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43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Inclusive and Values Education Resources
INCLUSIVE AND VALUES EDUCATION RESOURCES Television, lm and multimedia have important roles to play in learning outcomes across the curriculum. The ACTF programs featured above can be used in multiple education settings to support the teaching of English, Arts (lm/media studies), Science, Technology, Indigenous education, Environment, HPE (personal development) and Values education. Each ACTF production is supported with teaching resources; either freely available online through the Learning Centre or on DVD ROM, purchased with the production. Visit the ACTF online catalogue at www.actf.com.au for the latest programs, teaching resources, lesson plans, teaching kits, CD and DVD materials. AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION Level 3, 145 Smith Street Fitzroy | Victoria 3065 | AUSTRALIA ph: +61 3 9419 8800 | fx: +61 3 9419 0660 DATE TIME VENUE COST Friday 23rd October, 7.45pm for an The Plaza Ballroom, Regent Theatre Adult $75 + GST 2009 8.00pm start Collins Street, Melbourne Junior (under 15) $35 + GST Brought to you by Australian and New Zealand Cinema 8 Shortcuts TINA KAUFMAN 10 A Matter of Trust: Last Ride CARLY MILLAR 14 'Letting Things Breathe': Glendyn Ivin, Hugo Weaving and Tom Russell on Last Ride TOM REDWOOD 18 Tests of Endurance: Love, Faith and Family in My Year Without Sex ANNA ZAGALA 24 Swimming with Sharks: A Conversation with Sarah Watt DAVE HOSKIN 30 A Matter of Interpretation: Disgrace Documentary BRIAN MCFARLANE 36 The Birth of a Nation: Living on the Land in 76 Eyes on the World: Australian Documentary at Lucky -
All in the Family: Three Australian Female Directors Brian Mcfarlane
ALL IN THE FAMILY: THREE AUSTRALIAN FEMALE DIRECTORS BRIAN MCFARLANE y any standards, apart perhaps from box-office takings, 2009 was a banner year for Australian films. There were Balibo and Samson and Delilah, Disgrace and Last Ride, but what is really impressive is that three of the most memorable entries in this memorable year were directed by women, in an industry where Bdirection has long been dominated by men. I don’t want to make any special, essentialist point about what’s attracting female directors: male directors have been just as often drawn to the conflicts that rend families (think of such recent Australian films as Steve Jacobs’ Disgrace, Tony Ayres’ The Home Song Stories, Glendyn Ivin’s Last Ride, Dean Murphy’s Charlie & Boots). I just want to celebrate three very significant films by female directors. On the international scene, Kathryn Bigelow’s The Hurt Locker has won and been nominated for numerous awards, and neither in this nor her earlier films has the family been the site of her chief interest. Perhaps film directing is no longer a male preserve, and female directors are not to be confined by the parameters of what used to be patronisingly characterised as ‘the women’s picture’. With this sort of proviso understood, the three major films I want to highlight here—Sarah Watt’s My Year without Sex, Rachel Ward’s Beautiful Kate and Ana Kokkinos’s Blessed—indeed foreground family matters and do so with rigour and perception, but there the similarities end. 82 The three films are tonally distinct from each other. -
The Byron Kennedy Award
THE BYRON KENNEDY AWARD The Byron Kennedy Award is awarded for outstanding creative enterprise within the film and television industries. The Award is given to an individual or organization whose work embodies the qualities of Byron Kennedy: innovation, vision and the relentless pursuit of excellence. The Award is presented by Kennedy Miller, in association with AFI | AACTA, and includes a cash prize of $10,000. 1984 Roger Savage for his innovative and pioneering work in film and television sound. 1985 Andrew Pike for his unorthodox and comprehensive contribution to the film industry. 1986 Nadia Tass and David Parker for their fiercely independent approach to filmmaking. 1987 Martha Ansara for her uncompromising use of film as a vehicle for consciousness- raising and her consistent help to filmmakers at the beginning of their careers. 1988 George Ogilvie for the profound wisdom of his work in theatre, film, television and ballet, and his highly influential workshops on ensemble performance. 1989 Jane Campion for her innovative, highly individual and uncompromising work in writing, producing and directing a body of outstanding films and television programmes which have gained recognition both in Australia and overseas. 1990 Dennis O'Rourke for his consistent innovation as an artist in the field of documentary. 1991 John Duigan for an impressive and original body of work both as writer and director, and through that work, his discovery and encouragement of new talent. 1992 Robin Anderson & Bob Connolly whose films are not only fine documentaries - they are great human dramas. They will allow no obstacle to divert their single-minded pursuit of excellence. -
The Byron Kennedy Award
THE BYRON KENNEDY AWARD The Byron Kennedy Award is awarded for outstanding creative enterprise within the film and television industries. The Award is given to an individual or organization whose work embodies the qualities of Byron Kennedy: innovation, vision and the relentless pursuit of excellence. The Award is presented by Kennedy Miller, in association with AFI | AACTA, and includes a cash prize of $10,000. 1984 Roger Savage for his innovative and pioneering work in film and television sound. 1985 Andrew Pike for his unorthodox and comprehensive contribution to the film industry. 1986 Nadia Tass and David Parker for their fiercely independent approach to filmmaking. 1987 Martha Ansara for her uncompromising use of film as a vehicle for consciousness- raising and her consistent help to filmmakers at the beginning of their careers. 1988 George Ogilvie for the profound wisdom of his work in theatre, film, television and ballet, and his highly influential workshops on ensemble performance. 1989 Jane Campion for her innovative, highly individual and uncompromising work in writing, producing and directing a body of outstanding films and television programmes which have gained recognition both in Australia and overseas. 1990 Dennis O'Rourke for his consistent innovation as an artist in the field of documentary. 1991 John Duigan for an impressive and original body of work both as writer and director, and through that work, his discovery and encouragement of new talent. 1992 Robin Anderson & Bob Connolly whose films are not only fine documentaries - they are great human dramas. They will allow no obstacle to divert their single-minded pursuit of excellence. -
Sy Ydney Y Fil M Fes Cl Stiva Losin Al Su Ng Ubmis Ssion Ns
MEDIA RELEASE 12 FEBRUARY 2014 SYDNEY FILM FESTIVAL SUBMISSIONS CLOSING Entries close Thursday February 27, 2014 Filmmakers across Australia and around the world have just over two weeks to finalise their submissions for the 61st annual Sydney Film Festival, which is set to offer up the best in world cinema from Wednesday June 4 until Sunday June 15, 2014. Entries across all submission categories will close at Close Of Business on Thursday February 27, 2014, and will need to be submitted through FilmFestivalLife. Festival Director Nashen Moodley said, "We are thrilled with the number of submissions that have come in so far and are looking forward to selecting the best of the best entries to screen at the 61st edition of the Festival.” “Entries have come from far and wide, with strong submission numbers being seen across all categories including features, short films and documentaries. We encourage all interested filmmakers to wrap‐up their projects over the coming week and submit their films for consideration.” Last year, out of the total entries submitted, 192 films were invited to the Festival, screening to more than 140,000 attendees over 12 jam‐packed days and nights. A highlight of the 2014 program will be the Australian short film competition which, in its 45th year, is the oldest short film competition in Australia. Since 1970, the competition has served as a unique spring board for acclaimed Australian film talent, launching the careers of multiple international award‐winners including Chris Noonan (Babe), Don McAlphine (Moulin Rouge), Jack Thompson (Sunday Too Far Away) and Phil Noyce (Rabbit‐Proof Fence), among others. -
Sydney Film Festival Announces 2016 Official Competition Jury
MEDIA RELEASE SYDNEY FILM FESTIVAL ANNOUNCES 2016 OFFICIAL COMPETITION JURY Sydney Film Festival announces the 2016 Official Competition jury, who will judge the 12 titles in the Official Competition and award the Sydney Film Prize and $60,000 cash to the winner. The 2016 Official Competition jury members are: Jury President, international programmer and producer Simon Field (UK), prolific writer, director and producer Robert Connolly (Australia), Dublin International Film Festival’s Director Grainne Humphreys (Ireland), acclaimed producer Bridget Ikin (Australia), and innovative documentarian Kazuhiro Soda (Japan). The internationally recognised Official Competition, now in its ninth year, recognises courageous, audacious and cutting-edge film. The winner of the Sydney Film Prize is announced at the Festival’s Closing Night ceremony at the State Theatre on Sunday 19 June. “The 2016 jury is made up of five Australian and international film professionals of exceptional talent and vision, led by Simon Field,” says Sydney Film Festival Director Nashen Moodley. “The Official Competition features some of the most exciting films and filmmakers in the world right now, so the jury is in for some tough decisions.” “I'm honoured and very happy to have been invited to lead this Sydney Film Festival jury,” said Simon Field. “It's a delightful and very intriguing group and I'm sure we are going to have a very rewarding and enjoyable experience stimulated by a strong selection of films and the challenge of making a choice.” The jury members for the 2016 Sydney Film Festival Official Competition: The 2016 Jury President Simon Field (UK) began his career as a lecturer, writer and film programmer. -
Fv07/08 Annual Report
FV07/08 ANNUAL REPORT ORGANISATIONAL SECTION 01 : NURTURING SECTION 04 : SECTION 07 : ATTRACTING 03 PROFILE 19 THE NEXT GENERATION 41 PRODUCTION INVESTMENT 63 PRODUCTION TO VICTORIA Who We Are Propeller Shorts Production Investment Production Investment Our History New Feature Writers Program Highlights Attraction Fund What We Do Attachments Supported Projects Project Commitments Our Vision Internships Pilot for TV or Digital Media Projects supported which filmed Our Mission Broadcast or post-produced in 2009 Our Strategic Objectives SECTION 02 : Regional Location Assistance Fund Our Standards 27 CONTENT CREATION SECTION 05 : Inbounds, location scouts BUSINESS SUPPORT Our Corporate Governance Fiction 49 and surveys Our Nature and Range of Services Program Highlights Business Support for Producers Sales Missions and Trade Shows Factual Slate Funding BOARD Highlights Cash Flow Facility SECTION 08 : 08 MEMBERS Digital Media 69 AUDIENCE ENGAGEMENT SECTION 06 : DESTINATION OUR Public Screen Engagement Fund MELBOURNE, AUSTRALIA 11 YEAR SECTION 03 : 55 Program Highlights 35 INDUSTRY DEVELOPMENT Creating an attractive PRESIDENT’S Screen Industry Production Destination SECTION 09 : REPORT 14 Development Program Online Tools 73 AWARDS AND SCREENINGS CEO’S Highlights Marketing Campaigns Supported Award Recipients 15 REPORT International Market Attendance Location Victoria: Screenings International Festival Attendance Our Provincial Film Strategy ORGANISATIONAL No Borders Production Liaison and REPORT OF CHART 16 Policy Development 78 OPERATIONS Case Study: Provincial Victoria Onscreen Emily Robins and Miles Szanto in The Elephant Princess. Jonathan M Shiff Productions. Supported through Cash Flow Facility & Production Investment. 1 WHO WE ARE Film Victoria is the State Government agency that provides strategic leadership and Support to the film, television and digital media sectors of Victoria. -
Download the MYWS Press Booklet
WRITTEN AND DIRECTED BY SARAH WATT WWW.MYYEARWITHOUTSEX.COM DEVELOPED AND FINANCED WITH THE ASSISTANCE OF SCREEN AUSTRALIA PRODUCED WITH THE ASSISTANCE OF FilM VictOria PRODUCED IN ASSOCIATION WITH SHOWtiME Australia MY YEAR FINANCED WITH THE ASSISTANCE OF THE SOutH Australian FilM CORPOratiON PRODUCED WITH THE ASSISTANCE OF THE WITHOUT ADelaiDE FilM Festival DEVELOPED WITH THE ASSISTANCE OF SEX Fine Cut FilMS PRESENTED BY SCREEN AUSTRALIA AND HIBISCUS FILMS AUSTRALASIAN DISTRIBUTION FOOTPrint FilMS IN ASSOCIATION WITH FILM VICTORIA, SOUTH AUSTRALIAN FILM [email protected] CORPORATION, ADELAIDE FILM FESTIVAL AND SHOWTIME AUSTRALIA INTERNATIONAL SALES THE WORKS [email protected] NATALIE SACHA HORLER ROSS MATT DAY WINONA KATIE WALL GREG FRED WHITLOCK MARGARET MAUDE DAVEY RUBY PORTIA BRADLEY LOUIS JONATHAN SEGAT WRITTEN AND DIRECTED BY SARAH WATT PRODUCED BY BRIDGET IKIN ASSOCIATE PRODUCER BARBARA MASEL EXECUTIVE PRODUCERS JOHN MAYNARD, ANDREW MYER, TECHNICAL JOANNA BAEVSKI, ANDREW BARLOW, PAUL WIEGARD INFORMATION DIRECTOR OF PHOTOGRAPHY GRAEME WOOD EDITOR DENISE HARATZIS ASE Running Time: 96 mins PRODUCTION DESIGNER SIMON McCUTCHEON Length (metres): 2637.59 m COSTUME DESIGNER KITTY STUCKEY Length (feet): 8653.5 ft CASTING JANE NORRIS (Mullinars COnsultants) Ratio: 35 mm colour. 1:1.85 POST PRODUCTION SUPERVISOR MARYJEANNE WATT Sound: Dolby sr & Dolby Digital LINE PRODUCER BARBARA GIBBS Rating: M SYNOPSIS One family. One year. No sex. What else is there? — Sport, spending, saving, singing, storage solutions, spiritual stuff, Santa … MY YEAR WITHOUT SEX is a kind of a love story about all the big questions, and even more of the small ones. Over one messy year, Ross and Natalie navigate their children, nits, housework, birthdays, Christmas, faith, football, job insecurity, more nits, and whether they will ever have sex again. -
Look Both Ways”, Special Features: Commentary with Sarah Watts Et Al
Assignment 2. Critical Review and Bibliography of... “Look booth Ways” by Benjamin Britten (30454517) Part I: Film Information Credits Crew (in order of appearance in the closing credits) and companies Written and directed by Sarah Watt Producer Bridget Ikin Director of Photography Ray Argall Production Designer Rita Zanchetta Costume Designer Edie Kurzer Editor Denise Haratzis (ASE) Associate Producer Barbara Masel Vicki Sugars Executive Producer Andrew Myer Casting Angela Heesom Special Effects Film Trix Production Company Hibiscus Films Principal Investor Fcc Australia Distributors Becker / Dendy / Globe Films Cast (in order of appearance) SBS Newsreader Mary Kostakidis Meryl Justine Clarke Julia Daniela Farinacci Rob Rob Hoad Nick William McInnes Doctor Leon Teague Phil Andrew S. Gilbert Andy Anthony Hayes Crew (in order of appearance in the closing credits) and companies Maria Elena Carapetis Policewoman Tamara Lees Train driver Andreas Sobik Anna Lisa Flanagan Train driver's wife Irena Dangov Current affairs reporter Jacquelynne Willcox Emily Laura Peisley Train driver's son Alex Rafalowicz Phil's toddler Violet Gilbert Miriam Jacqueline Cook Jasmine “Jas” Olive Gilbert Et al. Facts Release date 18th August 2005 in Australia 14th April 2006 United States 21st September 2006 in Germany Working title “Life Story” Genre Drama (part-animated) Country Australia Runtime 100 min Language English Sound Mix Dolby Digital Awards (14) AFI Award - Best Direction (Sarah Watt) - Best Film (Bridget Ikin) -Best Screenplay (Sarah Watt) -Best Supporting -
Awgie Award Winners 1968 – 2019
AWGIE AWARD WINNERS 1968 – 2019 1968 Major Award Winner (Joint Winners) Colin Free Contrabandits: ‘Cage a Tame Tiger’ Major Award Winner (Joint Winners) Richard Lane You Can’t See ‘Round Corners (Television Serial) Children’s Michael Wright Skippy: ‘The Poachers’ Radio Jocelyn Smith I-Day Television James Workman Contrabandits: ‘Target Smokehouse’ Television – Play Gregory Marton Silo 15 1969 Major Award Winner Alan Hopgood The Cheerful Cuckold (Teleplay) Radio – Comedy Serial Bob Symons & She’ll Be Right Mate Trevor Meyers Documentary Joan Long The Picture That Moved Radio – Play Ron Harrison Ride on the Big Dipper Radio – Feature Joceyln Smith This is the Way We Stamp Our Feet Television – Play Joan Baldwin Diana 1970 Major Award Winner Mungo MacCallum The Stoneham Obsessions (Radio Feature) Television John Dingwall Homicide: ‘Everyone Knows Charlie’ Television Tony Morphett Delta: ‘A Touch of DFP’ Television – Play Pat Flower Friends of the Family Television – Comedy Maurice Wiltshire & The Greater Illustrated History Antipodes Show John O’Grady 1971 Major Award Winner Michael Boddy & The Legend of King O’Malley (Stage) Bob Ellis Children’s Film Marcia Hatfield Molala Harai Documentary Reg Barry Seeds of Promise Radio – Feature Ivan Smith Sounds Television – Comedy Maurice Wiltshire & Australia A–Z John O’Grady Television Series – Drama (Joint Winners) John Dingwall Division 4: ‘Johnny Red’ Television Series – Drama (Joint Winners) Tony Morphett Dynasty: ‘Cry Me A River’ Film Joan Long Paddington Lace 1972 Major Award Winner David -
Genres and Generalities
genres and generalities by brian mcfarlane Perhaps because the new Australian cinema—unlike the American cinema in its heyday—has failed to produce a studio system, its films do not easily fit into genre patterns. [Genre films] . were essentially the products of, and sustained by, the great Hollywood studios and their tapping of mass audiences.1 1 Australian Cinema 1970–1985, Secker & Warburg, London, hen i wrote that in 1985, it wouldn’t have been produc- 1987, p. 36. tive to organise a book about new Australian cinema in terms of genres. One could acknowledge that its two biggest com- mercial successes to that time—Mad Max (1979) and The Man Wfrom Snowy River (1982)—reworked American genres in antipodean physi- cal and social settings, without seriously impairing the generalisation. And it still held in another book in 1992 when, to the two exceptions already named, could be added Crocodile Dundee (1986), and its authors could assert: ‘The American [film] industry has always known better than any other what con- stituted a popular cinema.’2 This grasp of popular cinema essentially implied a 2 Brian McFarlane commitment to reproducing films in genres such as the road movie, the west- and Geoff Mayer, New Australian Cinema: ern and the populist comedy, into which the three local successes could be Sources and Parallels roughly slotted. Genre is not a matter of rules, but of a loose set of recurring in American and British elements relating to plots and attitudes and the look of the films. Quite early Film, Cambridge University Press, Mel- in the revived Australian cinema of the 1970s there were traces of genres we borne, 1992, p.