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Filmic Farewell to David Gulpilil Is 'His Last Dance, His Last
________________________________________________________________________________________________________________ Filmic farewell to David Gulpilil is ‘his last dance, his last song’ By Paul Byrnes May 26, 2021 My Name is Gulpilil ★★★★ Rated M, 101 minutes, in cinemas This one had me at hello. In the first shot, David Gulpilil, in winter coat and mittens, walks down a country road. The camera is about 50 metres behind him and his gait is slow. Then we see why: he’s following an emu, which was obscured by his body. When the actor stops and turns back up the road, the emu does too. They move in step, as if in a duet. He just smiles, as if to say ‘of course we are’. David Gulpilil in a scene from My Name is Gulpilil. “This is my film,” he says. My Name is Gulpilil is the actor’s fond farewell, his valediction, his living obituary. At about 67 − he’s not quite sure of his age − he has lung cancer, and a number of other ailments. They will take him out soon, he tells us a number of times. He seems to want to say he’s OK with that: he has had a charmed life as a dancer, actor, singer, storyteller. “My father taught me how to dance and how to sing, and how to relate to the didgeridoo and the click stick, and the rhythm of the song of culture, the song of the ceremony … I’m the greatest dancer in the world.” He pauses for effect − “Just for me, though …” The film comes from people he has worked with for more than 20 years. -
To Download the BALANDA and the BARK CANOES
The Balanda and the Bark Canoes A documentary about making Ten Canoes May, 2005 Central Arnhem Land, Australia ‘We are making a movie. The story is their story, those that live on this land, in their language, and set a long time before the coming of the Balanda, as we white people are known. For the people of the Arafura Swamp, this film is an opportunity, maybe a last chance to hold on to the old ways. For all of us, the challenges are unexpected, the task beyond anything imagined. For me, it is the most difficult film I have made, in the most foreign land I've been to...and it is Australia.’ – Rolf de Heer Directors’ Q & A Q: What was the inspiration behind this documentary? And/or how did it come about? The documentary is a companion to the feature film Ten Canoes. Ten Canoes is an in-language indigenous tragi-comedy set in the historical (pre-white settlement) and mythical past of the Ganalbingu (Yolngu) people. It is a cautionary tale of love, lust and revenge gone wrong. Although financed, the film spent three years in the development phase. There were a number of reasons why but one of them included consolidating the early rapport and trust between Rolf, his team and the community. During this time, Rolf began visiting the communities regularly and would return with new sets of working challenges and with stories full of adventure. It became apparent that a compelling documentary could be made in its own right. Rolf approached SBS Independent, investors in the feature film Ten Canoes, about documenting the already crazy yet exhilarating journey. -
Visionsplendidfilmfest.Com
Australia’s only outback film festival visionsplendidfilmfest.comFor more information visit visionsplendidfilmfest.com Vision Splendid Outback Film Festival 2017 WELCOME TO OUTBACK HOLLYWOOD Welcome to Winton’s fourth annual Vision Splendid Outback Film Festival. This year we honour and celebrate Women in Film. The program includes the latest in Australian contemporary, award winning, classic and cult films inspired by the Australian outback. I invite you to join me at this very special Australian Film Festival as we experience films under the stars each evening in the Royal Open Air Theatre and by day at the Winton Shire Hall. Festival Patron, Actor, Mr Roy Billing OAM MESSAGE FROM THE MINISTER FOR TOURISM AND MAJOR EVENTS THE HON KATE JONES MP It is my great pleasure to welcome you to Winton’s Vision Splendid Outback Film Festival, one of Queensland’s many great event experiences here in outback Queensland. Events like the Vision Splendid Outback Film Festival are vital to Queensland’s tourism prosperity, engaging visitors with the locals and the community, and creating memorable experiences. The Palaszczuk Government is proud to support this event through Tourism and Events Queensland’s Destination Events Program, which helps drive visitors to the destination, increase expenditure, support jobs and foster community pride. There is a story to tell in every Queensland event and I hope these stories help inspire you to experience more of what this great State has to offer. Congratulations to the event organisers and all those involved in delivering the outback film festival and I encourage you to take some time to explore the diverse visitor experiences in Outback Queensland. -
David Gulpilil, AM
David Gulpilil, AM Born 1953, Gulparil, near Ramingining, Northern Territory. Lives Darwin, N.T. David Gulpilil’s full name is David Gulpilil Ridjimiraril Dalaithngu. Gulpilil is also spelt Gulparil, which is the name of his Country near Ramingining, central Arnhem Land, N.T. When, as a seventeen year-old, David Gulpilil lit up the cinema screen in the film, Walkabout, he did more than play a role. The performance was so strong, so imbued with a new type of graceful naturalism, that it re-defined perceptions of Aboriginality, especially in the field of screen acting. Over the next decade, David became the iconic Aboriginal actor of his generation, paving the way in the resurgence of the Australian film industry for more parts to be written for Aboriginal people, for more Aboriginal stories to be told. His charismatic, engaging and unforgettable performances in films like Storm Boy (1976, dir. Henri Safran), The Last Wave (1977, dir. Peter Weir) and Crocodile Dundee (1986, dir. Peter Faiman) helped bring Aboriginality into the mainstream of the screen arts. In his later work, including Rabbit-Proof Fence (2002, dir. Philip Noyce), The Tracker (2002, dir. Rolf de Heer), Australia (2008, dir. Baz Luhrmann) and the soon to be released Charlie's Country (2013, dir. Rolf de Heer), Gulpilil has brought tremendous dignity to the depiction of what it is to be Aboriginal. Through his art he has brought an incalculable amount of self-esteem to his community. Since the early 1970s, Gulpilil has earned more than 30 film credits, and performed alongside Dennis Hopper, Jack Thompson, Miles Davis, Nicole Kidman, Hugh Jackman, Kenneth Branagh, William Hurt, Richard Chamberlain, Guy Pearce, Paul Hogan, and Ernie Dingo, under acclaimed directors such as Peter Weir, Baz Lurhman, Philip Noyce, Wim Wenders and Rolf de Heer. -
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 -
AACTA Announces Return to Channel Seven, New Hair and Makeup Award for Sixth Awards Season
MEDIA RELEASE – STRICTLY EMBARGOED UNTIL 12:01AM THURSDAY 14 APRIL, 2016 AACTA Announces Return to Channel Seven, new Hair and Makeup Award for Sixth Awards Season • Film, Documentary and Short Film Entries Now Open • Applications for Juries Across All Categories Now Open The Australian Academy of Cinema and Television Arts (AACTA) today announced that it will return to Channel Seven in December, following record viewers for the nation’s top screen awards which moved to Seven last year. The 6th AACTA Awards Ceremony presented by Presto will be held on Wednesday 7 December at The Star Event Centre in Sydney, again capitalising on a primetime telecast and driving great awareness for Australia’s top film and television productions awarded ahead of the Christmas and holiday period. An extended version of the Ceremony will again encore on Foxtel. Launching its sixth awards season, AACTA today announced a new award - the AACTA Award for Best Hair and Makeup, which encompasses film and television - and said a host of new television awards will be announced next month as a result of its new partnership with ASTRA. AACTA today called for entries across feature film, documentary and short film award categories, and jurors across all awards categories, with this year seeing more than 45 peer-assessed awards presented, celebrating Australian stories, culture and creativity captured on the big and small screens. All television entries, as well as jurors for new television categories, will be called for when the newly- expanded television awards are announced in May. AACTA also today announced the date of the industry-exclusive 6th AACTA Awards presented by Presto Industry Luncheon, which will be held on Monday 5 December at The Star Event Centre in Sydney. -
Appeared in - the Australian Adelaide Film Festival Shedding Light and Casting Shadows
8 March 2002 Cinematic Focus Richly Rewarded Appeared in - The Australian Adelaide Film Festival Shedding Light and Casting Shadows. Australian films commissioned by Adelaide Festival and SBS Independent. Her Majesty’s Theatre, Adelaide. Until 7 March. Regional South Australian tour until 14 March. The Adelaide Festival films have always been one of Peter Sellars’ pet ideas, and they have turned out to be among his best. With various fund- ing, including $1.5m from the Festival, Shedding Light Director and SBS Independent executive, Bridget Ikin produced four features which pre- miered this week. Three of the four have Indigenous perspectives focusing on Truth and Reconciliation - as does the fifth in the series, Beneath Clouds, not a commission, but a debut feature by Ivan Sen, also shown for the first time. Before the season began there was concern that the films would sit uneas- ily with the rest of the program, adrift from the live performance menu. The reverse has been the case. Because the Indigenous themes of the Festi- val have been so ubiquitous, events interact in chain reactions. Whether visiting Ian Abdulla’s evocative paintings at Flinders University’s Grote Street Gallery, seeing The Tracker a hundred metres further down at Her Majesty’s Theatre, or walking back to the square at night in time to see women from the Anangu Pitjantjatjara lands dancing beside the statue of Queen Victoria, the experiences reverberate. But they also need grounding, something which the strong discourses in the films provide. Rolf de Heer said of The Tracker that he made the film with the context of a Festival premiere in mind. -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
TAJEMNICA ALEKSANDRY Pressbook
Tajemnica Aleksandry (Alexandra’s Project) RE ŻYSERIA ROLF DE HEER W KINACH OD 23 STYCZNIA 2004 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (+4822) 536 92 00, fax: (+4822) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl re żyseria Rolf de Heer scenariusz Rolf de Heer zdj ęcia Ian Jones muzyka Graham Tardif monta ż Tania Nehme dźwi ęk James Currie scenografia Ian Jobson Phil MacPherson kostiumy Beverley Freeman wyst ępuj ą Gary Sweet Steve Helen Buday Aleksandra Bogdan Koca Bill Samantha Knigge Emma Jack Christie Sam Eillen Darley Christine Geoff Revell Rodney producenci Julie Ryan Dominco Procacci Rolf de Heer film wyprodukowany przez Fandango Australia Palace Films Hendon Studios South Australian Film Corporation Vertigo Productions Pty. Ltd. Australian Film Commission nagrody Montréal World Film Festival 2003 – Golden Zenith za najlepszy film z Oceanii Australia rok produkcji: 2003 czas trwania: 103 minuty kolor – Dolby Digital – 1:1,85 Tajemnica Aleksandry to thriller psychologiczo-erotyczny, opowiadaj ący w przewrotny sposób o instytucji mał żeństwa i odwiecznej wojnie płci. Dzi ęki klaustrofobicznym uj ęciom, niepokoj ącej ście żce d źwi ękowej oraz realistycznej grze aktorów, de Heerowi udało si ę uzyska ć nastrój znany z ostatnich filmów Davida Lyncha. Światowa premiera Tajemnicy Aleksandry miała miejsce w konkursie festiwalu filmowego w Berlinie w 2003. Film radykalnie podzielił publiczno ść i sprowokował burzliw ą dyskusj ę na temat współczesnego mał żeństwa, a tak że relacji mi ędzy męż czyzn ą i kobiet ą. Urodziny Steve’a (Gary Sweet), przeci ętnego czterdziestolatka zajmuj ącego kierownicze stanowisko w wielkiej korporacji, zapowiadaj ą si ę wyj ątkowo. -
Dr Ruth Harley, CEO Screen Australia Address to 37° South, Melbourne International Film Festival 2013 Thursday 25 July 2013
Ruth Harley 37° South address, Melbourne International Film Festival 2013 ‘The Power of Australian Film’ Dr Ruth Harley, CEO Screen Australia Address to 37° South, Melbourne International Film Festival 2013 Thursday 25 July 2013 I am very pleased to be here for the fifth year in a row to address the 37° South market. As many of you know, this will be my last as CEO of Screen Australia as my term ends in November. Now then, is an opportunity to reflect and to look forward. I will take you through some of the things I’ve learned in my time with the agency and some thoughts for the future. There is much to be proud of in Australian screen production over the last five years. We’ve seen the successful introduction of the Producer Offset and concurrent increase in overall film and TV production, up 58% to just under $3 billion according to ABS data released last month. We’ve seen an increase in employment in the sector of 23% to 13,414 people. 1 Ruth Harley 37° South address, Melbourne International Film Festival 2013 We’ve seen an increase of local box office of 64% compared to the previous five year average. And we’ve seen some amazing screen stories. I’d like to share with you now a reel of some of the Screen Australia slate from the past five years, with some familiar faces from our sector describing Australian content matters. The Power of Australian Storytelling clip [CLIP] We’ve also seen, in the last five years a shift in some of the commentary about Australian screen stories. -
History Sydney Film Festival
HISTORY OF THE SYDNEY FILM FESTIVAL 1954 - 1983 PAULINE WEBBER MASTER of ARTS FACULTY OF HUMANITIES AND SOCIAL SCIENCES 2005 For John and David ACKNOWLEDGEMENTS I would like to thank David Donaldson, Valwyn Wishart, John Baxter, Dorothy Shoemark, Tony Buckley, David Stratton and many others involved in the SFF during its formative years who gave generously of their time and knowledge during the preparation of this thesis. I am especially grateful to Trish McPherson, who entrusted me with the SFF memorabilia of her late husband, Ian McPherson. Thanks also to my supervisor, Professor Elizabeth Jacka, for her enthusiasm and support, and to Associate Professor Paul Ashton and Raya Massie who undertook to read the final draft and who offered invaluable advice. TABLE OF CONTENTS Table of Abbreviations i Sydney Film Festival: A Chronology 1954-1983 ii Abstract vi Introduction 1 An International Context; A Local Context Chapter One Art Form of a Generation: The Early Years 1954-1961 18 Reinventing Australia: 1946-1954; Connections and Divisions; Olinda 1952; From Concept to Reality; The First Festival; The Festival Takes Shape; Is it Here? Does it Look like Arriving?; Here to Stay; From Crisis to Cohesion Chapter Two Expansion and Consolidation: 1962-1975 57 Coming of Age; The Times They Are A-Changin’: 1962-1967; The Proliferation of Unacceptable Thoughts; Communal Rapture: The Start of the Stratton Era; The Anxious Years: 1968-1972; Throwing Down the Gauntlet; Going Global; The Festival at the Top of its Form; The Best and the Most Interesting; A Rising Clamour to be Seen and Heard Chapter Three Beguiling Times: The SFF and Australian Cinema 121 The Old and the New; The Film Buffs, the Festival People, the Trendies, the Underground; The Short Film Awards; A Thrilling New Wave: The Film Revival and After Chapter Four Change and New Directions: 1976-1983 149 A Lean Operation; Some of the People, Some of the Time; Backing Winners; Old Problems, New pressures; A Sort of Terrible Regression; The Last of the Stratton Years; 1983; 1984: Brave New World.