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Middle Years (6-9) 2625 Books
South Australia (https://www.education.sa.gov.au/) Department for Education Middle Years (6-9) 2625 books. Title Author Category Series Description Year Aus Level 10 Rules for Detectives MEEHAN, Adventure Kev and Boris' detective agency is on the 6 to 9 1 Kierin trail of a bushranger's hidden treasure. 100 Great Poems PARKER, Vic Poetry An all encompassing collection of favourite 6 to 9 0 poems from mainly the USA and England, including the Ballad of Reading Gaol, Sea... 1914 MASSON, Historical Australia's The Julian brothers yearn for careers as 6 to 9 1 Sophie Great journalists and the visit of the Austrian War Archduke Franz Ferdinand aÙords them the... 1915 MURPHY, Sally Historical Australia's Stan, a young teacher from rural Western 6 to 9 0 Great Australia at Gallipoli in 1915. His battalion War lands on that shore ready to... 1917 GARDINER, Historical Australia's Flying above the trenches during World 6 to 9 1 Kelly Great War One, Alex mapped what he saw, War gathering information for the troops below him.... 1918 GLEESON, Historical Australia's The story of Villers-Breteeneux is 6 to 9 1 Libby Great described as wwhen the Australians held War out against the Germans in the last years of... 20,000 Leagues Under VERNE, Jules Classics Indiana An expedition to destroy a terrifying sea 6 to 9 0 the Sea Illustrated monster becomes a mission involving a visit Classics to the sunken city of Atlantis... 200 Minutes of Danger HEATH, Jack Adventure Minutes Each book in this series consists of 10 short 6 to 9 1 of Danger stories each taking place in dangerous situations. -
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 -
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. -
MS 5014 C.D. Rowley, Study of Aborigines in Australian Society, Social Science Research Council of Australia: Research Material and Indexes, 1964-1968
AIATSIS Collections Catalogue Manuscript Finding Aid Index Australian Institute of Aboriginal and Torres Strait Islander Studies Library MS 5014 C.D. Rowley, Study of Aborigines in Australian Society, Social Science Research Council of Australia: research material and indexes, 1964-1968 CONTENTS COLLECTION SUMMARY………………………………………….......page 5 CULTURAL SENSITIVITY STATEMENT……………………………..page 5 ACCESS TO COLLECTION………………………………………….…page 6 COLLECTION OVERVIEW……………………………………………..page 7 BIOGRAPHICAL NOTE………………………………...………………page 10 SERIES DESCRIPTION………………………………………………...page 12 Series 1 Research material files Folder 1/1 Abstracts Folder 1/2 Agriculture, c.1963-1964 Folder 1/3 Arts, 1936-1965 Folder 1/4 Attitudes, c.1919-1967 Folder 1/5 Bibliographies, c.1960s MS 5014 C.D. Rowley, Study of Aborigines in Australian Society, Social Science Research Council of Australia: research material and indexes, 1964-1968 Folder 1/6 Case Histories, c.1934-1966 Folder 1/7 Cooperatives, c.1954-1965. Folder 1/8 Councils, 1961-1966 Folder 1/9 Courts, Folio A-U, 1-20, 1907-1966 Folder 1/10-11 Civic Rights, Files 1 & 2, 1934-1967 Folder 1/12 Crime, 1964-1967 Folder 1/13 Customs – Native, 1931-1965 Folder 1/14 Demography – Census 1961 – Australia – full-blood Aboriginals Folder 1/15 Demography, 1931-1966 Folder 1/16 Discrimination, 1921-1967 Folder 1/17 Discrimination – Freedom Ride: press cuttings, Feb-Jun 1965 Folder 1/18-19 Economy, Pts.1 & 2, 1934-1967 Folder 1/20-21 Education, Files 1 & 2, 1936-1967 Folder 1/22 Employment, 1924-1967 Folder 1/23 Family, 1965-1966 -
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. -
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. -
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned from Selected Jurisdic- Tions and a Strategy for Growth
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned From Selected Jurisdic- tions and a Strategy For Growth PREPARED FOR SUBMITTED BY imagineNATIVE Maria De Rosa 401 Richmond St. West, Suite 446 Marilyn Burgess Toronto, Ontario M5V 3A8 Communications MDR 503 Victoria Avenue Westmount, Québec H3Y 2R3 www.communicationsmdr.com December 5, 2018 1 Pathways to the International Market for Indigenous Screen Content Contents ACKNOWLEDGEMENTS ............................................................................................... 2 FOREWORD ................................................................................................................... 3 INTRODUCTION ............................................................................................................. 4 I. THE NEW CONTEXT: A RISING TIDE OF INDIGENOUS PRODUCTION ................. 6 II. SUCCESS STORIES: CASE STUDIES OF CANADIAN AND INTERNATIONAL FILMS, TELEVISION PROGRAMS AND DIGITAL MEDIA .......................................... 14 III. LESSONS LEARNED FROM THE SUCCESS OF INTERNATIONAL INDIGENOUS SCREEN CONTENT ..................................................................................................... 43 IV. PATHWAYS TO THE INTERNATIONAL MARKET FOR CONSIDERATION BY THE INDIGENOUS SCREEN SECTOR IN CANADA ................................................... 57 ANNEX 1: SELECTED BIBLIOGRAPHY ..................................................................... 71 ANNEX 2: SUMMARY OF RESULTS OF ON-LINE QUESTIONNAIRE -
Sydney Film Festival Announces 10 Finalists for Dendy Awards for Australian Short Films
MEDIA RELEASE SYDNEY FILM FESTIVAL ANNOUNCES 10 FINALISTS FOR DENDY AWARDS FOR AUSTRALIAN SHORT FILMS The 63rd Sydney Film Festival announces the 10 finalists in the Dendy Awards for Australian Short Films. The Festival’s short-film competition – now in its 47th year – has been sponsored by Dendy Cinemas for 28 of those years. These ground-breaking awards have kick-started the careers of many prominent filmmakers, with past competitors Warwick Thornton, Ariel Kleiman, Cate Shortland, Jane Campion, Phillip Noyce and Ivan Sen among Dendy Awards among the alumni. This year’s 10 finalists will be screened twice, on Saturday 18 June and again on Sunday 19 June, in two sessions. The winners will be announced at the Festival’s Closing Night Gala on Sunday 19 June, at the State Theatre. The 10 finalists compete for three prizes: the Dendy Live Action Short Award, which provides a $5000 cash prize; the Yoram Gross Animation Award, which carries a $5000 cash prize; and the Rouben Mamoulian Award for Best Director, which offers a $5000 cash prize. In addition, each finalist (and all of the Australian shorts in the Festival) qualifies for the Event Cinemas Australian Short Screenplay Award. “The Dendy Shorts Award is such an important opportunity for talented filmmakers to get exposure in the local film industry,” said Dendy Cinemas National Film, Content and Programming Manager, Claire Gandy. “Dendy takes immense pride in providing local talent with such a prestigious platform as Sydney Film Festival to showcase their visions to a diverse and receptive audience.” The competition for Australian Short Films was established by the Festival in 1970. -
Australian Cinematographers Society V2.1 Now Releasedfirmware
australian cinematographer ISSUE #60 DECEMBER 2013 RRP $10.00 Quarterly Journal of the Australian Cinematographers Society www.cinematographer.org.au V2.1 Now ReleasedFirmware shootingHigh &frame much rate more! The future, ahead of schedule Discover the stunning versatility of the new F Series Shooting in HD and beyond is now available to many more content creators with the launch of a new range of 4K products from Sony, the first and only company in the world to offer a complete 4K workflow from camera to display. PMW-F5 PMW-F55 The result of close consultation with top cinematographers, the new PMW-F5 and PMW-F55 CineAlta cameras truly embody everything a passionate filmmaker would want in a camera. A flexible system approach with a variety of recording formats, plus wide exposure latitude that delivers superior super-sampled images rich in detail with higher contrast and clarity. And with the PVM-X300 monitor, Sony has not only expanded the 4K world to cinema applications but also for live production, business and industrial applications. Shoot, record, master and deliver in HD, 2K or 4K. The stunning new CineAlta range from Sony makes it all possible. PVM-X300X300 For more information, please email us at [email protected] pro.sony.com.au MESM/SO130904/AC CONTENTS BY DEFINITION of the Australian Cinematographers Society’s Articles of Association “a cinematographer is a person with technical expertise who manipulates light to transfer visual information by the use of a camera into aesthetic moving 38 images on motion picture film -
© 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia
© 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia SUNDAYS AT 8.30PM FROM JUNE 3, OR BINGE FULL SEASON ON IVIEW Hotly anticipated six-part drama Mystery Road will debut on ABC & ABC iview on Sunday, 3 June at 830pm. Because just one episode will leave audiences wanting for more, the ABC is kicking off its premiere with a special back-to-back screening of both episodes one and two, with the entire series available to binge on iview following the broadcast. Contact: Safia van der Zwan, ABC Publicist, 0283333846 & [email protected] ABOUT THE PRODUCTION Filmed in the East Kimberley region of Western Australia, Aaron Pedersen and Judy Davis star in Mystery Road – The Series a six part spin-off from Ivan Sen’s internationally acclaimed and award winning feature films Mystery Road and Goldstone. Joining Pedersen and Davis is a stellar ensemble casting including Deborah Mailman, Wayne Blair, Anthony Hayes, Ernie Dingo, John Waters, Madeleine Madden, Kris McQuade, Meyne Wyatt, Tasia Zalar and Ningali Lawford-Wolf. Directed by Rachel Perkins, produced by David Jowsey & Greer Simpkin, Mystery Road was script produced by Michaeley O’Brien, and written by Michaeley O’Brien, Steven McGregor, Kodie Bedford & Tim Lee, with Ivan Sen & the ABC’s Sally Riley as Executive Producers. Bunya Productions’ Greer Simpkin said: “It was a great honour to work with our exceptional cast and accomplished director Rachel Perkins on the Mystery Road series. Our hope is that the series will not only be an entertaining and compelling mystery, but will also say something about the Australian identity.” ABC TV Head of Scripted Sally Riley said: “The ABC is thrilled to have the immense talents of the extraordinary Judy Davis and Aaron Pedersen in this brand new series of the iconic Australian film Mystery Road. -
Media-Kit-High-Ground.Pdf
HIGH GROUND DIRECTED BY STEPHEN JOHNSON RELEASE DATE TBC RUNNING TIME 1 HOUR 45 MINS RATED TBC MADMAN ENTERTAINMENT PUBLICITY CONTACT: Harriet Dixon-Smith - [email protected] Lydia Debus - [email protected] https://www.madmanfilms.com.au TAGLINE In a bid to save the last of his family, Gutjuk, a young Aboriginal man teams up with ex-soldier Travis to track down Baywara, the most dangerous warrior in the Territory, his Uncle. SYNOPSIS Northern Territory, Australia 1919. The Great War is over, the men have returned home. Many return to their normal lives in the cities in the south, others are drawn to the vast open spaces of the North. A sparsely populated wild frontier. They hunt buffalo, they hunt crocodile, and those that can join the overstretched Police service. Travis and Ambrose are two such men. A former sniper, Travis has seen the very worst of humanity and the only thing that keeps him on track is his code of honour, tested to its limit when a botched police operation results in the massacre of an Indigenous tribe. Travis saves a terrified young boy named Gutjuk from the massacre. He takes him to the safety of a Christian mission but unable to deal with the ensuing cover up, Travis leaves his police outpost and disappears into the bush. Twelve years later, 18-year-old Gutjuk hears news of the ‘wild mob’ – a renegade group of Indigenous warriors causing havoc along the frontier attacking and burning cattle stations, killing settlers. It’s said their leader is Gutjuk’s uncle, Baywara thought to be a survivor of the massacre. -
Sweet-Country-Presskit Lo.Pdf
A Film by Warwick Thornton US PRESS Producers K2 Publicity BUNYA PRODUCTIONS Kevin McLean, [email protected] Greer Simpkin Kara MacLean, [email protected] E [email protected] P:323-545-0337 M +61 417 762 756 David Jowsey Samuel Goldwyn Films E [email protected] Ryan Boring, [email protected] P: 310-860-3113 M +61 419 445 374 Press Site: http://www.samuelgoldwynfilms.com/press- detail/?filmname=sweet-country SWEET COUNTRY is produced by Bunya Productions, with major production investment and development support from Screen Australia’s Indigenous Department, in association with the South Australian Film Corporation, Create NSW, Screen Territory and the Adelaide Film Festival. International sales are being handled by Memento and the Australian release by Transmission Films. © 2017 Retroflex Lateral Pty Ltd, Screen NSW, South Australian Film Corporation, Adelaide Film Festival and Screen Australia SYNOPSIS Sam, a middle-aged Aboriginal man, works for a preacher in the outback of Australia’s Northern Territory. When Harry, a bitter war veteran, moves into a neighbouring outpost, the preacher sends Sam and his family to help Harry renovate his cattle yards. But Sam’s relationship with the cruel and ill-tempered Harry quickly deteriorates, culminating in a violent shootout in which Sam kills Harry in self-defence. As a result, Sam becomes a wanted criminal for the murder of a white man, and is forced to flee with his wife across the deadly outback, through glorious but harsh desert country. A hunting party led by the local lawman Sergeant Fletcher is formed to track Sam down.