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Edmund Barton and the 1897 Federal Convention
The Art of Consensus: Edmund Barton and the 1897 Federal Convention The Art of Consensus: Edmund Barton and the 1897 Federal Convention* Geoffrey Bolton dmund Barton first entered my life at the Port Hotel, Derby on the evening of Saturday, E13 September 1952. As a very young postgraduate I was spending three months in the Kimberley district of Western Australia researching the history of the pastoral industry. Being at a loose end that evening I went to the bar to see if I could find some old-timer with an interesting store of yarns. I soon found my old-timer. He was a leathery, weather-beaten station cook, seventy-three years of age; Russel Ward would have been proud of him. I sipped my beer, and he drained his creme-de-menthe from five-ounce glasses, and presently he said: ‘Do you know what was the greatest moment of my life?’ ‘No’, I said, ‘but I’d like to hear’; I expected to hear some epic of droving, or possibly an anecdote of Gallipoli or the Somme. But he answered: ‘When I was eighteen years old I was kitchen-boy at Petty’s Hotel in Sydney when the federal convention was on. And every evening Edmund Barton would bring some of the delegates around to have dinner and talk about things. I seen them all: Deakin, Reid, Forrest, I seen them all. But the prince of them all was Edmund Barton.’ It struck me then as remarkable that such an archetypal bushie, should be so admiring of an essentially urban, middle-class lawyer such as Barton. -
“Canned History”: American Newsreels and The
“Canned History”: American Newsreels and the Commodification of Reality, 1927-1945 By Joseph E.J. Clark B.A., University of British Columbia, 1999 M.A., University of British Columbia, 2001 M.A., Brown University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May, 2011 © Copyright 2010, by Joseph E.J. Clark This dissertation by Joseph E.J. Clark is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date:____________ _________________________________ Professor Susan Smulyan, Co-director Date:____________ _________________________________ Professor Philip Rosen, Co-director Recommended to the Graduate Council Date:____________ _________________________________ Professor Lynne Joyrich, Reader Approved by the Graduate Council Date:____________ _________________________________ Dean Peter Weber, Dean of the Graduate School iii Curriculum Vitae Joseph E.J. Clark Date of Birth: July 30, 1975 Place of Birth: Beverley, United Kingdom Education: Ph.D. American Civilization, Brown University, 2011 Master of Arts, American Civilization, Brown University, 2004 Master of Arts, History, University of British Columbia, 2001 Bachelor of Arts, University of British Columbia, 1999 Teaching Experience: Sessional Instructor, Department of Gender, Sexuality, and Women’s Studies, Simon Fraser University, Spring 2010 Sessional Instructor, Department of History, Simon Fraser University, Fall 2008 Sessional Instructor, Department of Theatre, Film, and Creative Writing, University of British Columbia, Spring 2008 Teaching Fellow, Department of American Civilization, Brown University, 2006 Teaching Assistant, Brown University, 2003-2004 Publications: “Double Vision: World War II, Racial Uplift, and the All-American Newsreel’s Pedagogical Address,” in Charles Acland and Haidee Wasson, eds. -
Newsreel Association of Great Britain and Ireland
THE NEWSREEL ASSOCIATION OF GREAT BRITAIN AND IRELAND Jeff Hulbert This article is about the British newsreels’ trade body the Newsreel Association of Great Britain and Ireland (NRA). It is not a definitive study, but rather seeks to provide a taste of the treasures that are contained within the Association’s bound minute books, now held in the British Film Institute’s Special Collections department. The minutes are the best record that is left to posterity by an organisation now long gone. It was active as an industry watchdog, protector, promoter and occasional referee for over twenty years and there is much to be learned about the newsreels and the people who played an active role in the business of bringing newsfilm to the cinema screen. At some time between its creation and dissolution all of the correspondence files — that would probably have included many gems as well as the routine stuff of business — disappeared, probably consigned to the dustbin. There were plenty of opportunities for this to happen as the Minutes record several changes of address for the NRA secretariat. The minute books thus provide a record of the way the industry operated — rather than how the companies themselves functioned. An important point to bear in mind is that the minutes themselves only show the business items that reached the NRA council for decision. Other issues would have been decided without reference to it. In this respect the NRA was no different to any other business. This study is not a review of historical events, but rather is about issues as the NRA minutes recorded them. -
George Turner: Australia’S First Treasurer
George Turner: Australia’s first treasurer John Hawkins1 The following article is the first in a series of biographies of Australia’s federal treasurers. George Turner, a former Victorian treasurer and premier, was Australia’s first treasurer, and despite battling ill-health brought down the first four federal budgets. He was a cautious treasurer whose budgets were balanced, and he limited federal expenditure. Revenue was raised from somewhat protectionist tariffs, and most of it was redistributed to the states. Turner was so widely respected for his diligence and competence that the leaders of all three major parties of the time reputedly offered him the post of treasurer. 1 The author is from Domestic Economy Division, the Australian Treasury. Comments and support from Amy Burke, Steven Kennedy and Carol Murphy are appreciated. The views in this article are those of the author and not necessarily those of the Australian Treasury. 59 George Turner: Australia’s first treasurer Introduction The Right Honourable Sir George Turner, PC, KCMG, was Australia’s first treasurer, and brought down the first four federal budgets.2 Manning Clark said of him that ‘balancing the books was his great passion in life’.3 This made him an ideal choice for the job of treasurer, at a time when it was more of an accounting role than an economic one. Competent rather than charismatic, he was so admired for being ‘hardworking, conscientious and reliable’4 that all the party leaders and prime ministers of the time (the Protectionists Barton and Deakin, the Free Trader Reid and Labor’s Watson) reputedly offered him the job as treasurer. -
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. -
Fact Sheet 2 the FIRST COMMONWEALTH PARLIAMENT
Fact Sheet 2 THE FIRST COMMONWEALTH PARLIAMENT 1901 FEDERATION AND ’S VOTE THE PEOPLE Overview 1897-1903 Once the Australian Constitution had been accepted by voters in the Australian colonies and enacted as law by British Parliament, the process of putting the new system of federal government into practice began. The Australian colonies were now States of the Commonwealth of Australia, and the office of Governor- General represented the reigning monarch of Britain as Head of the Commonwealth. The first Governor-General of Australia, Lord Hopetoun, proclaimed the Commonwealth of Australia at a special ceremony in Centennial Park, Sydney, 1 January 1901. It was also the Governor-General’s task to commission an interim or caretaker ministry until the Australian people were able to elect their representatives to the newly created Commonwealth Parliament. These interim ministers, with Edmund Barton as Prime Minister, were sworn in as part of the inaugural ceremony at Centennial Park. Over the next 1891 first Constitutional Convention to draft months they organised the first federal election and made a federal constitution arrangements for the opening of the first Commonwealth 1893 Parliament. first ‘people’s convention’ at Corowa 1897 The first federal election delegates elected to a representative Constitutional Convention On Friday 29 March and Saturday 30 (in Queensland and South Australia) voters took part in the first election of 1898-1900 referendums on the Constitution representatives to the Parliament of the Commonwealth of held in all colonies Australia. Because there was as yet no federal electoral law, 1901 the election took place in accordance with the voting 1 January - inauguration of the legislation in each of the States. -
Ethnographic Film-Making in Australia: the First Seventy Years
ETHNOGRAPHIC FILM-MAKING IN AUSTRALIA THE FIRST SEVENTY YEARS (1898-1968) Ian Dunlop Ethnographic film-making is almost as old as cinema itself.1 In 187 7 Edison, in America, perfected his phonograph, the world’s first machine for recording sound — on fragile wax cylinders. He then started experimenting with ways of producing moving pictures. Others in England and France were also experimenting at the same time. Amongst these were the Lumiere brothers of Paris. In 1895 they perfected a projection machine and gave the world’s first public screening. The cinema was born. The same year Felix-Louis Renault filmed a Wolof woman from west Africa making pots at the Exposition Ethnographique de l’Afrique Occidentale in Paris.2 Three years later ethnographic film was being shot in the Torres Strait Islands just north of mainland Australia. This was in 1898 when Alfred Cort Haddon, an English zoologist and anthro pologist, mounted his Cambridge Anthropological Expedition to the Torres Strait. His recording equipment included a wax cylinder sound recorder and a Lumiere camera. The technical genius of the expedition, and the man who apparently used the camera, was Anthony Wilkin.3 It is not known how much film he shot; unfortunately only about four minutes of it still exists. It is the first known ethnographic film to be shot in the field anywhere in the world. It is of course black and white, shot on one of the world’s first cameras, with a handle you had to turn to make the film go rather shakily around. The fragment we have shows several rather posed shots of men dancing and another of men attempting to make fire by friction. -
Reflections on Progressive Media Since 1968
THIRD WORLD NEWSREEL Reflections on Progressive Media Since 1968 CREDITS 2008 Editor: Cynthia Young 2018 Editors: Luna Olavarría Gallegos, Eric Bilach, Elizabeth Escobar and Andrew James Cover Design: Andrew James Layout Design: Luna Olavarría Gallegos Cover Photo: El Pueblo Se Levanta, Newsreel, 1971 THIRD WORLD NEWSREEL BOARD OF DIRECTORS Dorothy Thigpen (former TWN Executive Director) Sy Burgess Afua Kafi Akua Betty Yu Joel Katz (emeritus) Angel Shaw (emeritus) William Sloan (eternal) The work of Third World Newsreel is made possible in part with the support of: The National Endowment for the Arts The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the NY State Legislature Public funds from the NYC Department of Cultural Affairs in partnership with the City Council The Peace Development Fund Individual donors and committed volunteers and friends TABLE OF CONTENTS 1. TWN Fifty Years..........................................................................4 JT Takagi, 2018 2. Foreword....................................................................................7 Luna Olavarría Gallegos, 2015 3. Introduction................................................................................9 Cynthia Young, 1998 NEWSREEL 4. On Radical Newsreel................................................................12 Jonas Mekas, c. 1968 5. Newsreel: A Report..................................................................14 Leo Braudy, 1969 6. Newsreel on Newsreel.............................................................19 -
The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63 -
EA Waited a Week to Watch Inauguration of FDR in 1933
Franklin D. Roosevelt is sworn in at the Capitol in 1933. There was no live television back then, but local residents could watch highlights of the event a week later at the Aurora Theatre. (Photograph from the Franklin Delano Roosevelt Presidential Library and Museum). EA Waited a Week to Watch Inauguration of FDR in 1933 by Robert Lowell Goller Town and Village Historian Copyright 2020 Robert Lowell Goller hanks to modern technology, people across the globe last week watched live on their T television, computer and phone screens the transfer of the presidency from Donald Trump to Joe Biden. The pageantry, musical performances and inaugural speech were all beamed instantaneously to our living rooms and offices. However, until the first live telecast of an inauguration, that of Harry Truman in 1949, citizens had to wait to watch the ceremony. That was the case in 1933, when the presidency transferred from Herbert Hoover to Franklin D. Roosevelt. There was no live television, so citizens eagerly waited for copies of the film to arrive at cinemas across the nation, including the Auro- ra Theatre in East Aurora. Motion-picture technology had been used to record presidential inaugurations since William McKinley’s in 1897, and radio transmitted live audio of the event beginning with Calvin Coolidge’s in 1925, but this was the first time citizens could experience the sights and sounds of a presidential swearing-in so quickly after the event. In fact, the physical journey of the original film became news in and of itself. In addition to capturing the inaugural festivities, cameramen for the Univer- sal Newspaper Newsreel Service were rolling as film canisters were loaded on to a waiting airplane in Washington, D.C. -
Resume Wizard
Expressive Culture: Film Class Code CORE-UA 9750 – 001 Instructor Dr Anne Barnes Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Spring 2016 Expressive Culture: Film Monday 3:00 – 7:00pm (4 hours per week including film screening) February 1 to May 9 Room 302 NYU Sydney Academic Centre 157-161 Gloucester St, The Rocks 2000 Prerequisites None Class How has Australian cinema engaged with significant and often contested historical, political Description and cultural events in the nation’s past? The films in this course offer critical perspectives on the history of colonisation in Australia; the legacies of the Stolen Generations; the controversies surrounding Australia’s role in World War One; as well as Australia’s relationships with its Pacific Asian neighbours. We will focus on films that have marked significant shifts in public consciousness about the past such as Gallipoli (1981), Rabbit-Proof Fence (2002) and Balibo (2009). We will also draw on films that have employed innovative narrative and aesthetic strategies for exploring the relationship between the past and the present such as Ten Canoes (2006) and The Tracker (2002). Throughout the course, students will develop their understanding of the basic methods and concepts of cinema studies. In particular, students will develop a critical vocabulary for analysing how filmmakers have approached the use of memory, testimony, re-enactment, researched detail, allegory and archives across a diverse range of examples. Desired By the end of the course students will be able to: Outcomes • Apply the basic vocabulary of film form. -
THE MINISTER for LANDS (Hon. C. Sonmmers), in Moving the Second
1746 Carnarvon Tramway Bill. [ASSEMBLY 1 PrsnlExlnainPersonal Explanation. CARNARYON-BABAkGE ISLANID TRA-M- sit right on without any more breaks. I WAY BILL. move that the House at its rising adjourn SECOND READING. till Tuesday, the 5th November. THE MINISTER FOR LANDS (Hon. Question put and passed. C. Sonmmers), in moving the second The House accordingly adjourned at reading, said: This is a very small1 21 minutes to 9 o'clock unvtil Tuesday, matter. There is a tram wayv at Carnarvon, 5th November. having a length of two miles 67 chains. The line has been constructed, and it was thought by the Government that authorisation was needed in order to work it under the Railways and Tram- ways Act of 1888. It is merely a homse tram to the new jetty at Babbage Island, connecting it with the town of Carnarvon. The intervening space was very unsuitable for a roadway, consisting as it did of lagoons and sandhanks; and the only way of bridging it was by laying down this line. I move the second reading. Wednesday, 23rd October, 1901. EON, J. W. HACKETT:- What is the cost of the line? Petition; Sunday Theatricas-REalway Adxninietraiom, Personal Explanation-Question: Railway Engine THE MINISTER FOR LANDS:- I Sparks, new Funnel -Papers ordered: 1, Prison regret I cannot at the moment say. The Warder at Fremantle Dismissal - 26 Rail way Workers, late Strike Incidents;-, o olgardle peculiar formation of the country, which Water Scheme, Correpodence-Retumn ordered ± is a, network of lakes, has made the Perth Park Board, Ptcnlara-Motin Federal Tariff, rffect on S'tate Industries; a Protest Idivi- tramway necessary.