DOCSLIB.ORG

Friends with Benefits a Report on Australia’S International Co-Production Program Australia’S Co-Production Program Has Resulted in 132 Co-Productions to Date

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Friends with Benefits a Report on Australia’S International Co-Production Program Australia’S Co-Production Program Has Resulted in 132 Co-Productions to Date Friends with benefits A report on Australia’s International Co-production Program Australia’s co-production program has resulted in 132 co-productions to date. canada, the UK and france represent the highest level of activity. feature films make up the largest proportion and have been the most consistently produced format. However, children’s programs – animation in particular – have increased since the mid-1990s. © Screen Australia 2012 ISBN: 978-1-920998-18-9 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Friends with benefits: A report on Australia's International Co-production Program. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc- nd/3.0/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this report. Screen Australia is grateful to all those that contributed data to the compilation of this report. The data provided in this survey has been drawn from a number of sources. Screen Australia has undertaken all reasonable measures to ensure its accuracy and therefore cannot accept responsibility for inaccuracies and omissions. Cover picture: Bright Star (feature, Australia/UK) screened in Competition at Cannes in 2009, and had multiple international festival screenings including Pusan, Telluride and Toronto. It was nominated for Best Film at the London Film Festival, won three AFI Awards, and an Oscar® nomination for Best Costume in 2009. It went on to make 54 international sales. ifc2 Contents OVERVIEW 3 WHY CO-PRODUCE? 4 The opportunities 4 The challenges 5 TRENDS IN CO-PRODUCTIONS 6 Looking back: international co-productions in Australia 6 By format 8 TV programs: children's vs adults' 10 Co-productions as part of the Australian production landscape 11 Budget ranges 12 International release of feature co-productions 12 A closer look: co-productions by partner country 13 Balancing financial and creative contributions 14 A SUmmary OF Australia'S CO-PRODUCTION partners 16 partner PROFILES 18 the rAiLwAY MAn (feature, Australia/UK) commenced production in may 2012. Shooting in Australia, the UK and Thailand throughout 2012, the film is due for release in 2013. Friends with beneFits | Screen A UStrAliA 1 the sAddLe CLub The first two series ofThe Saddle Club (children’s TV drama, Australia/Canada) were made in the early 2000s, with a third series returning in 2007 due to popular demand. The series has screened throughout Europe and North America, as well as on Australian free-to- air and subscription TV, and has generated sales of videos, music CDs and other merchandise. KeY terMs • Animation is an animated production and updated where possible by contacts made for television. Excludes animated at the relevant competent authorities • An Australian co-production is a project features which are included with feature (as listed in table on page 16). that has received approval by both films (see above). • Commentary was informed by Screen Australia and the relevant foreign • A documentary is a program that is a interviews with Australian producers competent authority, as having complied creative treatment of actuality other with experience in international co- with the provisions of the co-production than a news or current affairs, sports productions. Screen Australia would like arrangement (treaty or memorandum of coverage, magazine, infotainment, or to thank the following people for their understanding) between Australia and light entertainment program. Includes assistance: Denise Anderson, Mario the co-producing country. documentaries made for both television Andreacchio, Sasha Burrows, Gillian • A treaty is a formal arrangement and cinema release. Carr, Kate Christiansen, Stu Connolly, between the governments of two or more • Analysis of total number and total Justine Flynn, Alan Harris, Chris Hilton, countries. budgets includes all projects that started Simone Nicholson, Suzanne Ryan, Emile • A memorandum of understanding shooting during the financial year, with Sherman and Avrill Stark. (MOU) is an arrangement between the full budget allocated to the date • Sources for information on international governments or government agencies of principal photography starts; budgets are partners: Berlinale Co-production Market two or more countries. While an MOU has not apportioned across the duration of Project Catalogue 2012; Cannes Film less-than-treaty status, in Australia in the project. Market – Funds Book 2011; Cannes the context of film co-productions, it has World Film Market Trends 2012, CIA the same practical and regulatory effect MethodoLogY World Factbook; Council of Europe as a treaty. website; Eurimages website; European • Competent authority means the • This publication reports on the production of feature films and TV Audiovisual Observatory (Susan Newman authorities designated as such by and Korda database); German Federal the Australian Government (Screen programs that have been approved by Screen Australia as co-productions Film Board; PwC Outlook – International Australia) and by the foreign government Edition; Screen Digest; Screen of each co-production country (listed through the International Co-production Program. International Soft Money Guide 2010; on page 16). The competent authority in TBI Yearbook 2012. each country administers that country’s • Figures are reported by the financial year in which production commenced. • Further information on Australia’s co-production program. International Co-production Program • A feature film is a film made for • It includes projects that have received provisional approval only. available at: www.screenaustralia.gov.au/ cinema release which is 60 minutes or coproductions longer, including animated features but • It excludes projects that had not commenced principal photography • Figures on total Australian drama and excluding feature documentaries (see documentary production are at: www. below). by 17 May 2012, and are unlikely to commence before 30 June 2012. screenaustralia.gov.au/research/prod_ • A tV drama is a live-action drama industry.aspx program for adults or children, including • Information on international partner countries has been gathered from a • All figures in Australian dollars except series, mini-series and telemovies. where specified. Excludes animated TV drama (see range of sources (see list below), verified below). 2 Friends with benefits: A report on Australia's International Co-production Program, analyses the activity of the Australian co-production program since its inception in 1986, and explores the opportunities and challenges of international co-productions for Australian producers. It also presents information on Australia’s 11 international co-production partners, including factors influencing their patterns of activity with Australia and within the international co-production landscape more generally. Overview Australia is part of a network of countries that provide (2007) and South Africa (2010). To date, the program formal arrangements to enable films and TV programs has resulted in 132 co-productions. Australia is to be officially co-produced between two or more currently negotiating co-production treaties with India, countries. These formal arrangements may take the Denmark, malaysia and the Republic of Korea. form of a treaty or a memorandum of understanding The benefits of international co-productions vary, (mOU). depending on the partner country’s available funding, All references to co-productions throughout this areas of expertise and treaty guidelines. In order to report refer to ‘official’ or ‘treaty’ co-productions made achieve co-production status, a film or program needs through these formal arrangements. to comply with the terms of the relevant co-production Governments in many countries have negotiated arrangement, with approval granted from each international co-production treaties for economic, participating country. Each country has a ‘competent cultural and diplomatic purposes. By uniting two authority’ responsible for assessing and approving countries with similar objectives, co-productions projects as co-productions, in accordance with the create benefits for both partners. They can provide requirements set out in the agreements. Screen a means to produce content of a quality and scale to Australia is the competent authority responsible compete in the international marketplace with US for administering the International Co-production programming, particularly for those countries with Program in Australia. small local production industries. erKY PerKY This is achieved primarily through the sharing of costs There have been via access to funding from all participating territories. three series and 78 Co-productions also facilitate wider distribution of episodes of Erky Perky content to multiple markets, and have the potential to (children’s animation, foster creative collaborations and encourage long- Australia/Canada). It term international relationships between producers. has been nominated Since Australia’s International Co-production for awards at Stuttgart Program began in 1986, treaties
Load more

Recommended publications
  • Apo-Nid63005.Pdf
    AUSTRALIAN BROADCASTING TRIBUNAL ANNUAL REPORT 1991-92 Australian Broadcasting Tribunal Sydney 1992 ©Commonwealth of Australia ISSN 0728-8883 Design by Media and Public Relations Branch, Australian Broadcasting Tribunal. Printed in Australia by Pirie Printers Sales Pty Ltd, Fyshwick, A.CT. 11 Contents 1. MEMBERSIDP OF THE TRIBUNAL 1 2. THE YEAR IN REVIEW 7 3. POWERS AND FUNCTIONS OF THE TRIBUNAL 13 Responsible Minister 16 4. LICENSING 17 Number and Type of Licences on Issue 19 Grant of Limited Licences 20 Commercial Radio Licence Grant Inquiries 21 Supplementary Radio Grant Inquiries 23 Joined Supplementary /Independent Radio Grant Inquiries 24 Remote Licences 26 Public Radio Licence Grants 26 Renewal of Licences with Conditions or Licensee Undertaking 30 Revocation/Suspension/Conditions Inquiries 32 Allocation of Call Signs 37 5. OWNERSHIP AND CONTROL 39 Applications and Notices Received 41 Most Significant Inquiries 41 Unfinished Inquiries 47 Contraventions Amounting To Offences 49 Licence Transfers 49 Uncompleted Inquiries 50 Operation of Service by Other than Licensee 50 Registered Lender and Loan Interest Inquiries 50 6. PROGRAM AND ADVERTISING STANDARDS 51 Program and Advertising Standards 53 Australian Content 54 Compliance with Australian Content Television Standard 55 Children's Television Standards 55 Compliance with Children's Standards 58 Comments and Complaints 59 Broadcasting of Political Matter 60 Research 61 iii 7. PROGRAMS - PUBLIC INQUIRIES 63 Public Inquiries 65 Classification of Television Programs 65 Foreign Content In Television Advertisements 67 Advertising Time On Television 68 Film And Television Co-productions 70 Australian Documentary Programs 71 Cigarette Advertising During The 1990 Grand Prix 72 Test Market Provisions For Foreign Television Advertisements 72 Public Radio Sponsorship Announcements 73 Teenage Mutant Ninja Turtles 74 John Laws - Comments About Aborigines 75 Anti-Discrimination Standards 75 Accuracy & Fairness in Current Affairs 76 Religious Broadcasts 77 Review of Classification Children's Television Programs 78 8.
    [Show full text]
  • Editable Food Film Catering
    EDITABLE FOOD FILM CATERING m. 0410 507 534 t. 03 9808 5885 f. 03 9808 2263 e. [email protected] CREDITS: Film & Television / Drama: WINNERS AND LOSERES SERIES 3 Seven Network Operations LTD T.V Series Line Producer: Chris Page March 2014- April 2014 TIME OF OUR LIVES SERIES 2 Time Productions T.V Series Production Manager: Jenny Barty January 2014-February 2014 CUT SNAKE Cut Snake Productions Feature Film Line Producer: James Grandison November 2013-December 2013 HOUSE HUSBANDS 2 Playmaker1 SPV T.V Series Line Producer: Esther Rodewald April 2013-June 2013 OFFSPRING 4 Southern Star Productions T.V Series Line Producer: Peter Muston February 2013-March 2013 WINNERS & LOSERS SERIES 3 Seven Network T.V Series Line Producer: Chris Page January 2013-February 2013 MR & MRS MURDER Freemantle media Australia Pty Ltd T.V Series Producer: Andy Walker October 2012-December 2012 PAPER GIANTS 2-MAGAZINE WARS Southern Star Productions T.V Series Assoc Producer: Jane Lindsay August 2012-September2012 THE HUNTER Brown Cab Productions Short Film Prod Manager: Pauline Clague May 2012 PLEASE LIKE ME Please Like Me Productions T.V Series Line Producer: Annie Flynn March 2012-April 2012 Bookings. Freelancers Promotions 613 9682 2722 Film & Television / Drama cont: OFFSPRING 3 – 2 ND UNIT Southern Star Productions T.V Series Line Producer: Ross Allsop February 2012-March 2012 WINNERS AND LOSERS Series 2 Seven Network Ltd T.V Series Line Producer: Amanda Crittenden November 2011-January 2012 LOWDOWN Series 2 Highwire Films T.V Series Production Manager:
    [Show full text]
  • Spotlight and Hot Topic Sessions Poster Sessions Continuing
    Sessions and Events Day Thursday, January 21 (Sessions 1001 - 1025, 1467) Friday, January 22 (Sessions 1026 - 1049) Monday, January 25 (Sessions 1050 - 1061, 1063 - 1141) Wednesday, January 27 (Sessions 1062, 1171, 1255 - 1339) Tuesday, January 26 (Sessions 1142 - 1170, 1172 - 1254) Thursday, January 28 (Sessions 1340 - 1419) Friday, January 29 (Sessions 1420 - 1466) Spotlight and Hot Topic Sessions More than 50 sessions and workshops will focus on the spotlight theme for the 2019 Annual Meeting: Transportation for a Smart, Sustainable, and Equitable Future . In addition, more than 170 sessions and workshops will look at one or more of the following hot topics identified by the TRB Executive Committee: Transformational Technologies: New technologies that have the potential to transform transportation as we know it. Resilience and Sustainability: How transportation agencies operate and manage systems that are economically stable, equitable to all users, and operated safely and securely during daily and disruptive events. Transportation and Public Health: Effects that transportation can have on public health by reducing transportation related casualties, providing easy access to healthcare services, mitigating environmental impacts, and reducing the transmission of communicable diseases. To find sessions on these topics, look for the Spotlight icon and the Hot Topic icon i n the “Sessions, Events, and Meetings” section beginning on page 37. Poster Sessions Convention Center, Lower Level, Hall A (new location this year) Poster Sessions provide an opportunity to interact with authors in a more personal setting than the conventional lecture. The papers presented in these sessions meet the same review criteria as lectern session presentations. For a complete list of poster sessions, see the “Sessions, Events, and Meetings” section, beginning on page 37.
    [Show full text]
  • Ned Kelly and the Kelly Gang
    Ned Kelly and the Kelly Gang Use the words below to fill in the missing information. Glenrowan Inn life armour Ellen Quinn banks legend bushranger bravery unprotected outlawed surviving letter friends hanged awarded Australia’s most famous is Ned Kelly. Edward ‘Ned’ Kelly was born in Beveridge, Victoria in 1855. Ned’s mother was and his father was John ‘Red’ Kelly, an ex-convict. He was their eldest son of eight children. As a child, Ned rescued another boy from drowning. The boy’s family him a green silk sash in recognition of his . Red Kelly died when Ned was young and Ned was left to provide for the family. He worked cutting timber, breaking in horses, mustering cattle and fencing. During his teenage years, Ned got in trouble with the police. In 1878, Ned felt that his mother was put in prison wrongfully and he was being harassed by the police, so he went into the bush to hide. Together with his brother Dan and two others, Joe Byrne and Steve Hart, they became the Kelly Gang. The Gang was after killing three policemen at Stringybark Creek. This meant that they could be shot on sight by anybody at any time. For two years, the Gang robbed and avoided being captured. At the Jerilderie Bank robbery in 1879, with the help of Joe, Ned wrote a famous telling his side of the story. Many struggling small farmers of north-east Victoria felt they understood the Gang’s actions. It has been said that most of the takings from his famous bank robberies went to help his supporters, so many say Ned was an Australian Robin Hood.
    [Show full text]
  • Death Defying Acts Pdf Free Download
    DEATH DEFYING ACTS PDF, EPUB, EBOOK Woody Allen | 125 pages | 09 Jun 2010 | Samuel French Inc | 9780573695391 | English | Hollywood, CA, United States Death Defying Acts PDF Book Plot Keywords. Benji McGarvie : Just gave him what he wanted. While it's been pretty maligned in some circles - maybe this is why it never was released in the States and it arrived two years late in Peruvian theatres - it's not a bad movie; it's OK, I guess, but nothing spectacular. Death on the Vine When Phryne arrives at an idyllic vineyard in the countryside to investigate a suspicious death in the past, she lands in the middle of an annual Wine Festival and the recent murder of her own 'client'. She steps in to solve the crime and save the production - juggling the roles of principal investor and private investigator. The revelation comes as the two middle-aged couples spar, their tawdry ripostes reaching for, but never nailing, the self-aware bitchiness of Noel Coward. And the main event is actually quite life-defying. Benji McGarvie : Monkeys are just like you and me. Crookedest Street. Photo Gallery. Expand the sub menu Music. UK Film Council. And me and Mam, we had the here and now. I saw things other folk did nae see. Promotional movie poster. You're just a dancing monkey. Music Hall Dwarf Shaun Mason External Reviews. From metacritic. Gone are the restrictive corsets of past eras. Performances - especially Ronan's - are what save the film from entering the realm of mediocrity, but if you really want to watch a magician's flick, I'd recommend either the Illusionist or The Prestige.
    [Show full text]
  • Ghosts of Ned Kelly: Peter Carey’S True History and the Myths That Haunt Us
    Ghosts of Ned Kelly: Peter Carey’s True History and the myths that haunt us Marija Pericic Master of Arts School of Communication and Cultural Studies Faculty of Arts The University of Melbourne November 2011 Submitted in total fulfillment of the requirements of the degree of Master of Arts (by Thesis Only). Abstract Ned Kelly has been an emblem of Australian national identity for over 130 years. This thesis examines Peter Carey’s reimagination of the Kelly myth in True History of the Kelly Gang (2000). It considers our continued investment in Ned Kelly and what our interpretations of him reveal about Australian identity. The paper explores how Carey’s departure from the traditional Kelly reveals the underlying anxieties about Australianness and masculinity that existed at the time of the novel’s publication, a time during which Australia was reassessing its colonial history. The first chapter of the paper examines True History’s complication of cultural memory. It argues that by problematising Kelly’s Irish cultural memory, our own cultural memory of Kelly is similarly challenged. The second chapter examines Carey’s construction of Kelly’s Irishness more deeply. It argues that Carey’s Kelly is not the emblem of politicised Irishness based on resistance to imperial Britain common to Kelly narratives. Instead, he is less politically aware and also claims a transnational identity. The third chapter explores how Carey’s Kelly diverges from key aspects of the Australian heroic ideal he is used to represent: hetero-masculinity, mateship and heroic failure. Carey’s most striking divergence comes from his unsettling of gender and sexual codes.
    [Show full text]
  • Preserving Our Precious Collection
    April 2011 Jewish Holocaust Centre Preserving our precious collection The magazine of the Jewish Holocaust Centre, Melbourne, Australia Registered by Australia Post. Publication No. VBH 7236 JHC Board: The Jewish Holocaust Centre is dedicated to the memory of the six million Jews President: Pauline Rockman OAM murdered by the Nazis and their collaborators between 1933 and 1945. Vice President: Adam Kreuzer Immediate Past President: We consider the finest memorial to all victims of racist policies to be an educational Shmuel Rosenkranz program which aims to combat antisemitism, racism and prejudice in the Secretary: Elly Brooks community and fosters understanding between people. Treasurer: David Cohen Public Officer: Helen Mahemoff Members: Allen Brostek, Alex Dafner, Abram Goldberg, Sue Hampel, Paul Kegan, Henri Korn, Willy Lermer, Ruth Mushin JHC Foundation: Chairperson: CONTENTS Helen Mahemoff FROM THE PRESIDENT 3 Trustees: Nina Bassat AM EDITOR’S LETTER 3 Joey Borensztajn Allen Brostek DIRECTOR’S CUT 4 Silvana Layton Jeffrey Mahemoff AO EDUCATION 5 Patrons: ON HOLOCAUST AND GENOCIDE 6 Professor Yehuda Bauer Mrs Eva Besen AO USING THE JEWISH HOLOCAUST CENTRE MUSEUM Mr Marc Besen AO FOR TEACHING AND LEARNING ABOUT THE HOLOCAUST 9 Sir William Deane AC CBE RESPONDING TO THE CHALLENGE FOR OUR TIMES: Sir Gustav Nossal AC CBE Mrs Diane Shteinman AM TECHNOLOGICAL INNOVATION AT THE JEWISH HOLOCAUST CENTRE 10 Steven Spielberg PRESERVING OUR COLLECTION FOR POSTERITY 11 JHC Staff: THE JEWISH HOLOCAUST CENTRE CELEBRATES 27 YEARS 12 Warren Feinberg,
    [Show full text]
  • Deepa Mehta (See More on Page 53)
    table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.
    [Show full text]
  • Gillian Armstrong Gillian Armstong Came to Prominence in the 1970S
    Gillian Armstrong Gillian Armstong came to prominence in the 1970s as an outstanding young Australian film director, who has gone on to achieve sustained international success. Alongside filmmakers like Bruce Beresford, John Duigan, Phil Noyce, Fred Schepisi and Peter Weir, her early work was supported by a new national film industry, giving expression to an individual creative vision and an Australian content. Gillian Armstrong’s father was an amateur photographer, and as she grew up, she had her own camera and interest in photography. She studied a Diploma of Art (Film and Television) at Swinburne Technical College, graduating in 1971, Originally enrolled in costume design, she started attending the film course and became entranced with the medium and with the work the students were doing ... turning more and more to still photography and then to film’ (Stratton 1980, p.213). It was the first course in film and television in Australia, initially offered by Swinburne Art School within the Department of Graphic Design. Armstrong ‘experienced great stimulus from the art side of the course — for her the philosophy of film as a means of expression and vision came from the first two years of the course in art and graphic design’ (Paterson 1996, p.46). She graduated with the experimental film The Roof Needs Mowing , 1970. Brian Robinson, first head of the Swinburne Film School, was significant in the development and operation of this innovative course, and the creative learning experience of the small student intake. Regarding them as artists being trained in the technical skills of filmmaking, he thought they should all ‘aim at being producers and directors’ (Paterson 1996, p.
    [Show full text]
  • A STUDY GUIDE by Katy Marriner
    © ATOM 2012 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN 978-1-74295-267-3 http://www.theeducationshop.com.au Raising the Curtain is a three-part television series celebrating the history of Australian theatre. ANDREW SAW, DIRECTOR ANDREW UPTON Commissioned by Studio, the series tells the story of how Australia has entertained and been entertained. From the entrepreneurial risk-takers that brought the first Australian plays to life, to the struggle to define an Australian voice on the worldwide stage, Raising the Curtain is an in-depth exploration of all that has JULIA PETERS, EXECUTIVE PRODUCER ALINE JACQUES, SERIES PRODUCER made Australian theatre what it is today. students undertaking Drama, English, » NEIL ARMFIELD is a director of Curriculum links History, Media and Theatre Studies. theatre, film and opera. He was appointed an Officer of the Order Studying theatre history and current In completing the tasks, students will of Australia for service to the arts, trends, allows students to engage have demonstrated the ability to: nationally and internationally, as a with theatre culture and develop an - discuss the historical, social and director of theatre, opera and film, appreciation for theatre as an art form. cultural significance of Australian and as a promoter of innovative Raising the Curtain offers students theatre; Australian productions including an opportunity to study: the nature, - observe, experience and write Australian Indigenous drama. diversity and characteristics of theatre about Australian theatre in an » MICHELLE ARROW is a historian, as an art form; how a country’s theatre analytical, critical and reflective writer, teacher and television pre- reflects and shape a sense of na- manner; senter.
    [Show full text]
  • Sydney Film Festival Award Winners Announced at Closing Night Gala 19/06/2016
    MEDIA RELEASE EMBARGOED UNTIL 08:30PM SUNDAY 19 JUNE 2016 SYDNEY FILM FESTIVAL AWARD WINNERS ANNOUNCED AT CLOSING NIGHT GALA The 63rd Sydney Film Festival tonight awarded Aquarius, directed by Kleber Mendonça Filho, the prestigious Sydney Film Prize, out of a selection of 12 Official Competition films. The $63,000 cash prize was awarded at the Festival’s Closing Night Gala awards ceremony and event: the Australian premiere screening of Whit Stillman’s Love & Friendship, held at the State Theatre. Sydney filmmaker Dan Jackson was awarded the Documentary Australia Foundation Award for Australian Documentary, a $15,000 cash prize, for In the Shadow of the Hill; with a special mention going to Destination Arnold directed by Sascha Ettinger Epstein. The Dendy Awards for Australian Short Films were announced; awarding Slapper, directed and written by Luci Schroder, The Dendy Live Action Short Award; The Crossing, directed and written by Marieka Walsh, The Yoram Gross Animation Award; and Goran Stolevski, the Rouben Mamoulian Award for Best Director, for You Deserve Everything. The Event Cinema Australian Short Screenplay Award was awarded to Spice Sisters, written and directed by Sheila Jayadev, who received a $5,000 cash prize, with a special mention to Matthew Vesely for My Best Friend Is Stuck On The Ceiling. The new annual Sydney UNESCO City of Film Prize was awarded to Ms Lynette Wallworth, who received $10,000 prize awarded by Screen NSW, presented by Margaret Pomeranz AM. Sydney Film Festival CEO Leigh Small said, “Cinemas were full again this year with an average of 73% capacity across all sessions and more sellouts than ever before.
    [Show full text]
  • Katherine Thomson
    What I Wrote: Katherine Thomson A STUDY GUIDE by KATY MARRINER Snodger Media and Ronin Films http://www.theeducationshop.com.au Introduction the screenplay for the film Unfolding Florence – The Many Lives of Florence This study guide to accompany What Broadhurst. She has been Vice-Pres- I Wrote: Katherine Thomson has been ident of the Australian Writers’ Guild written for senior secondary students. and President of Sydney PEN. It provides information and sugges- tions for learning activities in English, About the filmmakers Literature, Theatre Studies and Drama. Dr Tess Brady – Presenter What I Wrote: Katherine Thomson is a Dr Tess Brady is a highly respected short film about Australian playwright editor, researcher and teacher of writ- Katherine Thomson. Dr Tess Brady in- ing at university level. She was the terviews Thomson and provides a criti- co-founding editor of the international cal introduction to Harbour, Answered online scholarly journal TEXT and has by Fire, Mavis Goes to Timor and published children’s picture books, Wonderlands. What I Wrote: Katherine adult radio drama, crime fiction, short Thomson also includes a discussion of stories and popular non-fiction. Her some of Thomson’s other plays and an most recent publication is Creative investigation of her approach to writing Writing: Theory beyond practice, with for the stage. Nigel Krauth. What I Wrote: Katherine Thomson Catherine Gough-Brady – is one title from a four-part series Director spotlighting Australian playwrights. Catherine Gough-Brady is a documen- The series offers students information tary filmmaker. She has made works about the ideas and processes of the for a variety of media.
    [Show full text]