Newsletter No 56 February 2010
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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. -
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 -
The Loved Ones (2009)
Screen Sound n3, 2012 ALL MASHED UP? Songs, Music and Allusionism in The Loved Ones (2009) Philip Hayward Abstract This article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with particular regard to its uses of allusionism within a popular genre context.1 Within this focus, the article explores the various musical components of the soundtrack (including critical use of specific songs), the creative template determined by the director and the creative input and decision making of various members of the production team. In this manner, the article profiles the film’s audio-visual text, the perceptions and motivations of the production team and considers how these relate to the film’s reception and box-office performance. Keywords The Loved Ones, allusionism, film songs, soundtrack, Australian film Allusionism — An Introduction Back in 1982 the film theorist Noel Carroll considered and, it is not unfair to say, fretted over, the prevalence of allusionism in a range of popular films. Carroll’s critical persona and aesthetic approach drew on two strands: the auteur school of film criticism that attempted to identify distinguished creative authors working within the (supposedly largely undistinguished) mainstream film industry; and a parallel interest in and commitment to the modernism of the western cinematic avant-garde. His anxiety over allusionism in popular cinema arose from a position that considered that, while classic auteur cinema and (successful) modernist works could be identified to have allusionism skillfully woven into the fabric of their texts (and, more broadly, into their author’s aesthetic visions), a range of popular cultural texts seemed increasingly inclined to simply display their allusionism without any deep or thematically significant intent. -
DNA Nation Press
PRESS KIT DISTRIBUTOR CONTACT PRODUCTION CONTACT SBS International Blackfella Films Lara von Ahlefeldt Darren Dale Tel: +61 2 9430 3240 Tel: +61 2 9380 4000 Email: [email protected] Email: [email protected] 10 Cecil Street Paddington NSW 2021 Tel: +612 9380 4000 Fax: +612 9252 9577 Email: [email protected] www.blackfellafilms.com.au Production Notes Producer Darren Dale Producer & Writer Jacob Hickey Series Producer Bernice Toni Director Bruce Permezel Production Company Blackfella Films Genre Documentary Series Language English Aspect Ratio 16:9 FHA Duration EP 1 00:51:53:00 EP 2 00:54:54:00 EP 3 00:52:58:00 Sound Stereo Shooting Gauges Arri Amira, F55, DJI Inspire Drone, Blackmagic & Go Pro Logline Who are we? And where do we come from? Short Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. © 2016 Blackfella Films Pty Ltd Page 2 of 40 Long Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. DNA is the instruction manual that helps build and run our bodies. But scientific breakthroughs have discovered another remarkable use for it. DNA contains a series of genetic route maps. It means we can trace our mother’s mother’s mother and our father’s father’s father, and so on, back through tens of millennia, revealing how our ancestors migrated out of Africa and went on to populate the rest of the world. -
Daybreakers and the Vampire Movie
16 • Metro Magazine 164 THERE WILL BE BLOOD Daybreakers and the Vampire Movie The enduring popularity of the vampire figure has led to some truly creative and original films as well as some downright disasters. Rjurik Davidson examines the current fascination with this genre and explores why the latest Australian offering fails to deliver despite its very promising beginning. HE VAMPIRE is the fantasy figure of the moment. Where only five years ago it was the ubiquitous boy magician Harry Potter who dominated fan- Ttasy film, now it is the vampire. Almost like a symbol of itself – transmit- ting dangerously out of control like a virus – the vampire has spread throughout popular culture, largely on the back of Stephenie Meyer’s wildly popular Twilight books and movies (Twilight [Catherine Hardwicke, 2008], New Moon [Chris Weitz, 2009]), so that there are now vampire weddings, vampire bands, a flurry of vampire novels and vampire television shows like True Blood. Recently, The Age reported that we are a nation obsessed with ‘vampires and AFL’ and that New Moon and Twilight were the most Googled movies in Australia during 2009.1 One of the great attractions of the vampire is that it can be a symbol for many things. As a symbol for the decaying aristocracy in Bram Stoker’s classic 1897 novel Dracula, the vampire has the allure of charisma and sex. Indeed, Dracula drew upon John Polidori’s 1819 portrait of Lord Byron in The Vampyre. In the symbol of the vampire, sex and death are entwined in the single act of drinking some- one’s blood. -
The Animal Law Toolkit December 2009 About Voiceless
The Animal Law Toolkit December 2009 About Voiceless Voiceless is an independent non-profit Patrons think tank dedicated to alleviating the • J.M. Coetzee, Nobel Prize for Literature Winner suffering of animals in Australia. 2003, author of The Lives of Animals Established by father and daughter and Elizabeth Costello team, Brian Sherman AM and Ondine • Brian Sherman AM Sherman, Voiceless: Ambassadors • Creates and fosters networks of leading lawyers, • Hugo Weaving (Last Ride, Little Fish, The Lord of politicians and academics to influence law and the Rings Trilogy, The Matrix Trilogy, Priscilla Queen public policy; of the Desert) • Conducts high quality research and analysis of • Abbie Cornish (Bright Star, Stop-Loss, Elizabeth: The animal industries, exposing legalised cruelty and Golden Age, A Good Year, Candy, Somersault) promoting informed debate; • Lindsay McDougall (aka ‘The Doctor’) from the • Creates a groundswell for social change by Triple J Breakfast Show and Triple J TV building and fortifying the Australian animal protection movement with select Grants and For further information visit www.voiceless.org.au Prizes; and This document has been researched and written by • Aims to inform consumers and empower them to Katrina Sharman and Lara Cumming, with editorial make animal-friendly choices. and research support from Brian Sherman AM, Ondine Sherman, Elaine Morris, Kelly Blainey Lyell, Claudia Hoeben, Lucy King, Claire Bradbury, Melissa Knoll and Elizabeth Usher. For further information contact: Disclaimer: Voiceless Limited ACN 108 494 631 (‘Voiceless’) is a company limited by guarantee. Voiceless is Voiceless not a legal practice and does not give legal advice to individuals or organisations. While Voiceless has made 2 Paddington Street every effort to ensure the accuracy of information, including images, presented in this Guide, Voiceless does not Paddington NSW 2021 AUSTRALIA guarantee the accuracy or completeness of that information. -
Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. -
Allan Browne & Richard Miller
ALLAN BROWNE & RICHARD MILLER: MODERNISTS & TRADITIONALISTS Interviewed by Adrian Jackson* __________________________________________________________ [This article appeared in the Winter/Spring 1986 edition of Jazz Magazine.] rummer Allan Browne and saxophonist-clarinettist Richard Miller have been making music together for more than 20 years now. Their partnership began D in 1965 when Miller joined the Red Onion Jazz Band, led by Browne and still remembered as the most successful Australian jazz band of its time. None of their records is currently available, but a cassette (Anteater 002) which contains excerpts from some of the band’s early EPs, plus a recording from a concert in Warsaw in 1967, shows that the band’s reputation was founded on real musical qualities. Many of those qualities were re-captured when the band staged a couple of sell-out reunions at the Limerick Arms Hotel in 1984. The members of the quartet Onaje, L-R, Gary Costello, Bob Sedergreen, Richard Miller, Allan Browne… Since mid-1985, the pair have also displayed their mastery of traditional jazz in the Allan Browne Jazz Band, which plays every Thursday night at the Emerald Hotel in South Melbourne. The other members of that band are trumpeter Peter Gaudion, __________________________________________________________ *In 1986 when this was published, Adrian Jackson was a freelance writer, who had been jazz critic with the Melbourne Age since 1978. 1 Richard Miller (left) and Allan Browne, outside the Limerick Arms Hotel… PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM trombonjst Bill Howard, clarinettist Fred Parkes, bassist Leon Heale and guitarist- banjoist John Scurry; Browne’s wife, Margie, occasionally adds vocals or piano. -
Fat Tony__Co Final D
A SCREENTIME production for the NINE NETWORK Production Notes Des Monaghan, Greg Haddrick Jo Rooney & Andy Ryan EXECUTIVE PRODUCERS Peter Gawler & Elisa Argenzio PRODUCERS Peter Gawler, Adam Todd, Jeff Truman & Michaeley O’Brien SERIES WRITERS Peter Andrikidis, Andrew Prowse & Karl Zwicky SERIES DIRECTORS MEDIA ENQUIRIES Michelle Stamper: NINE NETWORK T: 61 3 9420 3455 M: 61 (0)413 117 711 E: [email protected] IMPORTANT LEGAL NOTIFICATION TO MEDIA Screentime would like to remind anyone reporting on/reviewing the mini-series entitled FAT TONY & CO. that, given its subject matter, the series is complicated from a legal perspective. Potential legal issues include defamation, contempt of court and witness protection/name suppression. Accordingly there are some matters/questions that you may raise which we shall not be in a position to answer. In any event, please note that it is your responsibility to take into consideration all such legal issues in determining what is appropriate for you/the company who employs you (the “Company”) to publish or broadcast. Table of Contents Synopsis…………………………………………..………..……………………....Page 3 Key Players………….…………..…………………….…….…..……….....Pages 4 to 6 Production Facts…………………..…………………..………................Pages 7 to 8 About Screentime……………..…………………..…….………………………Page 9 Select Production & Cast Interviews……………………….…….…Pages 10 to 42 Key Crew Biographies……………………………………………...….Pages 43 to 51 Principal & Select Supporting Cast List..………………………………...….Page 52 Select Cast Biographies…………………………………………….....Pages 53 to 69 Episode Synopses………………………….………………….………..Pages 70 to 72 © 2013 Screentime Pty Ltd and Nine Films & Television Pty Ltd 2 SYNOPSIS FAT TONY & CO., the brand-new production from Screentime, tells the story of Australia’s most successful drug baron, from the day he quit cooking pizza in favour of cooking drugs, to the heyday of his $140 million dollar drug empire, all the way through to his arrest in an Athens café and his whopping 22-year sentence in Victoria’s maximum security prison. -
SYLLABUS Music 15
SYLLABUS Music 15 – Australian Popular Music Winter 2019 Lecture: Thursday 6:30-9:20pm, SOLIS 107 Final Exam: March 19th, 7pm Professor: Fiona Digney – [email protected] Office Hours: Fridays 2:00–5:00pm, or by appointment, CPMC 155 Teaching Assistants: Berk Schneider - [email protected] Sections: A01 (Monday 10:00am CPMC 136) A02 (Monday 11:00am CPMC 136) Office Hours: TBD Barbara Byers - [email protected] Sections: A03 (Wednesday 11:00am, CPMC 136) A04 (Wednesday 12:00pm, CPMC 136) Office Hours: TBD Juliana Gaona - [email protected] Sections: A05 (Friday 10:00am CPMC 145) A06 (Friday 11:00am CPMC 145) Office Hours: TBD Stephen De-Filippo - [email protected] Sections: A07 (Friday 12:00pm CPMC 145) A08 (Friday 1:00pm CPMC 145) Office Hours: TBD General Overview For a very large country with a relatively small population, Australian popular musicians have had great success worldwide. From ACDC, Skyhooks, Midnight Oil, Jimmy Barnes, and Kylie Minogue, to Temper Trap, Pendulum, Tame Impala, Sia, and Vance Joy, Australians have set out to change the history of music. This course will explore the political and social landscapes that made way for, and were created by these artists, including the Whitlam government initiatives, Triple J radio station, pub rock, and the culture of mateship. Prerequisite: None. Assessment 15% Attendance, preparation, and participation Attendance will be taken at all discussion sections. It is expected you have read and listened to all required materials. Arrive prepared to contribute in discussions. 30% Quizzes Three short quizzes are to be completed online through TritonED. They will be administered weeks four (due: February 3rd), six (due: February 17th), and eight (due: March 3rd). -
Only Three Draws Left to Get Your Share in Over $100,000
WAGGA RSL AND COMMERCIAL CLUBS MONTHLY NEWSLETTER The Mini Monthly Megadraw is on again this month, now with 20 ONLY THREE DRAWS LEFT TO CASH prizes up for grabs, with the major prize being $1,000! You can win a share in $3,500 worth of cash simply by being at the GET YOUR SHARE IN OVER Commercial Club from 4pm on the 21st of November to purchase your tickets. This draw is exclusive to the Commercial Club, with the $100,000 WORTH OF PRIZES! draws kicking off at 8pm. Enjoy live entertainment on the night with Jacinta Tooze playing from 6.30pm. We've already had one draw with Sandra Baxter choosing to take home a brand new car! Our second draw will be on the 7th November If you plan to dine at either club on a Megadraw night, don't forget to where you can share in over $100,000 worth of prizes over 4 draws in book. Our eateries will be busy so be sure to phone Dine at the RSL on 3 months. The major prize for each draw is your choice! You could 6921 7237, Pearl on 6923 7214 or the CC Bar and Grill on 6921 3012. choose to take a $15,000 holiday, a $15,000 Good Guys voucher or a Keep in mind that the courtesy bus will be available for your brand new 2015 Holden Barina Spark. convenience so take advantage of this great facility and phone your club on the day of the draw to book a seat on the bus. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).