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Filmic Farewell to David Gulpilil Is 'His Last Dance, His Last
________________________________________________________________________________________________________________ Filmic farewell to David Gulpilil is ‘his last dance, his last song’ By Paul Byrnes May 26, 2021 My Name is Gulpilil ★★★★ Rated M, 101 minutes, in cinemas This one had me at hello. In the first shot, David Gulpilil, in winter coat and mittens, walks down a country road. The camera is about 50 metres behind him and his gait is slow. Then we see why: he’s following an emu, which was obscured by his body. When the actor stops and turns back up the road, the emu does too. They move in step, as if in a duet. He just smiles, as if to say ‘of course we are’. David Gulpilil in a scene from My Name is Gulpilil. “This is my film,” he says. My Name is Gulpilil is the actor’s fond farewell, his valediction, his living obituary. At about 67 − he’s not quite sure of his age − he has lung cancer, and a number of other ailments. They will take him out soon, he tells us a number of times. He seems to want to say he’s OK with that: he has had a charmed life as a dancer, actor, singer, storyteller. “My father taught me how to dance and how to sing, and how to relate to the didgeridoo and the click stick, and the rhythm of the song of culture, the song of the ceremony … I’m the greatest dancer in the world.” He pauses for effect − “Just for me, though …” The film comes from people he has worked with for more than 20 years. -
To Download the BALANDA and the BARK CANOES
The Balanda and the Bark Canoes A documentary about making Ten Canoes May, 2005 Central Arnhem Land, Australia ‘We are making a movie. The story is their story, those that live on this land, in their language, and set a long time before the coming of the Balanda, as we white people are known. For the people of the Arafura Swamp, this film is an opportunity, maybe a last chance to hold on to the old ways. For all of us, the challenges are unexpected, the task beyond anything imagined. For me, it is the most difficult film I have made, in the most foreign land I've been to...and it is Australia.’ – Rolf de Heer Directors’ Q & A Q: What was the inspiration behind this documentary? And/or how did it come about? The documentary is a companion to the feature film Ten Canoes. Ten Canoes is an in-language indigenous tragi-comedy set in the historical (pre-white settlement) and mythical past of the Ganalbingu (Yolngu) people. It is a cautionary tale of love, lust and revenge gone wrong. Although financed, the film spent three years in the development phase. There were a number of reasons why but one of them included consolidating the early rapport and trust between Rolf, his team and the community. During this time, Rolf began visiting the communities regularly and would return with new sets of working challenges and with stories full of adventure. It became apparent that a compelling documentary could be made in its own right. Rolf approached SBS Independent, investors in the feature film Ten Canoes, about documenting the already crazy yet exhilarating journey. -
Visionsplendidfilmfest.Com
Australia’s only outback film festival visionsplendidfilmfest.comFor more information visit visionsplendidfilmfest.com Vision Splendid Outback Film Festival 2017 WELCOME TO OUTBACK HOLLYWOOD Welcome to Winton’s fourth annual Vision Splendid Outback Film Festival. This year we honour and celebrate Women in Film. The program includes the latest in Australian contemporary, award winning, classic and cult films inspired by the Australian outback. I invite you to join me at this very special Australian Film Festival as we experience films under the stars each evening in the Royal Open Air Theatre and by day at the Winton Shire Hall. Festival Patron, Actor, Mr Roy Billing OAM MESSAGE FROM THE MINISTER FOR TOURISM AND MAJOR EVENTS THE HON KATE JONES MP It is my great pleasure to welcome you to Winton’s Vision Splendid Outback Film Festival, one of Queensland’s many great event experiences here in outback Queensland. Events like the Vision Splendid Outback Film Festival are vital to Queensland’s tourism prosperity, engaging visitors with the locals and the community, and creating memorable experiences. The Palaszczuk Government is proud to support this event through Tourism and Events Queensland’s Destination Events Program, which helps drive visitors to the destination, increase expenditure, support jobs and foster community pride. There is a story to tell in every Queensland event and I hope these stories help inspire you to experience more of what this great State has to offer. Congratulations to the event organisers and all those involved in delivering the outback film festival and I encourage you to take some time to explore the diverse visitor experiences in Outback Queensland. -
David Gulpilil, AM
David Gulpilil, AM Born 1953, Gulparil, near Ramingining, Northern Territory. Lives Darwin, N.T. David Gulpilil’s full name is David Gulpilil Ridjimiraril Dalaithngu. Gulpilil is also spelt Gulparil, which is the name of his Country near Ramingining, central Arnhem Land, N.T. When, as a seventeen year-old, David Gulpilil lit up the cinema screen in the film, Walkabout, he did more than play a role. The performance was so strong, so imbued with a new type of graceful naturalism, that it re-defined perceptions of Aboriginality, especially in the field of screen acting. Over the next decade, David became the iconic Aboriginal actor of his generation, paving the way in the resurgence of the Australian film industry for more parts to be written for Aboriginal people, for more Aboriginal stories to be told. His charismatic, engaging and unforgettable performances in films like Storm Boy (1976, dir. Henri Safran), The Last Wave (1977, dir. Peter Weir) and Crocodile Dundee (1986, dir. Peter Faiman) helped bring Aboriginality into the mainstream of the screen arts. In his later work, including Rabbit-Proof Fence (2002, dir. Philip Noyce), The Tracker (2002, dir. Rolf de Heer), Australia (2008, dir. Baz Luhrmann) and the soon to be released Charlie's Country (2013, dir. Rolf de Heer), Gulpilil has brought tremendous dignity to the depiction of what it is to be Aboriginal. Through his art he has brought an incalculable amount of self-esteem to his community. Since the early 1970s, Gulpilil has earned more than 30 film credits, and performed alongside Dennis Hopper, Jack Thompson, Miles Davis, Nicole Kidman, Hugh Jackman, Kenneth Branagh, William Hurt, Richard Chamberlain, Guy Pearce, Paul Hogan, and Ernie Dingo, under acclaimed directors such as Peter Weir, Baz Lurhman, Philip Noyce, Wim Wenders and Rolf de Heer. -
AACTA Announces Return to Channel Seven, New Hair and Makeup Award for Sixth Awards Season
MEDIA RELEASE – STRICTLY EMBARGOED UNTIL 12:01AM THURSDAY 14 APRIL, 2016 AACTA Announces Return to Channel Seven, new Hair and Makeup Award for Sixth Awards Season • Film, Documentary and Short Film Entries Now Open • Applications for Juries Across All Categories Now Open The Australian Academy of Cinema and Television Arts (AACTA) today announced that it will return to Channel Seven in December, following record viewers for the nation’s top screen awards which moved to Seven last year. The 6th AACTA Awards Ceremony presented by Presto will be held on Wednesday 7 December at The Star Event Centre in Sydney, again capitalising on a primetime telecast and driving great awareness for Australia’s top film and television productions awarded ahead of the Christmas and holiday period. An extended version of the Ceremony will again encore on Foxtel. Launching its sixth awards season, AACTA today announced a new award - the AACTA Award for Best Hair and Makeup, which encompasses film and television - and said a host of new television awards will be announced next month as a result of its new partnership with ASTRA. AACTA today called for entries across feature film, documentary and short film award categories, and jurors across all awards categories, with this year seeing more than 45 peer-assessed awards presented, celebrating Australian stories, culture and creativity captured on the big and small screens. All television entries, as well as jurors for new television categories, will be called for when the newly- expanded television awards are announced in May. AACTA also today announced the date of the industry-exclusive 6th AACTA Awards presented by Presto Industry Luncheon, which will be held on Monday 5 December at The Star Event Centre in Sydney. -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
There's a Lot Going on in 'Australia': Baz Luhrmann's Claim to the Epic
10 • Metro Magazine 159 There’s a lot going on in Australia Baz Luhrmann’s Claim to the Epic Brian McFarlane REVIEWS BAZ LUHRmann’s EAGERLY AWAITED ‘Event’ FiLM. ou’ve got to admire the cheek of scape of a restricted kind. Does Luhrmann a director who calls his film simply believe that it is only Dorothea Mackellarland YAustralia. It implies that what is (all ‘sweeping plains’ and ‘ragged mountain going on in it is comprehensive enough, or ranges’ and ‘droughts and flooding rains’) at least symptomatic enough, to evoke the that the world at large will recognize as Aus- continent at large. Can it possibly live up to tralia? What he shows us is gorgeous be- such a grandiose announcement of intention? yond the shadow of a doubt – gorgeous, that There have been plenty of films named for is, to look at on a huge screen rather than to cities (New York, New York [Martin Scorsese, live in. It is, though, hardly the ‘Australia’ that 1977], Barcelona [Whit Stillman, 1994], most most of its inhabitants will know intimately, recently Paris [Cédric Klapisch, 2008]), but living as we do in our urban fastnesses, but summoning a city seems a modest enterprise the pictorial arts have done their bit in instill- compared with a country or a continent ing it as one of the sites of our yearning. (please sort us out, Senator Palin). D.W. Griffith in 1924 and Robert Downey Sr in Perhaps it’s really a love story at heart, a love 1986 had a go with America: neither director story in a huge setting that overpowers its is today remembered for his attempt to fragile forays into intimacy. -
Theatre Costume, Celebrity Persona, and the Archive
Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing. -
The Constitutive Role of African Australian Film1
Culture is Our Future: The Constitutive Role of African Australian Film1 Anne Harris2 Monash University “It doesn’t matter what tone of fuckin’ black you are, you are black.” (Deborah Mailman, Black Chicks Talking, 2001)3 Abstract ‘Culture is our Future’4 is one example of an emerging body of film and video by and about African Australians, and in which ethics and aesthetics sometimes compete. Australian media representations of African Australians have been persistently negative, and many look to the ability of film and video to represent a counter-narrative in the co- construction of cultural and subcultural identities. Drawing on Appadurai’s5 cultural imaginary and mediascapes, this article will contextualise these films in a consideration of larger ‘filmic diasporas’ which represent the diversity and richness of African communities emerging in multiple diasporic locations (particularly Australia), and competing within multiple aesthetics. Simultaneously, this critique interrogates how these examples of gender and race6 may also be used as ‘mechanisms of exclusion’7, and how African Australians remain ‘constitutively visible’8 despite mainstream media attempts to render them invisible. 1 Editor’s Note: This article was submitted and reviewed prior to the author’s uptake of the role of co-editor of ARAS. All review processes were conducted anonymously and processed by the other editors. 2 Author’s Note: The author gratefully acknowledges the contribution of the anonymous ARAS reviewers who have, through the journal’s review process, contributed to the clarity and depth of the argument presented here. 3 Deborah Mailman, Black Chicks Talking. Director, Leah Purcell, Bungabura Productions Pty. -
07 3010 7600 Facsimile: 07 3010 7699 Email: [email protected] Website
78 Montague Road South Brisbane PO Box 3310 South Brisbane BC Queensland 4101 Telephone: 07 3010 7600 Facsimile: 07 3010 7699 Email: [email protected] Website: www.qldtheatreco.com.au Front cover: Georgina Symes Photo: Craig Ratcliffe The Crucible L-R: Brad McMurray, Melanie Zanetti, Francesca Savige, Nelle Lee, Bryan Nason, Amelia Dowd, Sue Dwyer, Chris Betts, Christopher Sommers, Andrew Buchanan, Robert Coleby, Bob Newman, Leo Wockner, Kathryn Marquet, Paul Bishop, James Stewart. Photo: Rob Maccoll Contents Letter to the Premier ..................................................................................................................................................2 Introduction Company profile ........................................................................................................................................... 3 Strategic overview ........................................................................................................................................4 Functions of the Company ............................................................................................................................ 5 Queensland Government objectives.............................................................................................................6 Chair’s report ............................................................................................................................................... 7 Artistic Director’s report ...............................................................................................................................8 -
Australian Cinema After Mabo Felicity Collins and Therese Davis Index More Information
Cambridge University Press 0521834805 - Australian Cinema after Mabo Felicity Collins and Therese Davis Index More information Index Aboriginal racial stereotypes, 3 as ‘coming-of-age’ film, 167–8 Adelaide Festival of the Arts, 42 landscape in, 76 The Adventures of Priscilla, Queen of the politics of shame in, 168–9 Desert, 77, 116, 159 race and identity in, 163–5 After the Deluge,35 as road film, 165–7 ‘aftershock’, 75, 78, 81–6 Benjamin, Walter, 8, 10, 66, 78 ‘afterwardness’, 78, 87–90, 91–2, 174 Beresford, Bruce, 35 Akerman, Piers, 6, 63, 135–7, 147 Berlant, Lauren, 61 Alberti, Manuela, 76, 91–2 Berry, Chris, 159–60, 175 American Graffiti, 152, 159 Bilcock, Jill, 31 Anderson, Ian, 164 Black and White, 10–14, 76 Armstrong, Gillian Black Chicks Talking (television program), High Tide,97 17–18, 182 The Last Days of Chez Nous, 35, 77 Aboriginal identity in, 17, 18 My Brilliant Career,75 colonialism in, 18 Oscar and Lucinda, 77, 83 ‘recognition’ in, 18 Armstrong, Kerry, 34 Black Talk, 183 Australian film genre, 25–7 black trackers, 3, 141 Australian Film Industry awards, 27, 30, 33, Blainey, Geoffrey, 6 34, 162 Blair, Wayne, 183 Australian history, politicisation, 5–6, 13, 16, Blake, Rachael, 34 27 Blurred, 114 Australian Rules, 42, 52 Boseley, Nicholas, 183 Anglo-Celtic social imaginary in, 43–5 Bovell, Andrew, 34 aural images, 41 Bowman, Anthony J., 124 depiction of race, 45–8 Brady, Tait, 34 identity in, 54 The Breakfast Club, 159 landscape in, 76 Bringing Them Home (report), 7, 20, 42, 57, The Awful Truth, 124 80, 117, 133, 135, 136, 139, -
Marriageability and Indigenous Representation in the White Mainstream Media in Australia
Marriageability and Indigenous Representation in the White Mainstream Media in Australia PhD Thesis 2007 Andrew King BA (Hons) Supervisor: Associate Professor Alan McKee Creative Industries, Queensland University of Technology Abstract By means of a historical analysis of representations, this thesis argues that an increasing sexualisation of Indigenous personalities in popular culture contributes to the reconciliation of non-Indigenous and Indigenous Australia. It considers how sexualised images and narratives of Indigenous people, as they are produced across a range of film, television, advertising, sport and pornographic texts, are connected to a broader politics of liberty and justice in the present postmodern and postcolonial context. By addressing this objective the thesis will identify and evaluate the significance of ‘banal’ or everyday representations of Aboriginal sexuality, which may range from advertising images of kissing, television soap episodes of weddings, sultry film romances through to more evocatively oiled-up representations of the pin- up-calendar variety. This project seeks to explore how such images offer possibilities for creating informal narratives of reconciliation, and engendering understandings of Aboriginality in the media beyond predominant academic concerns for exceptional or fatalistic versions. i Keywords Aboriginality Indigenous Marriageability Reconciliation Popular Culture Sexuality Relationships Interracial Public Sphere Mediasphere Celebrity ii Table of Contents Introduction ………………………………………………………………………….