Wept. Translated by Alan R. Clarke, Harper Collins, Sydney, 1996. Coleman, Peter. Bruce Beresford: Instincts of the Heart. Angus & Robertson, Sydney, 1992. Collins, Felicity. 'Bad mother lost child to hungry wolf'. Cinema Papers 71, January 1989, p. 56. Connell, W.F. et al., Growing Up in an Australian City: A Study of Adolescents in Sydney. Australian Council for Educational Research, Melbourne, 1966, (1957). Coward, Rosalind. Our Treacherous Hearts: Why Women Let Men Get Their Way. Faber & Faber, London, 1992. Cox, Eva. 'Beware the Call of Nature'. Social Alternatives, volume 1, number 3, 1978, pp. 69-73. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. Routledge, London, 1993. Crouch, Mira, & Lenore Manderson. New Motherhood: Cultural and Personal Transitions in the 1980s. Gordon and Breach, Yverdon, Switzerland, 1993. Cunningham, Stuart. Featuring Australia: The Cinema of Charles Chauvel. Allen & Unwin, Sydney, 1991. Curthoys, Ann. 'Men and Children in the Feminist Utopia'. Refractory Girl: A Journal of Radical Feminist Thought 10, March 1976, pp. 3-5. 4 ——. 'Australian Feminism since 1970', in N. Grieve & A. Burns, (eds). Australian Women: Contemporary Feminist Thought. Oxford University Press, Melbourne, 1994, pp. 14-28. Daniels, Kay, & Mary Murnane. Australia's Women: A Documentary History. University of Queensland Press, St. Lucia, Queensland, 1989. Davidson, Alastair. From Subject to Citizen: Australian Citizenship in the Twentieth Century. Cambridge University Press, Cambridge, 1977. Davis, Elizabeth Gould. The First Sex. Penguin, London, 1971. Dermody, Susan, & Elizabeth Jacka. The Screening of Australia: Anatomy of a National Cinema. Volume Two, Currency Press, Sydney, 1988. Dermody, Susan. 'Journey Among Women', [rev. art.]. Cinema Papers 14, October 1977, pp. 173-4. ——. 'Two Remakes: Ideologies of film production 1919-1932' in S. Dermody, J. Docker & D. Modjeska, (eds). Nellie Melba, Ginger Meggs and Friends: Essays in Australian Cultural History. Kibble, Malmsbury, Victoria, 1982, pp. 33-59.
Recommended publications
  • Particpant Bios

    Particpant Bios

    CAAP Artist Lab Participants BIOGRAPHIES LENA CRUZ Lena is a graduate of the Western Australian Academy of Performing Arts. Theatre highlights include her debut as Jenny in The Threepenny Opera for Western Australian Opera, Lady Macbeth in Macbeth for Bell Shakespeare, Mother Courage for Belvoir, Monkey- Journey to the West for Theatre of Image, Miss Bell in Fame, Hair, and creating the role of Cynthia in the original production of Priscilla, Queen of the Desert the Musical. Most recently, she has appeared in STC’s The Wharf Revue. Film and television highlights include starring as Rory Van Dyke in The Wannabes, Margarita in The Night We Called it A Day, Cassandra in Upskirt, Sofia Martinez in Shortland Street, Pet in Bargain Coast, Jody Lim in Dirt Game, Comedy Inc, Watch With Mother, All Saints, The Very Trevor Ashley Show, and Kiki and Kitty. She has co- written and co-starred in the cabarets The Singer’s Guide To The Universe, About Face, and one-woman shows I’m A Stranger Here Myself directed by Tony Sheldon and Bitter Sweet, for which she was nominated for the Sydney Fringe Festival Drum Media Show-Stopping Individual Performance Award and the Best Of People’s Choice Award. HAPPY FERAREN Happy Feraren is a Filipino actor and improviser based in Sydney with 11 years experience. She has performed in over 500 shows in a wide range of improvisational theatre formats both locally and internationally (including Manila, Sydney, Hong Kong, Amsterdam, Chicago and New York). In the Philippines, she began as a presenter for national radio and television as well as live events and was a supporting actor in the feature film ‘My Candidate’.
  • A STUDY GUIDE by Katy Marriner

    A STUDY GUIDE by Katy Marriner

    © ATOM 2012 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN 978-1-74295-267-3 http://www.theeducationshop.com.au Raising the Curtain is a three-part television series celebrating the history of Australian theatre. ANDREW SAW, DIRECTOR ANDREW UPTON Commissioned by Studio, the series tells the story of how Australia has entertained and been entertained. From the entrepreneurial risk-takers that brought the first Australian plays to life, to the struggle to define an Australian voice on the worldwide stage, Raising the Curtain is an in-depth exploration of all that has JULIA PETERS, EXECUTIVE PRODUCER ALINE JACQUES, SERIES PRODUCER made Australian theatre what it is today. students undertaking Drama, English, » NEIL ARMFIELD is a director of Curriculum links History, Media and Theatre Studies. theatre, film and opera. He was appointed an Officer of the Order Studying theatre history and current In completing the tasks, students will of Australia for service to the arts, trends, allows students to engage have demonstrated the ability to: nationally and internationally, as a with theatre culture and develop an - discuss the historical, social and director of theatre, opera and film, appreciation for theatre as an art form. cultural significance of Australian and as a promoter of innovative Raising the Curtain offers students theatre; Australian productions including an opportunity to study: the nature, - observe, experience and write Australian Indigenous drama. diversity and characteristics of theatre about Australian theatre in an » MICHELLE ARROW is a historian, as an art form; how a country’s theatre analytical, critical and reflective writer, teacher and television pre- reflects and shape a sense of na- manner; senter.
  • The Rocky Horror Picture Show Movie Script Prepared and Edited By

    The Rocky Horror Picture Show Movie Script Prepared and Edited By

    The Rocky Horror Picture Show Movie Script Prepared and Edited by: George Burgyan ([email protected]) July 5 1993 The Rocky Horror Picture Show Movie Script HTTP://COPIONI.CORRIERESPETTACOLO.IT Cast: Dr. Frank-n-Furter (a scientist) Tim Curry Janet Weiss (a heroine) Susan Sarandon Brad Majors (a hero) Barry Bostwick Riff Raff (a handyman) Richard O'Brien Magenta (a domestic) Patricia Quinn Columbia (a groupie) Little Nell (Laura Campbell) Dr. Everett V. Scott (a rival scientist) Jonathan Adams Rocky Horror (a creation) Peter Hinwood Eddie (ex-delivery boy) Meat Loaf The Criminologist (Narrator) (an expert) Charles Gray The Transylvanians: Perry Bedden Fran Fullenwider Christopher Biggins Lindsay Ingram Gayle Brown Penny Ledger Ishaq Bux Annabelle Leventon Stephen Calcutt Anthony Milner Hugh Cecil Pamela Obermeyer Imogen Claire Tony Then Rufus Collins Kimi Wong Sadie Corre Henry Woolf Props: Rice Bouquet Rings Newspaper (preferred: Plain Dealer) Water (squirt gun, or whatever) Matches (failing which, another source of light) Doughnut / Bagel Rubber Gloves Noisemaker Confetti (torn newspapers work well) Toilet Paper (preferred: Scott brand) Paper Airplanes Toast Party Hat Bell Cards Credits (other than actors) Original Musical Play and Lyrics by Richard O'Brien { "Dick number one!" } Screenplay Jim Sharman Richard O'Brien { "Dick number two!" } Musical Direction and Arrangements Richard Hartley { "Dick number three!" } Director of Photography Peter Suschitzley { "What did they do?" } Film and Music Editor Graeme Clifford{"They creamed Clifford!"}
  • Fremantle Prison Australian History Curriculum Links

    Fremantle Prison Australian History Curriculum Links

    AUSTRALIAN HISTORY CURRICULUM @ FREMANTLE PRISON LINKS FOR YEAR 9 FREMANTLE PRISON AUSTRALIAN HISTORY CURRICULUM LINKS FOR YEAR 9 THE MAKING OF THE MODERN WORLD – MOVEMENT OF PEOPLES 1 AUSTRALIAN HISTORY CURRICULUM @ FREMANTLE PRISON LINKS FOR YEAR 9 CONTENTS Fremantle Prison 3 Curriculum Links 4 Historical Inquiry 6 Planning a School Excursion 8 Suggested Pre‐Visit Activity 11 Suggested Post‐Visit Activity 13 Historical Overview – Convict and Colonial Era 14 2 AUSTRALIAN HISTORY CURRICULUM @ FREMANTLE PRISON LINKS FOR YEAR 9 FREMANTLE PRISON In 2010 Fremantle Prison, along with 10 other historic convict sites around Australia, was placed on the World Heritage Register for places of universal significance. Collectively known as the Australian Convict Sites these places tell the story of the colonisation of Australia and the building of a nation. Fremantle Prison is Western Australia’s most important historical site. As a World Heritage Site, Fremantle Prison is recognised as having the same level of cultural significance as other iconic sites such as the Pyramids of Egypt, the Great Wall of China, or the Historic Centre of Rome. For 136 years between 1855 and 1991 Fremantle Prison was continuously occupied by prisoners. Convicts built the Prison between 1851 and 1859. Initially called the Convict Establishment, Fremantle Prison held male prisoners of the British Government transported to Western Australia. After 1886 Fremantle Prison became the colony’s main place of incarceration for men, women and juveniles. Fremantle Prison itself was finally decommissioned in November 1991 when its male prisoners were transferred to the new maximum security prison at Casuarina. Fremantle Prison was a brutal place of violent punishments such as floggings and hangings.
  • Women in Colonial Commerce 1817-1820: the Window of Understanding Provided by the Bank of New South Wales Ledger and Minute Books

    Women in Colonial Commerce 1817-1820: the Window of Understanding Provided by the Bank of New South Wales Ledger and Minute Books

    WOMEN IN COLONIAL COMMERCE 1817-1820: THE WINDOW OF UNDERSTANDING PROVIDED BY THE BANK OF NEW SOUTH WALES LEDGER AND MINUTE BOOKS Leanne Johns A thesis presented for the degree of Master of Philosophy at the Australian National University, Canberra August 2001 DECLARATION I certify that this thesis is my own work. To the best of my knowledge and belief it does not contain any material previously published or written by another person where due reference is not made in the text. ACKNOWLEDGEMENTS I acknowledge a huge debt of gratitude to my principal supervisor, Professor Russell Craig, for his inspiration and encouragement throughout the writing of this thesis. He gave insightful and expert advice, reassurance when I needed it most, and above all, never lost faith in me. Few supervisors can have been so generous with their time and so unfailing in their support. I also thank sincerely Professor Simon Ville and Dr. Sarah Jenkins for their measured and sage advice. It always came at the right point in the thesis and often helped me through a difficult patch. Westpac Historical Services archivists were extremely positive and supportive of my task. I am grateful to them for the assistance they so generously gave and for allowing me to peruse and handle their priceless treasures. This thesis would not have been possible without their cooperation. To my family, who were ever enthusiastic about my project and who always encouraged and championed me, I offer my thanks and my love. Finally, this thesis is dedicated to the thousands of colonial women who endured privations, sufferings and loneliness with indomitable courage.
  • 'I'll Tell My Mother': Dorothy Hewett And

    'I'll Tell My Mother': Dorothy Hewett And

    ‘I’ll Tell My Mother’: Dorothy Hewett and Literary Feminism after #Metoo Dorothy Green Lecture, July 2020 NICOLE MOORE UNIVERSITY OF NEW SOUTH WALES I start by acknowledging and offering my thanks to the Ngunnawal people, on whose land I live and work. Their generosity seeks to keep those of us who live in the ‘Canberra bubble’ safe and educated about the land we occupy. I pay tribute to Elders past, present and emerging, and also to any First Nations people present for the initial online video delivery of this essay, in July 2020, including members of the Association for the Study of Australian Literature. When my colleague Paul Eggert retired from the University of New South Wales in Canberra, he passed on a portrait of the writer and critic Dorothy Auchterlonie Green that now hangs on my office wall. Paul was briefly a colleague of hers in the English discipline here and she is now a ghostly colleague of mine. In formulating this lecture in her name, I thought of her while we fight the same fights she fought—about the worth of literature and the humanities in contemporary education, now under multiform threat; about the uses of Australian literature, identified as such, in thinking and as thinking about the world. I thought about her involvement in the Vietnam moratorium marches and anti-nuclear protest, including protests at the Australian War Memorial against Australian involvement in what was argued to be Cold War aggression in South East Asia and even an imperial war. Anti-war protests, as well as protests calling for the inclusion of the Frontier Wars in AWM and ANZAC memorialisation, are now no longer allowed on any sites close to that institution.
  • 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 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
  • Stir Music Credits

    Stir Music Credits

    Music Cameron Allan music conductor Chris Nichols Cameron Allan is an under-rated composer who began working during the Australian revival (and often working with Chris Nichols as conductor, though Nichols is credited as Nicolls on Jim Sharman's adaptation of Patrick White's The Night the Prowler). Allan was inclined to the "less is more" style of screen music, in contrast to say Brian May's notion of "more can never be enough, more please" style. Allan was also inclined to exotic instrumentation suggesting Asian influences. Both tendencies can be seen in his work for Stir, and it has a moderating influence on any tendency to drift towards melodrama. Ben Goldsmith made these astute comments on use of music in the film: The use of music … throughout the film is … noteworthy. Music is rare in the film, but it is used extremely effectively. It is heard for the first time at the end of this scene (the opening stylised sequence shot with a blue filter) providing a bridge to the title sequence that follows. Cameron Allan's score is minimalist in style, consisting solely of short repeated phrases, often only one or two notes, on pizzicato strings or piano, often accompanied by a variety of percussion instruments - chimes, wooden blocks, rattles - suggesting the characteristic soundscape of the institution: the ominous, oppressive rhythm of officers' footsteps along cell block corridors, bolts clanging, keys jangling, doors slamming, sirens wailing. It is not until the end credit sequence that the music comes anywhere near a pleasant melody, but even here the piano is hesitant, with notes allowed to reverberate as we contemplate the rioters' fate.
  • The Rocky Horror Show

    The Rocky Horror Show

    The Rocky Horror Show This article is about the musical. For its motion picture Rocky Horror Show to keep himself busy on winter adaptation, see The Rocky Horror Picture Show. evenings. Since his youth, O'Brien had developed a pas- sion for science fiction and B horror movies; he wanted to The Rocky Horror Show is a musical with music, lyrics combine elements of the unintentional humour of B hor- ror movies, portentous dialogue of schlock-horror, Steve and a book by Richard O'Brien. A humorous tribute to the science fiction and horror B movies of the late 1940s Reeves muscle flicks and fifties rock and roll into The .[2] A major theme running through- through to the early 1970s, the musical tells the story of a Rocky Horror Show newly engaged couple getting caught in a storm and com- out the musical is transvestitism, which according to ing to the home of a mad transvestite scientist unveiling O'Brien was not originally meant to be as prominent as his new creation, a muscle man named Rocky Horror. it would end up being. Produced and directed by Jim Sharman, the original Lon- O'Brien took a small amount of his unfinished Rocky don production of the musical premiered at the Royal Horror to Australian director Jim Sharman, who de- Court Theatre (Upstairs) on 19 June 1973 before mov- cided he wanted to direct it at the small experimental ing to several other locations in London and closing on space Upstairs at the Royal Court Theatre, Sloane Square, Chelsea, London, which was used as a project space for 13 September 1980, running for a total of 2,960 perfor- [3] mances and winning the 1973 Evening Standard Theatre new work.
  • Australian Cinema Umbrella Australian Cinema

    Australian Cinema Umbrella Australian Cinema

    20152017 UMBRELLAUMBRELLA CATALOGUECATALOGUE AUSTRALIAN CINEMA UMBRELLA AUSTRALIAN CINEMA DVD DVD DCP DVD BD THE ADVENTURES OF BARRY MCKENZIE ANGEL BABY AUTOLUMINESCENT Reviled by the critics! This year marks the 20th Anniversary of this Containing a selection of rare footage and moving interviews Adored by fair-dinkum Aussies! landmark Australian Drama. with Rowland S. Howard, Nick Cave, Wim Wenders, Mick Harvey, Lydia Lunch, Henry Rollins, Thurston Moore, In this fan-bloody-tastic classic, directed by Bruce Beresford Winner of 7 AFI Awards, including Best Film, Best Director, Best Actor and Best Actress. Bobby Gillespie, and Adalita, AUTOLUMINESCENT traces (his first feature) Australia’s favourite wild colonial boy, the life of Roland S. Howard, as words and images etch Barry McKenzie (Barry Crocker), journeys to the old country Written and directed by Michael Rymer (Hannibal) and light into what has always been ‘the mysterious dark’. accompanied by his Aunt Edna Everage (Barry Humphries) starring Jacqueline McKenzie (Romper Stomper), John to take a Captain Cook and further his cultural and intellectual Lynch (In the Name of the Father) and Colin Friels (Malcolm), “ IF YOU MAKE SOMETHING THAT IS SO MAGICAL, SO UNIQUE education. this multi-award winning drama tells a tragic tale of love YOU WILL PAY THE PRICE... IT’S THE DEVIL’S BARGAIN.” between two people with schizophrenia as they struggle with LYDIA LUNCH life without medication. “ HEARTBREAKINGLY GOOD AND FILLED WITH A DESPERATE INTENSITY.” JANET MASLIN, THE NEW YORK TIMES FOR ALL ENQUIRIES REGARDING UMBRELLA’S THEATRICAL CATALOGUE umbrellaent.films @Umbrella_Films PLEASE CONTACT ACHALA DATAR – [email protected] | 03 9020 5134 AUSTRALIAN CINEMA BP SUPER SHOW DVD LOUIS ARMSTRONG One of the greatest musical talents of all time, Louis ‘Satchmo’ Armstrong raised his trumpet and delivered a sensational concert for the BP Supershow, recorded at Australia’s Television City (GTV 9 Studios) in 1964.
  • First Twenty Years of Australia

    First Twenty Years of Australia

    This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project to make the world's books discoverable online. It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. Marks, notations and other marginalia present in the original volume will appear in this file - a reminder of this book's long journey from the publisher to a library and finally to you. Usage guidelines Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we have taken steps to prevent abuse by commercial parties, including placing technical restrictions on automated querying. We also ask that you: + Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for personal, non-commercial purposes. + Refrain from automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us.
  • Chloe Armstrong

    Chloe Armstrong

    SHANAHAN SIMON BURKE | Actor TELEVISION Year Production/Character Director Company 2017 DEAD LUCKY David Caeser Subtext Pictures/SBS TV Tony Hodge 2016 DEEP WATER Shawn Seet Blackfella Films Simon Mawbrey 2015 RAKE: SERIES 4 Various Essential Media & Entertainment Det. Warwick Dormann 2013 DEVIL’S PLAYGROUND Rachel Ward & Tony Matchbox Pictures Tom Allen Krawitz 2013 MISS FISHER’S MURDER Various Phryne Fisher Series 2 P/L MYSTERIES (SERIES 2) Nicholas 2011-12 I SHOULDN’T BE ALIVE Various Darlow Smithson Productions Mike Dillon 2010 RESCUE SPECIAL OPS Various Southern Star Productions Warren 2009 HUSTLE Martin Hutchins BBC Nick 2008 CHRISTMAS AT THE HOUSE Opera Enterprises Host 2007 ALL SAINTS Various Seven Network Operations Brad Douglas 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 2006 STUDIO A WITH SIMON BURKE Various Foxtel Host 2006 THANK GOD YOU’RE HERE Various Working Dog Productions Guest 1989- PLAYSCHOOL Various ABC TV 2006 Presenter 2005 SMALL CLAIMS 3: THE REUNION Tony Tilse RB Films John 2004 THE ALICE Kate Dennis Southern Star Productions Patrick 2003 POSTCARD BANDIT Tony Tilse Nine Network Sid Thomas 2003 GRASS ROOTS Various ABC Tony Ludovic 2002 YOUNG LIONS Various Southern Star Productions Rob Watson 2002 HEROES’ MOUNTAIN Peter Andrikidis Southern Star Productions Euan Diver 2002 AFTER THE DELUGE Brendan Maher Cox – Knight Productions Michael 2001 BLUE HEELERS Various Souther Star Productions