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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. -
A Resurrection Parade Sketch/Short Program
A Resurrection Parade Sketch/Short Program [Please provide: two narrators, five women to model hats, five Easter bonnets/straw hats, copies of the bonnet item patterns found at the end of the sketch, yellow and orange cardstock paper, gray cardstock paper, dark brown cardstock paper, a small lightweight rock or picture of a rock, a small butterfly clip (either store-bought or made out of yellow cardstock paper), small metal clip, four small plastic Easter eggs, white cardstock paper, hot glue gun and glue sticks, pianist, music score for the song “Easter Parade” by Irving Berlin, copies of this program for each model and for the narrators, copy of the “Resurrection Parade” song for all present located at the end of this program] To prepare: Make copies of the hat (bonnet) item patterns found at the end of the sketch. Use the patterns to make each of the hat items as described below. Attach the items to the hats, one item per hat. Sunrise bonnet: a half sun with rays that looks like a sunrise made out of yellow and orange cardstock paper. Empty tomb bonnet: an open tomb shape made out of gray cardstock paper. Hot glue a small lightweight rock or picture of a rock next to the opening of the tomb. Cut three small crosses from dark brown cardstock paper and hot glue them on the bonnet to the far left side of the empty tomb. Butterfly bonnet: a store-bought or yellow cardstock paper butterfly glued to a metal clip. Clip the butterfly to the center of the bonnet. -
Good News! the Monthly Newsletter of St
Good News! The Monthly Newsletter of St. Paul Lutheran Church * April 2017 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Does Anyone Really Get Excited About Easter Anymore? In your Easter bonnet With all the frills upon it You'll be the grandest lady In the Easter Parade In 1933, the great American songwriter Irving Berlin published a song that he titled Easter Parade. In 1948 it was immortalized in a movie (also called Easter Parade) that featured Judy Garland and Fred Astaire. Although the story of the movie is fictional, the event it portrayed – a million or more people, all dressed in their Easter finery, parading down Fifth Avenue in Manhattan on Easter Sunday – had started as a spontaneous event in the 1870’s and had grown more popular with each passing year. It might surprise you to know that the concept of the Easter parade – or, more correctly, an Easter procession – has a strong religious background. In a tradition still followed by some churches (including some Lutheran churches), the faithful would gather outside the church on Easter morning and process together into the sanctuary as Easter hymns of joy were sung. This coincided with another ancient tradition, where newly catechized Christian converts were baptized at sunrise on Easter Sunday, dressed in white robes to symbolize purity and holiness. Soon after he legalized Christianity in 313 A.D., Roman Emperor Constantine issued a ruling that Christians should dress in their finest clothes and parade in honor of Christ’s resurrection. One other religious-related aspect of the Easter parade is that less than 200 years ago, churches usually did not make any efforts to beautify their sanctuaries on Easter morning. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
Gazetka Szkolna „Przybij Piątkę”
W tym numerze m.in.: Wielkanoc Wiosna w ogrodzie Krótki wywiad z Panią Małgorzatą Ciechańską GAZETKA Dzień Matki SZKOLNA Humorek szkolny „PRZYBIJ PIĄTKĘ” NR 3/2019 kwiecień/maj 2019 Gazetka wydawana przed Samorząd Szkolny Szkoły Podstawowej nr 5 w Zgierzu w formule dwumiesięcznika. Pismo wydawane w formie elektronicznej z możliwością wglądu do wersji papierowej w Bibliotece Szkolnej. REDAKCJA Kontakt: [email protected] 1 Gazetka Szkolna „Przybij Piątkę” Wielkanoc w Polsce i na Świecie Anielka Szymkowiak (kl. 5a) Jak wygląda Wielkanoc w Polsce i innych krajach? „Co kraj to obyczaj”. Wielkanocne pisanki, święconka, śmigus–dyngus to typowe polskie zwyczaje związane ze świętem Wielkiej Nocy. Egg Rolling w Anglii, Judasze w Czechach i pikniki we Włoszech. Jakie inne zwyczaje panują wśród mieszkańców krajów Europy? Święta Wielkanocne w Polsce obfitują w tradycje i zwyczaje ludowe, z których część jest wciąż żywo kultywowana, a część coraz bardziej zanika. Niektóre zwyczaje i tradycje wielkanocne przetrwały do dzisiaj w nieco zmodyfikowanej formie. Czym jest pogrzeb żuru i śledzia, wieszanie Judasza, Siuda Baba, Emaus i kurek dyngusowy? W zależności od tego, w jakiej części kraju mieszkamy, możemy znać różne tradycje i zwyczaje Świąt Wielkanocnych. Święcenie pokarmów Zwyczaj święcenia pokarmów w Wielką Sobotę na korzenie pogańskie, ale został uświęcony przez Kościół. Dzisiaj święcimy w Kościele tylko symboliczne pokarmy, które mieszczą się w niewielkim, zazwyczaj wiklinowym koszyku. Zawartość takiej święconki może być też różna, w zależności od danego regionu. Nie może jednak zabraknąć: jajek, chleba, kiełbasy lub wędlin, soli, baranka (z masła lub cukru), chrzanu oraz kawałka domowego ciasta. Dawniej święcono wszystkie pokarmy, które miały zostać spożyte w czasie wielkanocnego śniadania! Układano je w większych koszach i zanoszono do kościoła lub święcono przy kapliczce. -
The Workshop Film Group – a History 1968 – 2018
The Workshop Film Group – A History 1968 – 2018 THE WORKSHOP FILM GROUP A History 1968 - 2018 By Richard Keys, John Lanser and Michael O’Rourke Dedicated to Vi & Laurie Collings and Helen Ramsay. With thanks to all of our members who have contributed so much over the journey. Clockwise from top left: Helen Ramsay, Vi Collings, Laurie Collings First published by the Workshop Film Group, 2018 Workshop Arts Centre, 33 Laurel St, Willoughby, NSW www.workshopfilmgroup.net Copyright © Richard Keys, John Lanser and Michael O’Rourke, 2018 Compiled by Ian Grey 16 July 2018 Printed and bound by Forestville Printing, E4/15 Narabang Way, Belrose, NSW 2085 Page | 1 The Workshop Film Group – A History 1968 – 2018 CONTENTS Background 3 Birth of a film society 4 Programming 5 Technical challenges and significant steps forward 6 Residential film weekends 7 Non-residential film weekends 10 The sound of silents 10 Another dollar, Another Day 12 The Group logo 13 Special guests 14 Committee and membership 19 Appendix 1. Filmography 21 Appendix 2. Milestones 22 Appendix 3. Press clippings 23 Appendix 4 Programs 29 Page | 2 The Workshop Film Group – A History 1968 – 2018 BACKGROUND The Workshop Arts Centre (WAC), established by the artist and teacher Joy Ewart, was officially opened by Australian artist Hal Missingham on August 16, 1963. Prior to this Joy had run an art studio in a two-storey building - a former stable with overhead loft - in Dalton Street, Chatswood. Classes were held there from 1955 until 1961 when the Willoughby Council declared the premises unfit for occupation. -
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 -
Lenten Brochure UNITED CHURCH of CHRIST EAST GOSHEN – MARCH/APRIL 2020
Lenten Brochure UNITED CHURCH OF CHRIST EAST GOSHEN – MARCH/APRIL 2020 In this issue: Pastor’s Message P. 1 Lent Activities P. 2 – 3 Holy Week P. 3 Choir, R&R, Look Ahead P. 4 New staff & Questionaire P. 5 Easter Fun P. 6 Showers for Growth, Planning Feb. 26 - Ash Wednesday I learned the saying as a child in grade school. journey as important as the final arrival at the 7:00 pm Service of Communion Hope“April showers bring May Flowers,” and today empty tomb with Mary telling us the good news & Distribution of Ashes after a night and now day of showers, the “he is not here he has been raised.” crocus, hyacinths and daffodils have green stems Now is the time to plan the journey stops along the Wednesdays During Lent popping up on the side of our church building, th way to Easter. Can you try something new? Will 6-7 pm Lenten Soup & Table Talk (and no, it is not May, it is February 13 !) Climate change and environmental exposure to you go on a detour and discover a new way to 7:15 pm Choir Rehearsal toxin and chemicals in the air, ground and arrive at the empty tomb? Will you add a prayer buddy to your journey? Will you read a new April 4 - Saturday atmosphere, have taken the seasons, mixed them all up, and spit them out into something devotional? Will you attend Saturday worship and 1-2:30 pm Egg Decorating & unrecognizable. It is a source of deep sadness the series called “I AM” which is being offered? Cookie Decorating for many of us. -
J I N D a B Y N
A film by Ray Lawrence Laura Linney Gabriel Byrne j i n d a b y n e Canadian Distribution Mongrel Media 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Canadian Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] Press Book April Films Design & Artwork Halcyon Pratt Stills Photography Anthony Browell, Matt Nettheim, John Tsiavis On Set at Jindabyne Catherine Mckinnon © April Films (Jindabyne) Pty Ltd 2006 j i n d a b y n e A film by Ray Lawrence 4 SYNOPSIS Synopsis On an annual fishing trip, in isolated all of this which disturbs her deeply. high country, Stewart, Carl, Rocco and Stewart is not convinced that he has Billy (‘the Kid’) find a girl’s body in the done anything wrong. Claire’s faith in river. It’s too late in the day for them to her relationship with her husband is hike back to the road and report their shaken to the core. tragic find. Next morning, instead of making the long trek back, they spend The fishermen, their wives and their the day fishing. Their decision to stay on children are suddenly haunted by their at the river is a little mysterious—almost own bad spirits. As public opinion builds as if the place itself is exerting some against the actions of the men, their kind of magic over them. certainty about themselves and the deci- sion they made at the river is challenged. -
The Ritualisation of Food, Home and National Identity Among Polish Migrants
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Hertfordshire Research Archive 1 RESEARCH ARTICLE (2010) The Ritualisation of Food, Home and National Identity among Polish Migrants in London, Social Identities, 16(3), 377-39. Special issue, ed. By M.Rabikowska. The Ritualisation of Food, Home and National Identity among Polish Migrants in London. Marta Rabikowska1 School of Humanities and Social Sciences, University of East London, UK Abstract In this paper a process of negotiating identity among Polish migrants will be discussed in relation to their food habits: consumption, preparation and celebration. Through the ethnographic examination of food rituals the construction of meaning of home as both space and nationality will be observed and the attitude to the host culture will be revealed in the quotidian activities. The qualitative research based on interviews and visual ethnography has shown that there are three dominant ways of exchange with the local culture ranging from the least present to the ostentatiously conspicuous, named here as: orthodox, porous, and alternate. Each of them, however, is characterised by a perplexing degree of fluidity and sometimes contradiction which opposes the objectification of the models of culture, as had been already noticed by Bhaba (1994/2007) in relation to diasporic cultures and their tactics of adaptation. Home among Polish immigrants to the UK is a changing concept, open to negotiation, depending on their current 1 Corresponding author: Marta Rabikowska. Email. [email protected] 2 personal situation, profession, gender, expectations, ambitions and even peer pressure. Yet (re)creating home requires a certain dose of familiarity conceived from the meaning of Polishness which needs to be materialised from the past memories on a daily basis. -
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. -
R»W' ^ W TAX BILL IHTTSHOME J Ylwnia in YOUR EASTER Bonnel Y99 MATH CLUB PARTY I
r»W'V.**J ""tTAylwnia b**. Vol. XIV, No. 6 Mercyhurst College, Erie, Pa March 28, 1944 ^W TAX BILL <« IHTTSHOME j IN YOUR EASTER boNNEl Y99 Mercyhurst students are once ' more packing their bags,*home- ^ard bound forjfa thirteen day Blaster vacation. :At home the Student Council Reports: "Business Good* [ girls will^indfa difference, one JThe week before March 6th saw a serious drain on oak "tab and ink as representatives of each Mercyhurst organization hurried I that will be carried back to col- 1 liege. This "difference" will be to complete the clever War Stamp posters which now greet us at tin the field of economics, name- every corner. This activity marked the opening of the new college War Stamp Drive, the highlight of which was a student Victory ! ly the financial condition of the Rally held in the college auditorium. Since the limited allowance of I student body. a college student does not permit her to buy a whole bond all at I This will be an important dif once, the Student Council agreed that the gradual accumulation ference, for Congress has pass- of that $18.75 by the purchase of war stamps would be more suc i ed a tax bill which will directly cessful. \ hit the pocketbook of each of With "Carpe Diem" as their motto, committee members araret Ins; The biltfwill go into effect posted in the ^residence halls at noon, where we canfpurchasefwar Ithe first of April—and it's not stamps most conveniently. With the sale of stamps going on right Ian April Fool's joke! *-**- ~next doorjthe old excuse "I'd Those of us who travel Vby love to, but Iihaven't the^money I train will find a 25 per cent Courtesy Featured with me" just doesn't hold.