Screenability Nsw: Putting Disability on Screen and Behind the Camera
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Screen Currency: Valuing Our Screen Industry
© Screen Australia 2016 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 Screen Currency: Valuing our screen industry. 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 creativecommons.org/licenses/by-nc- nd/3.0/ All figures in Australian dollars. Cover: (clockwise) Wolf Creek 2, Jack Irish, The Sapphires, Red Dog and The Katering Show. Contents Introduction 4 The Dressmaker Economic value 5 Audience value 7 Cultural value 9 Screen Currency: Valuing our screen industry | Screen Australia 3 Introduction Screen Australia has engaged two companies – Deloitte Access Economics and Olsberg SPI – to comprehensively measure the economic and cultural value of the Australian screen sector. The studies quantify and articulate what Australian screen content contributes to the economy, and to Australian culture and society. Screen Currency comprises the key findings of the two studies. Miss4 Fisher’s Murder Mysteries Embrace Economic value: The financial benefits of having an Australian screen production industry The government supports the screen industry primarily because of the cultural benefits it delivers to Australian audiences and taxpayers. But the existence of a local industry also delivers significant economic benefits through the activity and employment it generates during the creation of Australian content. -
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 -
Gender Matters – Women in the Australian Screen Industry
Gender Matters Women in the Australian Screen Industry Gender Matters – Women in the Australian Screen Industry Context Who is telling Australian stories? And whose stories are being told? Are women adequately represented in key creative roles and positions of influence in the Australian screen industry? If not, why not, and what can we do about it? While this paper will look at women in the screen industry, Screen Australia recognises that other groups may also be under-represented in front of and behind the camera. In conjunction with the national broadcasters, it is working on a new study on cultural diversity in TV drama, which it expects to release in 2016. Introduction Are women properly represented? In May this year, Screen Australia updated statistics on key screen credits by gender to coincide with the Women in Film issue of Lumina, which injected new energy into debates on this issue due to continued poor levels of female representation (see page 5). Screen Australia’s analysis of applications and funding decisions over the past two years has revealed that the proportion of women attached in key roles to all applications has been matched by the proportion of women attached to successful applications. In the context of feature film production investment, 47 per cent of producers attached to both applications and funded projects were female. In feature development, a strong bias towards women has been demonstrated across all creative roles. Notably, 47 per cent of producers attached to applications were female, compared to 59 per cent of producers for funded projects. In the context of the writer, 32 per cent of applicant writers were female and 40 per cent of funded writers. -
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BERLINALE SPECIAL TOP OF THE LAKE Jane Campion Bis zur Brust steht die zwölfjährige Tui im eiskalten See in der neusee- Australien/Neuseeland 2012 Garth Davis ländischen Provinz. Sie hat offensichtlich mit dem Gedanken gespielt, Länge 350 Min. · Format DCP · Farbe sich umzubringen. Es stellt sich heraus, dass sie im fünften Monat STABLISTE schwanger ist. Die Polizistin Robin, die vorübergehend in ihren Heimat- Regie Jane Campion, Garth Davis ort versetzt wurde, wird als Spezialistin für Kindesmissbrauch von der Buch Jane Campion, Gerard Lee örtlichen Polizei eingeschaltet. Doch noch bevor sie eine Beziehung zu Kamera Adam Arkapaw dem Mädchen aufbauen kann, verschwindet Tui spurlos, und eine breit Schnitt Alexandre De Franceschi, angelegte Suchaktion beginnt. Um das Netz der Intrigen und Machen- Scott Gray schaften zu zerschlagen, muss sich Robin ihrer eigenen Vergangenheit Musik Mark Bradshaw stellen. Zur gleichen Zeit richtet sich am See eine Frauenkommune in Ausstattung Fiona Crombie BIOGRAFIE Art Director Ken Turner Jane Campion Geboren 1954 in Wellington, einer verwunschenen Landschaft aus Containern ein. Angeführt wird sie von einer geheimnisvollen Frau mit langen weißen Haaren. Kostüm Emily Seresin Neuseeland. Sie studierte zwei Jahre Malerei Maske Noriko Watanabe Mit ihrer sechsteiligen TV-Serie heben die Regisseurin Jane Campion und wechselte 1981 auf die Australian Film Produzentin Phillippa Campbell Television and Radio School. 1986 wurde ihr und ihr Co-Regisseur Garth Davis das Erzählen in Fernsehformaten auf Ausführende Produzenten Emile Sherman, Kurzfilm AN EXERCISE IN DISCIPLINE – PEEL eine neue ästhetische Stufe. Alle Elemente eines spannenden Krimis Iain Canning mit der Goldenen Palme ausgezeichnet. 1991 sind da. Eingebettet in eine magisch-mystische Landschaft, zeichnet mit AN ANGEL AT MY TABLE Gast des Forums. -
Developing a Western Australian Screen Industry Diversity Plan
DEVELOPING A WESTERN AUSTRALIAN SCREEN INDUSTRY DIVERSITY PLAN A short paper to inform and stimulate discussion INTRODUCTION This paper presents the case for new strategic work to be undertaken by the Western Australian screen industry and Screenwest to develop a long-term Diversity Action Plan for the Western Australian screen industry. Adopting a diversity perspective brings with it the challenge of developing strategic directions to address a broad spectrum of diversity within our society, most notably gender, cultural and linguistic diversity (CALD), disability, age; lesbian, gay, bisexual, transgender, queer and intersex (LGBTQI), socio-economic status, regional location and Indigenous concerns. This discussion paper is based on a desktop scan of local, national and international literature related to diversity and is intended to stimulate discussion that will inform the development of a Western Australian Screen Industry Diversity Action Plan. DIVERSITY IN WESTERN AUSTRALIA West Australians are extraordinarily diverse. The people of Western Australia are more likely to be born overseas than the national average (31% compared to 28%, rising to 35% for Perth) 1, slightly more likely to be Indigenous (at 3.1% compared to 3%). Western Australia is the only Australian state besides the Northern Territory where men outnumber women (1.31million to 1.28million) – largely due to a dominance of men in mining areas such as the East Pilbara. In Greater Perth, where 79% of Western Australia’s population live, the female population is much stronger.2 Western Australia’s population has been boosted over time by long-settled migrants from post-war Europe (mainly Italy and Greece); traditional English speaking source countries (the United Kingdom, New Zealand and South Africa) and now countries across our region, including India, Malaysia, the Philippines and China. -
Filming Begins on Fighting Season a Foxtel Original Drama
Media Release: Monday, May 8 2017 Filming begins on Fighting Season A Foxtel original drama L-R: Jay Ryan, Ewen Leslie (sitting) George Pullar, Paul De Gelder , Marco Alosio, Julian Maroun (sitting), Photo by Mark Rogers Foxtel today announced that Fighting Season, a complex, character-driven drama about Australian soldiers returning from Afghanistan, begins filming this week in Sydney with a superb ensemble cast. Jay Ryan (Beauty and the Beast, Top of the Lake,) Ewen Leslie (Top of the Lake, The Daughter), and Kate Mulvany (Secret City, The Great Gatsby), headline a cast that also includes new and diverse talent including George Pullar (A Place to call Home S5), Marco Alosio, Julian Maroun, Paul De Gelder, Sarah Armanious and Sabryna Walters. Lucy Bell, Lex Marinos, David Roberts, Camilla Ah Kin, Ching Po and Jay Lagaiai will play supporting roles. The series will be helmed by the award-winning Director Kate Woods (Looking for Alibrandi), who returns to Australia after a decade in the US working on shows such as Law and Order SVU, Nashville and Suits. Also directing is the dynamic Ben Lucas (Wasted on the Young). Fighting Season, from production company Goalpost Pictures (Cleverman,The Sapphires) and writer Blake Ayshford (Barracuda, Devil’s Playground) is the story about the invisible men and women who fight for our country, what they bring home and what of themselves they leave behind, and the secrets that must remain hidden. The six-part event drama is a compelling mystery regarding a possible cover-up where the lines between killer and family man, between hero and victim, between truth and imagination, are constantly shifting. -
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. -
Strange Interlude
Media Release April 2012 Belvoir presents Strange Interlude Written by SIMON STONE after EUGENE O’NEILL Director SIMON STONE Set Designer ROBERT COUSINS Costume Designer MEL PAGE Lighting Designer DAMIEN COOPER Composer & Sound Designer STEFAN GREGORY With AKOS ARMONT NICHOLAS BAKOPOULIS-COOKE EMILY BARCLAY MITCHELL BUTEL CALLUM McMANIS KRIS McQUADE ELOISE MIGNON ANTHONY PHELAN TOBY SCHMITZ TOBY TRUSLOVE BELVOIR ST THEATRE | UPSTAIRS 5 MAY – 17 JUNE An experimental play from the 1920s may not be the most obvious choice for inclusion in Belvoir’s strikingly contemporary season, but in the hands of Simon Stone theatre-goers will know to expect a radical interpretation of Eugene O’Neill’s Pulitzer Prize-winning play. In the vein of Stone’s The Wild Duck, a sell-out at both Belvoir and Melbourne’s Malthouse Theatre, Strange Interlude will be completely rewritten. Strange Interlude is one of the few modern plays to use soliloquy interwoven with the dialogue, revealing the characters’ inner thoughts; this technique will be maintained in the rewrite. Twenty-year-old Nina Leeds (Emily Barclay) has lost the love of her life in the war. Overcome with grief, she quits university, falls out with her father and moves away from home. What follows is an epic and compelling narrative that spans 25 years in Nina’s life, but the story is compressed into a series of heightened, life altering moments. The significance of each of these moments is revealed as the page-turning story unravels. The cast assembled for this production is truly stellar, with the luminous Emily Barclay as Nina and Mitchell Butel, Toby Schmitz and Toby Truslove as three men in her life, each vying for her attention and affection in his own way. -
Who's Got It, Who's Lost It, and Who's Behind the Scenes
Trump v the swamp Mike Baird Ninja Warriors Leaks flood the White House Why I quit politics TV’s hit machine brothers OCTOBER 2017 POWER 2017 Who’s got it, who’s lost it, and who’s behind the scenes 8 LEAH PURCELL Actor, playwright, director Because: She allows white audiences to see from an Aboriginal perspective. Her radical adaptation of Henry Lawson’s The Drover’s Wife broke new ground for Australian theatre. Among its string of awards was the NSW Premier’s Literary Award for best drama, whose judges described it as “a declaration of war on Australia’s wilful historical amnesia”. Purcell, a Goa-Gunggari-Wakka Wakka Murri woman, uses the full arsenal of drama to tell new stories. In 2016 she co-directed Cleverman, which screened on ABC TV and meshed Aboriginal dreamtime stories into contemporary sci-fi genre. She also co-directed The Secret Daughter, which screened on Seven Network last year and has now been signed for a second series. Starring Jessica Mauboy, it marks the first time a commercial network has put an Indigenous Australian as the lead in a drama series. Season one was the second-highest rating drama for the year. What the panel says: She’s an Indigenous woman with a very political view. The Drover’s Wife was an incredible achievement and will make for a brilliant film. She also has two mainstream TV series on air and she’s winning every single award. – Graeme Mason The Drover’s Wife told the story in a completely different way to which it has been told before. -
The Paul Hogan Story
Coming to HOGES THE PAUL HOGAN STORY From Seven and FremantleMedia Australia (FMA) comes HOGES: The Paul Hogan story. An almost accidental supernova of raw comedic talent exploding onto the entertainment scene; first Australia, then the world. The story of how a married-at-18 Sydney Harbour Bridge rigger with five kids entered a TV talent contest on a dare from his work-mates to become a household name and an Oscar-nominated superstar. Embraced by all Australians and soon known simply as “Hoges,” he is joined on his meteoric journey by lifelong friend, producer and sidekick John “Strop” Cornell. Together, they first make Australians laugh, then proud with one of the most successful tourism campaigns in history selling Aussie hospitality to the world. This, with the runaway success of Crocodile Dundee, the highest US-grossing foreign film ever in its day, cements Hogan’s legacy. HOGES explores the factors which shaped this success – and at what cost success might have come. It entwines the story of his amazing journey with that of his close family life, of his two great loves, the pain of divorce, his struggle with the intense scrutiny of life in the public eye, but also of his enduring friendship with Cornell and the rollercoaster ride of their careers. FMA’s Jo Porter and Seven’s Julie McGauran are Executive Producers, Kevin Carlin (Molly, Wentworth) is Co-Producer and Director, Brett Popplewell is Producer and the script is by Keith Thompson (The Sapphires) and Marieke Hardy (Packed To The Rafters, The Family Law). The Hoges Story PART ONE PART TWO Poolside at Granville baths, a young Paul Hogan cracks jokes and pashes While the success of Crocodile Dundee catapults Hoges onto the world Noelene, his childhood sweetheart. -
Sweet-River-Announcement-Final
MEDIA RELEASE Tuesday November 5, 2019 Australian psychological horror SWEET RIVER commences shooting in northern NSW Production is underway in the Byron Bay and Tweed Heads region on the new psychological horror Sweet River, starring UK actor Lisa Kay (Heartbeat, Indian Summers), Martin Sacks (Blue Heelers, Underbelly) and Genevieve Lemon (Top of the Lake, The Dressmaker). Kay plays Hanna Montague, a woman whose search for her young son’s body leads her back to sleepy Billins, a sugar cane town with a dark history. Hanna’s investigations uncover more than she expected and threaten to expose the town’s secrets… secrets that both the living and the dead will fight to protect. In her search for answers, Hanna moves in to a cottage on a sugar cane farm. Her neighbours John and Ellenor Drake (Martin Sacks and Genevieve Lemon), live in the neighbouring farmhouse and own all of the surrounding sugar cane fields. Sweet River is a film about two women from completely different worlds, who are learning to deal with the grief caused by the loss of their children. Hanna’s son Joey was abducted by a serial killer and is presumed dead, and Ellenor’s daughter lost her life in a tragic bus crash along with several other local children. As Hanna spends more time in the town investigating her son’s disappearance, and with some unexplained encounters with the supernatural after dark, it becomes clear that no one wants her here. The town is intent on protecting its secrets and a wound that will not heal. Sweet River is written by Marc Furmie and Eddie Baroo, and is based on an original story by Justin McMillan, who is directing. -
Beyond Cinema at Sydney Film Festival 05/05/2016
MEDIA RELEASE EMBARGOED UNTIL 00.01am THURSDAY 5 MAY 2016 BEYOND CINEMA AT SYDNEY FILM FESTIVAL The 63rd Sydney Film Festival announces a new program of three FREE immersive experiences exploring cutting edge screen culture and new technologies, entitled Beyond Cinema, to debut at the Festival (8-19 June) across three Festival locations: the Festival Hub at Sydney’s Lower Town Hall, the University of New South Wales and Carriageworks. “The Festival’s new immersive program expands the Sydney Film Festival experience by presenting three new ways of creating and experiencing film, art and storytelling,” said Sydney Film Festival Director Nashen Moodley. “From virtual reality, to 360-degree 3D cinema, to a four-sided video art installation, the Festival encourages audiences to explore new worlds, new perspectives and new ways to enjoy film,” he said. At the heart of the Festival in Sydney’s Lower Town Hall, Down the Rabbit Hole – Virtual Reality at the Hub (9 – 19 June) will screen nine virtual reality films, from four Australian and five international filmmakers. Designed to enchant, inspire, thrill and ultimately change viewpoints, audiences will put virtual reality headsets to the test including Samsung Gear VR and Facebook’s new Oculus Rift. VR experiences include: a stroll along the streets of Havana (A History of Cuban Dance), going on stage with the Sydney Dance Company dancers (Stuck in the Middle with You), going inside the world of a cattle farmer and one of Australia's top saddle bronco riders (Warwick Gold - Australian Rodeo), falling down the rabbit hole and into a Lewis Carroll inspired music video (Fabulous Wonder.Land), finding out what it’s like to lose your sight (Notes On Blindness: Into Darkness), haunting an asylum (Madeleine), walking in the footsteps of a filmmaker’s army officer father in Chile’s Caravan of Death (Assent), experiencing the first ever fully hand-drawn VR experience (Drawing Room), and stepping into an animated encounter with a lonely rose (The Rose and I).