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PDF Download Jandamarra Ebook, Epub
JANDAMARRA PDF, EPUB, EBOOK Mark Greenwood,Terry Denton | 48 pages | 01 May 2013 | Allen & Unwin | 9781742375700 | English | Sydney, Australia Jandamarra PDF Book Source: The Point. Retrieved 11 May The most famous battle took place in at Windjana Gorge between the Bunuba and 30 police officers, with Ellemarra killed and Jandamarra badly injured. On one of their patrols in the Napier Range Police Constable Richardson and Jandamarra captured a large group of Bunuba , Jandamarra's kinsmen and women. Cultural dispersal and environmental vandalism in the Murray-Darling Basin. Aboriginal people were in awe of Pigeon, a man of magical powers who could "fly like a bird and disappear like a ghost". To avoid retribution, he went to live at Lillimooloora station where he developed a strong friendship with settler Bill Richardson. Two of the men were killed, [1] with their guns and ammunition captured. His close but uneasy friendship with Richardson came to a dramatic end when he shot Richardson, set the group free, stole weapons and then disappeared. Browse People:. More on:. At 15 he returned to his traditional land for initiation and became a skilful hunter. It was the frontier; a time of violence and great upheavals. Back to Derby page. Enter Your First Name optional. Lukin dubbed him " Pigeon " because he was small and ran fast. But he has been an inspiration to us down through the decades, remembered in stories, in dances, in songs traditional and contempory, and now in this play. Jandamarra won his freedom by agreeing look after the police horses, and became popular. His close but uneasy friendship with Richardson came to a dramatic end. -
Jandamarra by Mark Greenwood
References for Jandamarra by Mark Greenwood Reference List/Further Reading Belsham, B. 'The long forgotten war: Aborigines' 140 year struggle against white settlement', Sydney Morning Herald (1), 1997. Best, Y. 'An uneasy co-existence: An Aboriginal perspective of 'contact' history in southeast Queensland', Aboriginal History, vol. 18, 1994. Bonwick, J. The Last of the Tasmanians; or, the Black War of Van Diemen's Land. London, Sampson Low, Son & Marston, 1870. Broome, R. Aboriginal Australians: Black Responses to White Dominance, 1788-2001, Allen & Unwin, Crows Nest, NSW, 2002. Broome, R. "The struggle for Australia: Aboriginal–European warfare, 1770–1930", in M. McKernan and M. Browne (eds), Australia: two centuries of war and peace (Canberra: Australian War Memorial and Allen and Unwin, 1988) Coe, M. Windradyne, a Wiradjuri Koorie. Canberra, Aboriginal Studies Press, 1989. Collins, P. (2002) Goodbye Bussamarai: the Mandandanji Land War, Southern Queensland 1842-1852, UQP Press: St Lucia, Qld. Craze, B. ‘The Wiradjuri Tribe: Aborigines on the Lachlan and their contact with explorers and settlers’ in Armidale and District Historical Society and Proceedings. Armidale, 1977. Elder, B. Blood on the Wattle: Massacres and Maltreatment of Aboriginal Australians Since 1788, Revised edition, New Holland, Frenchs Forest, NSW. Foster, R. and Nettlebeck, A. (2012) Out of the Silence: The History and Memory of South Australia's Frontier Wars. Wakefield Press, Adelaide, SA. Gammage, B. ‘The Wiradjuri War 1838-1840’ in Push From the Bush . No.16. Armidale, University of New England, 1983. Grassby, A. J. and Hill, M. Six Australian Battlefields: The Black Resistance to Invasion and the White Struggle Against Colonial Oppression, Angus & Robertson, North Ryde, NSW, 1988. -
BELOW Press Kit Draft
Below / Press Kit / Page 1 of 15 Screen Australia presents a GoodThing Productions Film in association with Screenwest and Lotterywest, Seville International, Film Victoria And Melbourne International Film Festival Premiere Fund Release: 2019 Running time: 93 minutes Language: English and Farsi Country of Origin: Australia Rating: TBC Aspect Ratio: 2.39/scope Year of Production: 2019 Website: https://goodthingproductions.com.au/projects/below/ Production Company: Australian Distributor: GoodThing Productions Madman Entertainment 42 Glasshouse Road Level 2, 289 Wellington Parade South Collingwood VIC 3066 East Melbourne VIC 3002 Contact: Nick Batzias Contact: Paul Wiegard [email protected] Tel: +61 3 9261 9200 Tel: +61 413 014 446 Press: Caroline Whiteway [email protected] Tel: +61 3 9261 9200 International Sales: Seville International 455, St Antoine Ouest, Bureau 300 Montreal Quebec N2Z1J1 Contact: Anick Poirer [email protected] Tel: +1 514 878 2282 The Filmmakers acknowledge the Traditional Owners, past, present, and emerging of the unceded lands where this film was made. © 2019 GoodThing Productions Company Pty Ltd, Screenwest (Australia) Ltd. Filmfest Limited Below / Press Kit / Page 2 of 15 KEY CAST: Dougie ......................................................... Ryan Corr Terry………..... ............................................... Anthony LaPaglia Azad ............................................................ Phoenix Raei Zahra……………….………….. ............................. Lauren Campbell Cheryl -
Australian Aboriginal Verse 179 Viii Black Words White Page
Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care -
Zest Festival 2013: Far from Home
ZEST FESTIVAL 2013: FAR FROM HOME | 62 TREKS, LAND AND HERITAGE Long boat replica from the Batavia. | 63 ZEST FESTIVAL 2013: FAR FROM HOME | 64 ZEST FESTIVAL 2013: FAR FROM HOME WELCOME TO COUNTRY BY TRADITIONAL NHANDA ELDERS The Zest Festival begins with a ‘Welcome to Country’ by The message sticks will be added to the message stick the Drage family, and Nhanda youth once again give a installation, bringing all the stories together. It is a symbolic dance performance. act representing how everyone journeys away from home; but even though you can be far from home, your story is still The message sticks play a significant part in the part of a place. opening of the Zest Festival. Leading up to the Zest Festival weekend, the Drage family will be met by the The Drage family wanted the creation of the message sticks riders of the MidWest Horse Trekkers Club along the to reflect the past, present and the future. They know that Murchison River, as part of the 10-day Kalbarri Horse Murchison House Station and the surrounding country Trek. Clayton Drage will welcome these riders to country have a history of exploration, discovery, hard work, loss and and entrust them with several ‘message sticks’ that love; and that many people from European and Aboriginal hold significant stories from the surrounding country. heritage have connection to the place, from Nhanda people, The riders will explore these remarkable places around to the first white explorers and pioneers, station owners, Kalbarri – places of natural beauty. Learning about managers, workers and their families. -
Patrick Bernard O'leary and the Forrest River Massacres, Western Australia: Examining 'Wodgil' and the Significance Of
Patrick Bernard O’Leary and the Forrest River massacres, Western Australia: examining ‘Wodgil’ and the significance of 8 June 1926 Kate Auty Lynch mobs rather pointedly do not keep accounts: in a sense, they seek to negate history itself1 In June 1926 in the river, plain and ravine country of the Forrest River district of the Kimberley, Western Australia, some carvings on the limbs or trunks of two trees of indeterminate genus and age formed one of the impermanent residues of a police patrol's actions at police camp No 2. The 1927 Royal Commission of inquiry into alleged killing and burning of bodies of Aborigines in East Kimberley, and into Police methods when effecting arrests was established to inquire into what had occurred throughout that patrol.2 3 In the current 'history wars', controversy is overtaking the Report of the Royal Commission. The 1927 Wood Royal Commission heard evidence from, amongst others, Reverend Gribble, the man who ventilated the rumours about the deaths; Inspector Mitchell, the Aborigines Inspector who travelled some of the route of the police patrol; Police Inspector Douglas, the officer in charge of the investigation; Detective Manning, who assisted Douglas; non-Aboriginal members of the police patrol; and two Aboriginal people who travelled with the police. The members of the police patrol were Constables Regan and St Jack, soldier settler station owner Leopold Overheu, local civilians Patrick Bernard O'Leary and Richard Jolly, and visiting veterinarian Daniel Murnane. Each gave evidence. Nairn, the legal representative of the police party, called some other witnesses. Three of the Aboriginal trackers who travelled with the police party, and who had made statements which contradicted the police versions of events, failed to attend the Commission. -
Sadie Heckenberg Thesis
!! ! "#$%&"'!()#*$!*+! ,&$%#*$!*+!! !"#$%&$'()*+(,')%(#-.*/(#01%,)%.* $2"#-)2*3"41*5'.$#"'%.*4(,*6-1$-"4117*849%* :%.%4"&2* !"4&$'&%.** * * * Sadie Heckenberg BA Monash, BA(Hons) Monash Swinburne University of Technology A thesis submitted in fulfilment of the requirements for the degree Of Doctor of Philosophy July 2018 #$%&'#(&!! ! ! ! Indigenous oral history brings life to our community narratives and portrays so well the customs, beliefs and values of our old people. Much of our present day knowledge system relies on what has been handed down to us generation after generation. Learning through intergenerational exchange this Indigenous oral history research thesis focuses on Indigenous methodologies and ways of being. Prime to this is a focus on understanding cultural safety and protecting Indigenous spoken knowledge through intellectual property and copyright law. From an Indigenous and Wiradjuri perspective the research follows a journey of exploration into maintaining and strengthening ethical research practices based on traditional value systems. The journey looks broadly at the landscape of oral traditions both locally and internationally, so the terms Indigenous for the global experience; Aboriginal and Torres Strait Islander for the Australian experience; and Wiradjuri for my own tribal identity are all used within the research dialogue. ! ! "" ! #$%&'()*+,-*&./" " " " First and foremost, I would like to acknowledge and thank the Elders of the Wiradjuri Nation. Without their knowledge, mentorship and generosity I would not be here today. Most particularly my wonderful Aunty Flo Grant for her guidance, her care and her generosity. I would like to thank my supervisors Professor Andrew Gunstone, Dr Sue Anderson and Dr Karen Hughes. Thank you for going on this journey of discovery and reflection with me. -
History Sydney Film Festival
HISTORY OF THE SYDNEY FILM FESTIVAL 1954 - 1983 PAULINE WEBBER MASTER of ARTS FACULTY OF HUMANITIES AND SOCIAL SCIENCES 2005 For John and David ACKNOWLEDGEMENTS I would like to thank David Donaldson, Valwyn Wishart, John Baxter, Dorothy Shoemark, Tony Buckley, David Stratton and many others involved in the SFF during its formative years who gave generously of their time and knowledge during the preparation of this thesis. I am especially grateful to Trish McPherson, who entrusted me with the SFF memorabilia of her late husband, Ian McPherson. Thanks also to my supervisor, Professor Elizabeth Jacka, for her enthusiasm and support, and to Associate Professor Paul Ashton and Raya Massie who undertook to read the final draft and who offered invaluable advice. TABLE OF CONTENTS Table of Abbreviations i Sydney Film Festival: A Chronology 1954-1983 ii Abstract vi Introduction 1 An International Context; A Local Context Chapter One Art Form of a Generation: The Early Years 1954-1961 18 Reinventing Australia: 1946-1954; Connections and Divisions; Olinda 1952; From Concept to Reality; The First Festival; The Festival Takes Shape; Is it Here? Does it Look like Arriving?; Here to Stay; From Crisis to Cohesion Chapter Two Expansion and Consolidation: 1962-1975 57 Coming of Age; The Times They Are A-Changin’: 1962-1967; The Proliferation of Unacceptable Thoughts; Communal Rapture: The Start of the Stratton Era; The Anxious Years: 1968-1972; Throwing Down the Gauntlet; Going Global; The Festival at the Top of its Form; The Best and the Most Interesting; A Rising Clamour to be Seen and Heard Chapter Three Beguiling Times: The SFF and Australian Cinema 121 The Old and the New; The Film Buffs, the Festival People, the Trendies, the Underground; The Short Film Awards; A Thrilling New Wave: The Film Revival and After Chapter Four Change and New Directions: 1976-1983 149 A Lean Operation; Some of the People, Some of the Time; Backing Winners; Old Problems, New pressures; A Sort of Terrible Regression; The Last of the Stratton Years; 1983; 1984: Brave New World. -
Greenwood Mark Jandamarra Teachers Notes Final Draft
BOOK PUBLISHERS Teachers Notes by Dr Robyn Sheahan-Bright Jandamarra by Mark Greenwood and Terry Denton ISBN 9781742375700 Recommended for ages 7-12 yrs Older students and adults will also appreciate this book. These notes may be reproduced free of charge for use and study within schools but they may not be reproduced (either in whole or in part) and offered for commercial sale. Introduction ........................................... 2 Curriculum areas .................................... 2 Language & Literacy .......................... 2 Visual Literacy .................................. 3 Creative Arts .................................... 4 Studies of Society & Environment ....... 4 SOSE Themes ............................. 4 SOSE Values ............................... 6 Conclusion ............................................. 6 Bibliography of related texts ..................... 7 Internet resources ................................... 8 About the writers .................................... 9 Blackline masters ..............................10-13 83 Alexander Street PO Box 8500 Crows Nest, Sydney St Leonards NSW 2065 NSW 1590 ph: (61 2) 8425 0100 [email protected] Allen & Unwin PTY LTD Australia Australia fax: (61 2) 9906 2218 www.allenandunwin.com ABN 79 003 994 278 INTRODUCTION ‘Burrudi yatharra thirrili ngarra’ We are still here and strong. Jandamarra was an Indigenous hero...whose white ‘bosses’ called him Pigeon. He knew in his heart that the country was inscribed by powerful spirits in the contours of its landscape.The Wandjinas -
Introduction: Performing Cosmopolitics Chapter 1 (Anti-)Cosmopolitan
Notes Introduction: performing cosmopolitics 1 Unattributed feature article, Australian, 16 September 2000, p. 6. 2 Although the riots resulted directly from a series of locally staged tensions revolving around beach territoriality and male youth culture, the anti-Arab sentiments expressed by demonstrators and circulated by the media tapped into a much wider context of racism provoked by Australia’s participation in the US-led anti-terrorism alliance, the bombings of Australian tourists in Bali by Islamic militants, and a high-profile case of the rape of Caucasian girls by a gang of Lebanese youths in 2002. 3 Federal Government of Australia. (1994) Creative Nation: Common- wealth Cultural Policy. <http://www.nla.gov.au/creative.nation/intro.html> (accessed 19 July 2005). 4 The Immigration Restriction Act of 1901 was the cornerstone of the ‘White Australia Policy’ aimed at excluding all non-European migration. The Act was enforced through the use of a dictation test, similar to the one used in South Africa, which enabled authorities to deny entry to any person who was not able to transcribe a passage dictated in a designated European language. The Act remained in force until 1958. 5 Many Australians who voted ‘no’ in fact supported the idea of a republic but did not agree with the only model offered by the ballot. For detailed analysis of the referendum’s results, see Australian Journal of Political Science, 36:2 (2001). 6 See Veronica Kelly (1998a: 9–10) for a succinct overview of significant studies in contemporary Australian theatre -
© 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia
© 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia SUNDAYS AT 8.30PM FROM JUNE 3, OR BINGE FULL SEASON ON IVIEW Hotly anticipated six-part drama Mystery Road will debut on ABC & ABC iview on Sunday, 3 June at 830pm. Because just one episode will leave audiences wanting for more, the ABC is kicking off its premiere with a special back-to-back screening of both episodes one and two, with the entire series available to binge on iview following the broadcast. Contact: Safia van der Zwan, ABC Publicist, 0283333846 & [email protected] ABOUT THE PRODUCTION Filmed in the East Kimberley region of Western Australia, Aaron Pedersen and Judy Davis star in Mystery Road – The Series a six part spin-off from Ivan Sen’s internationally acclaimed and award winning feature films Mystery Road and Goldstone. Joining Pedersen and Davis is a stellar ensemble casting including Deborah Mailman, Wayne Blair, Anthony Hayes, Ernie Dingo, John Waters, Madeleine Madden, Kris McQuade, Meyne Wyatt, Tasia Zalar and Ningali Lawford-Wolf. Directed by Rachel Perkins, produced by David Jowsey & Greer Simpkin, Mystery Road was script produced by Michaeley O’Brien, and written by Michaeley O’Brien, Steven McGregor, Kodie Bedford & Tim Lee, with Ivan Sen & the ABC’s Sally Riley as Executive Producers. Bunya Productions’ Greer Simpkin said: “It was a great honour to work with our exceptional cast and accomplished director Rachel Perkins on the Mystery Road series. Our hope is that the series will not only be an entertaining and compelling mystery, but will also say something about the Australian identity.” ABC TV Head of Scripted Sally Riley said: “The ABC is thrilled to have the immense talents of the extraordinary Judy Davis and Aaron Pedersen in this brand new series of the iconic Australian film Mystery Road. -
Case Study: Metro Screen
Sydney International Film School Sydney International Film School is an independent film school which aims to train exceptionally skilled and talented individuals for careers in the global film industry. The two year intensive training course teaches through a hands-on creative process that emulates worldwide industry practice. Students are encouraged to produce up to 8 films during their two year study, as well as collaborating with other students on their work. The school provides equipment, software and sophisticated production facilities. "ASED IN 2OSEBERY IN CENTRAL 3YDNEY THE )NTERNATIONAL &ILM 3CHOOL 3YDNEY IS A 2EGISTERED 4RAINING /RGANISATION PROVIDING training and assessment services in filmmaking, 86H:HIJ9N/B:IGDH8G::C Metro Screen has over 27 years’ experience in the screen industry, serving the professional and production development needs of screen practitioners in NSW across film, television, online and portable media. Metro Screen’s primary focus is on screen skills development and the production of quality screen works. Each year Metro Screen supports the production of over 140 screen works across all genres. In 2009 Metro Screen productions won both Tropfest and Trop Jr 1st prize awards, with many of the short film works going on to screen and win awards at numerous national and international festivals. Metro Screen, located in the Paddington Town Hall, attracts a wide range of people passionate about film, from school children who participate in short school holiday programs to seasoned professionals who need to learn advanced techniques on the latest software. Metro Screen’s program includes a regular series of professional development seminars on areas like pitching, marketing & distribution, speed networking, career advice and copyright & legal matters.