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Missing & Maligned
Missing & Maligned: The Reality of Muslims in Popular Global Movies Al-Baab Khan, Dr. Katherine Pieper, Dr. Stacy L. Smith, Marc Choueiti, Kevin Yao & Artur Tofan with assistance from Nooria Bahaduri Arshmah Majid Habeeba Kamel Nadira Noor Hajar Kamel Myrah Sarwar Jalen Layfield Shaneen Upal June 2021 Riz Ahmed MISSING & MALIGNED: THE REALITY OF MUSLIMS IN POPULAR GLOBAL MOVIES USC ANNENBERG INCLUSION INITIATIVE @Inclusionists MUSLIM CHARACTERS ARE MISSING IN POPULAR FILM Percentage of Muslim characters across 200 popular films, 2017-2019 1.1% 5.6% 1.6% OF 8,965 OF CHARACTERS OF CHARACTERS SPEAKING IN 100 U.S. FILMS IN 32 AUSTRALIAN CHARACTERS WERE MUSLIM FILMS WERE MUSLIM WERE MUSLIM 1.1% 0 24% OF THE OF CHARACTERS CHARACTERS IN 5 GLOBAL IN 63 U.K. FILMS NEW ZEALAND FILMS POPULATION WERE MUSLIM WERE MUSLIM IS MUSLIM AN ON SCREEN POPULATION CRISIS FOR MUSLIM GIRLS & WOMEN Percentage of Muslim female characters across 200 popular films by country, 2017-2019 U.S. U.K. AUSTRALIA NEW ZEALAND OVERALL .% .% .% .% WERE WERE WERE WERE WERE FEMALE FEMALE FEMALE FEMALE FEMALE © ANNENBERG INCLUSION INITIATIVE THE EPIDEMIC OF INVISIBILITY FACES MUSLIM CHARACTERS Number and percentage of 200 films missing Muslim characters, 2017-2019 films we .% OF FILMS re m DID NOT FEATURE i s EVEN ONE s i n MUSLIM SPEAKING g CHARACTER M u s .% OF AUSTRALIAN FILMS l i m % OF U.S. FILMS 181 c h a .% OF U.K. FILMS r a c t e s r % OF NEW ZEALAND FILMS MUSLIM CHARACTERS ARE RACIALLY PROFILED IN FILM Race/ethnicity of Muslim characters across 200 films, 2017-2019 66.7% MUSLIMS ARE THE MOST RACIALLY & ETHNICALLY DIVERSE RELIGIOUS GROUP IN THE WORLD 20.8% 5.6% 4.2% 2.8% Middle Eastern/ Asian Black/ White/ Multiracial/ North African African American Caucasian Multiethnic © ANNENBERG INCLUSION INITIATIVE MUSLIM LEADS ARE LEFT OUT OF FILMS Films with Muslim lead/co lead or ensemble lead characters Across 200 films from 2017 to 2019.. -
Production Notes Greg Haddrick, Greg Mclean Nick Forward, Rob Gibson, Jo Rooney, Andy Ryan EXECUTIVE PRODUCERS
A Stan Original Series presents A Screentime, a Banijay Group company, production, in association with Emu Creek Pictures financed with the assistance of Screen Australia and the South Australian Film Corporation Based on the feature films WOLF CREEK written, directed and produced by Greg McLean Adapted for television by Peter Gawler, Greg McLean & Felicity Packard Production Notes Greg Haddrick, Greg McLean Nick Forward, Rob Gibson, Jo Rooney, Andy Ryan EXECUTIVE PRODUCERS Peter Gawler & Elisa Argenzio PRODUCERS Peter Gawler & Felicity Packard SERIES WRITERS Tony Tilse & Greg McLean SERIES DIRECTORS As at 2.3.16 As at 2.3.16 TABLE OF CONTENTS Key Cast Page 3 Production Information Page 4 About Stan. and About Screentime Page 5 Series Synopsis Page 6 Episode Synopses Pages 7 to 12 Select Cast Biographies & Character Descriptors Pages 15 to 33 Key Crew Biographies Pages 36 to 44 Select Production Interviews Pages 46 to 62 2 KEY CAST JOHN JARRATT Mick Taylor LUCY FRY Eve Thorogood DUSTIN CLARE Detective Sergeant Sullivan Hill and in Alphabetical Order EDDIE BAROO Ginger Jurkewitz CAMERON CAULFIELD Ross Thorogood RICHARD CAWTHORNE Kane Jurkewitz JACK CHARLES Uncle Paddy LIANA CORNELL Ann-Marie RHONDDA FINDELTON Deborah ALICIA GARDINER Senior Constable Janine Howard RACHEL HOUSE Ruth FLETCHER HUMPHRYS Jesus (Ben Mitchell) MATT LEVETT Kevin DEBORAH MAILMAN Bernadette JAKE RYAN Johnny the Convict MAYA STANGE Ingrid Thorogood GARY SWEET Jason MIRANDA TAPSELL Constable Fatima Johnson ROBERT TAYLOR Roland Thorogood JESSICA TOVEY Kirsty Hill 3 PRODUCTION INFORMATION Title: WOLF CREEK Format: 6 X 1 Hour Drama Series Logline: Mick Taylor returns to wreak havoc in WOLF CREEK. -
THE BABADOOK Presskit D
EIN FILM VON JENNIFER KENT 93 Minuten // Australien/Kanada 2014 mit Essie Davis, Noah Wiseman, Daniel Henshall - Presseheft - Pressebilder: www.praesens.com www.facebook.com/DerBabadook 2 MISTER BABADOOK If it’s in a word or it’s in a look / You can’t get rid of The Babadook A rumbling sound, then 3 sharp knocks / ba BA-ba DOOK! DOOK! DOOK! / That’s when you’ll know that he’s around. / You’ll see him if you look. This is what he wears on top / He’s funny, don’t you think? / See him in your room at night / And you won’t sleep a wink. / I’ll soon take off my funny disguise / (take heed of what you’ve read...). / And once you see what’s underneath... / You’re going to wish you were... / DEAD. INHALT Kurzinhalt ������������������������������������������������������������������������������������������������������������������������������ 4 Pressenotiz ���������������������������������������������������������������������������������������������������������������������������� 4 Langinhalt . 5 Cast & Crew . 7 Jennifer Kent (Regie, Drehbuch) / Interview ���������������������������������������������������������������������������� 7 Essie Davis (Amelia) / Interview . 12 Noah Wiseman (Samuel) ������������������������������������������������������������������������������������������������������� 16 Daniel Henshall (Robbie) ������������������������������������������������������������������������������������������������������� 16 Hayley McElhinney (Claire) ��������������������������������������������������������������������������������������������������� -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
The Nightingale
SCREEN AUSTRALIA SCREEN TASMANIA AND SOUTH AUSTRALIAN FILM CORPORATION present in association with ADELAIDE FILM FESTIVAL BRON CREATIVE And FILMNATION ENTERTAINMENT a CAUSEWAY FILMS and MADE UP STORIES production THE NIGHTINGALE PRODUCTION NOTES Running Time: 136 mins AUSTRALIAN PUBLICITY REQUESTS: Amy Burgess / National Publicity Manager, Transmission Films 02 8333 9000, [email protected] Images: High res images and poster available to download via the DOWNLOAD MEDIA tab at: https://www.transmissionfilms.com.au/films/the-nightingale Starring Aisling Franciosi, Sam Claflin and Baykali Ganambarr Writer and Director: Jennifer Kent Producers: Kristina Ceyton p.g.a., Bruna Papandrea p.g.a., Steve Hutensky p.g.a. and Jennifer Kent p.g.a. Executive Producers: Brenda Gilbert, Jason Cloth, Andrew Pollack, Aaron L. Gilbert, Ben Browning and Alison Cohen Associate Producer: Jim Everett Director of Photography: Radek Ladczuk Editor: Simon Njoo Production Designer: Alex Holmes Costume Designer: Margot Wilson APDG Hair and Makeup Designer: Nikki Gooley Sound Designer: Robert Mackenzie Composer: Jed Kurzel Visual Effects Supervisor: Marty Pepper Casting Director: Nikki Barrett CSA Distributed in Australia and New Zealand by Transmission Films International Sales: FilmNation Entertainment, US Sales: Endeavor Content The Nightingale Production Notes 2 INDEX SYNOPSES 3 DIRECTOR’S STATEMENT 4 CAST AND CHARACTER LIST 4 GENESIS OF THE FILM 5 CASTING AND CHARACTERS Clare – Portrayed by Aisling Franciosi 8 Hawkins – Portrayed by Sam Claflin 10 Billy -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
KONTRUKSI TERORISME DALAM FILM HOTEL MUMBAI (Studi Analisis Wacana Kritis Model Teun A.Van Dijk)
KONTRUKSI TERORISME DALAM FILM HOTEL MUMBAI (Studi Analisis Wacana Kritis Model Teun A.Van Dijk) Abstract Enguine Jessica Tista, Gusti Wedar. 2020.Kontruksi Terorisme Dalam Film Hotel Mumbai (Studi Analisis Wacana Kritis Teun A. Van Djik).Skripsi, Program Studi Ilmu Komunikasi, Fakultas Ilmu Sosial Dan Ilmu Politik, Universitas Muhammadiyah Jember. Pembimbing: Ari Susanti,S.Sos.,M.Med.Kom. The film has a strong reality about the reality that occurs in everyday life. Hotel Mumbai is one of the films that recorded the reality of terrorism attacks in the city of Mumbai on 26/11 in 2008. This research uses qualitative research methods. Where researchers will explain the analysis of critical discourse using theories from Teun A, van Dijk in which there are 3 models of approaches namely; The level of text structure, the level of social cognition and the social context in the film. The results of this study, at the text level, the thematic Macro structure is obtained the theme referred to in this structure is an outline contained in the Mumbai Hotel film. The film tells the true story, an attack on a group of young men (terrorists) against hotel guests who are labeled infidels, a film that depicts brutal acts of terror that are based on the spirit of jihad against the 10 young men (terrorists) to be able to kill more than 160 people in the city Mumbai. The level of social cognition, analyzed by looking at how the film must be narrated. Social representations that include humans, social roles and events in the mumbai hotel film are depicted with a tense, helpless atmosphere and even society and law enforcement are afraid to act for a variety of reasons behind them. -
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. -
2019 AACTA AWARDS PRESENTED by FOXTEL All Nominees – by Category FEATURE FILM
2019 AACTA AWARDS PRESENTED BY FOXTEL All Nominees – by Category FEATURE FILM AACTA AWARD FOR BEST FILM PRESENTED BY FOXTEL HOTEL MUMBAI Basil Iwanyk, Gary Hamilton, Julie Ryan, Jomon Thomas – Hotel Mumbai Double Guess Productions JUDY & PUNCH Michele Bennett, Nash Edgerton, Danny Gabai – Vice Media LLC, Blue-Tongue Films, Pariah Productions THE KING Brad Pitt, Dede Gardner, Jeremy Kleiner, Liz Watts, David Michôd, Joel Edgerton – Plan B Entertainment, Porchlight Films, A Yoki Inc, Blue-Tongue Films THE NIGHTINGALE Kristina Ceyton, Bruna Papandrea, Steve Hutensky, Jennifer Kent – Causeway Films, Made Up Stories RIDE LIKE A GIRL Richard Keddie, Rachel Griffiths, Susie Montague – The Film Company, Magdalene Media TOP END WEDDING Rosemary Blight, Kylie du Fresne, Kate Croser – Goalpost Pictures AACTA AWARD FOR BEST INDIE FILM PRESENTED BY EVENT CINEMAS ACUTE MISFORTUNE Thomas M. Wright, Virginia Kay, Jamie Houge, Liz Kearney – Arenamedia, Plot Media, Blackheath Films BOOK WEEK Heath Davis, Joanne Weatherstone – Crash House Productions BUOYANCY Rodd Rathjen, Samantha Jennings, Kristina Ceyton, Rita Walsh – Causeway Films EMU RUNNER Imogen Thomas, Victor Evatt, Antonia Barnard, John Fink – Emu Runner Film SEQUIN IN A BLUE ROOM Samuel Van Grinsven, Sophie Hattch, Linus Gibson AACTA AWARD FOR BEST DIRECTION HOTEL MUMBAI Anthony Maras – Hotel Mumbai Double Guess Productions JUDY & PUNCH Mirrah Foulkes – Vice Media LLC, Blue-Tongue Films, Pariah Productions THE KING David Michôd – Plan B Entertainment, Porchlight Films, A Yoki Inc, -
A Level Film Studies Candidate Style Answers
Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
MIFF 37ºsouth MARKET SENDS PRODUCERS to LONDON and KICKS-‐OFF WENDALL THOMAS &
MIFF 37ºSouth MARKET SENDS PRODUCERS TO LONDON AND KICKS-OFF WENDALL THOMAS & ADRIAN WOOTTON SEMINAR SERIES MELBOURNE: MIFF 37ºSouth Market, the film co-financinG event during the opening days of the Melbourne International Film Festival (MIFF), closed its sixth edition on Sunday with the announcement of the producers who were awarded the MIFF 37ºSouth Market Alliance places at the UK’s Production Finance Market (PFM). MIFF 37ºSouth Market is the exclusive Australia/NZ partner of the prestigious London Production Finance Market (PFM). Under this alliance, the only three Guaranteed Australia/NZ PFM places are reserved for producers attendinG MIFF 37ºSouth Market. Selection for the three 37ºSouth places at PFM is Guided by the votes of international financiers/buyers at MIFF 37ºSouth Market. This year, thanks to sponsor Film Finances, one of the three producers selected for the October PFM received a fliGht voucher of A$2,000 towards their trip. The producer winninG the PFM place and fliGht coupon was Jamie Hilton from New South Wales. The other two producers to win places at the PFM were Stephen Van Mil from Western Australia and Tainui Stephens from New Zealand. MIFF 37ºSouth Market, Australia’s only film co-financinG market to be held at a film festival, this year hosted a record 49 film financiers/buyers includinG Shoreline (USA), Svensk (Europe), K5 (USA), Trust Nordisk (Europe), Sierra/Affinity (USA), Beta (Europe), CarGo (USA), Yellow (Europe), XYZ-Celluloid (USA), Ingenious-Fox (Europe), eOne (Canada), West End (Europe), Aver (Canada), AV (Europe), Hyde Park-ImaGeNation (Asia/USA), NonStop (Europe), Roadshow (Australia), Level K (Europe), Fulcrum (Australia), Fortissimo (Europe), EFIC (Australia), JinGa (Europe), Transmission (Australia) and The Works (Europe). -
Australian Literature: Culture, Identity and English Teachingi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Australian literature: culture, identity and English teachingi ANNETTE PATTERSON Queensland University of Technology The development of the Australian Curriculum has reignited a debate about the role of Australian literature in the contexts of curricula and classrooms. A review of the mechanisms for promoting Australian literature including literary prizes, databases, surveys and texts included for study in senior English classrooms in New South Wales and Victoria provides a background for considering the purpose of Australian texts and the role of literature teachers in shaping students’ engagement with literature. In taking the pulse of Australian literature generally it is worth pausing to think about some of Australia’s literary prizes and their accompanying guidelines and criteria. Many texts set for study in classrooms first appear on our radar through these prize lists. One of the most prestigious and oldest awards is the Miles Franklin Award which commenced in 1957. The winner of that year was Patrick White for his novel Voss. In the 54 years since the prize was established it has been won by female writers on 12 occasions, including four-time winner Thea Astley. Given Thea Astley’s repeat performances, the prize has been awarded to nine individual female authors. Male authors have won the award on 39 occasions including repeat wins by Patrick White (2) Kim Scott (2) Alex Miller (2) Tim Winton (4) Thomas Keneally (2) and Peter Carey (3). Overall, the award went to 30 individual male authors.