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Mr Phillip Andrew Adams AO
Mr Phillip Andrew Adams AO The honorary degree of Doctor of Letters was conferred upon Phillip Adams by the Chancellor the Hon Justice Kim Santow at the Faculty of Arts graduation ceremony at 4.00pm on 6 May 2005. Citation Chancellor, I have the honour to present Phillip Andrew Adams, AO for admission to the degree of Doctor of Letters (honoris causa). Phillip Adams is arguably Australia’s number one public intellectual. He has made pivotal contributions to Australia’s identity across film, broadcasting and print media. Phillip Adams’ creative vision paved the way to a vibrant national film industry. Helping to create the Australia Council, Phillip established Australia’s National Film School. He established the South Australian Film Corporation, which became the model for subsequent film commissions in other states. As Chair of the Australian Film Commission, Phillip signed Australia’s first co-production agreements with France and the United Kingdom and persuaded then Treasurer Paul Keating to establish the Australian Film Finance Corporation. Phillip is recognised in his own right for his films and has, amongst many AFI awards, won two ‘Best Films’. Phillip devised the immensely successful Life, Be In It campaign which effected a paradigm shift in Australian society. His campaign for the United Nations’ International Year of the Disabled Person won the Golden Lion at the Cannes Festival in 1982. As a public commentator and broadcaster, Phillip Adams is one of the major facilitators of debate in this country. In this role, he continues to influence the thinking, the welfare and culture of our society. -
Sparring Partners
12 PROFILE HOLLIE ADAMS SPARRING PARTNERS Bruce Beresford don’t get made to the ones that do is enormous.’’ Decades after their freshly and Sue Because of this dispiriting reality, she says Milliken at “there was a point where I thought, ‘What am I published letters, Bruce Beresford’s doing in this business? I would try prostitution, home, above, but I am too old.’ ” She quickly adds, “I’m not re- Beresford and Sue Milliken and on the set ally serious …’’ in younger “Oh, what?’’ cuts in Beresford, feigning sur- still bicker, but it usually days, left prise that his colleague has never resorted to sex work. Cue more laughter. Dressed in a brown, ends in laughter, writes tweedy suit and scarlet socks, the director — who admits (but only reluctantly) to being 75 — Rosemary Neill is a natural comedian and storyteller. He re- cently saw himself being interviewed on tele- vision and “I thought, ‘Who is that old guy who bears a faint resemblance to me?’ ’’ m I boring you?’’ Sue Milliken Milliken, 76, is a former chairwoman of the interrupts herself, mid-sen- Australian Film Commission and her producing tence, to admonish her friend credits range from the Vietnam film The Odd and long-time collaborator Angry Shot to the 2014 documentary The Red- Bruce Beresford. ‘’Yes,’’ Beres- fern Story. Like Beresford, she is as sharp as a ‘Aford replies impassively as he casually flips tack (and gives as good as she gets). She has a through a pile of CDs on his living room coffee whippet-thin, agile frame — despite her ad- table. -
Negotiating Uncertainty: Asteroids, Risk and the Media Felicity Mellor
Accepted pre-publication version Published at: Public Understanding of Science 19(1): (2010) 16-33. Negotiating Uncertainty: Asteroids, Risk and the Media Felicity Mellor ABSTRACT Natural scientists often appear in the news media as key actors in the management of risk. This paper examines the way in which a small group of astronomers and planetary scientists have constructed asteroids as risky objects and have attempted to control the media representation of the issue. It shows how scientists negotiate the uncertainties inherent in claims about distant objects and future events by drawing on quantitative risk assessments even when these are inapplicable or misleading. Although the asteroid scientists worry that media coverage undermines their authority, journalists typically accept the scientists’ framing of the issue. The asteroid impact threat reveals the implicit assumptions which can shape natural scientists’ public discourse and the tensions which arise when scientists’ quantitative uncertainty claims are re-presented in the news media. Keywords: asteroids, impact threat, astronomy, risk, uncertainty, science journalism, media, science news Introduction Over the past two decades, British newspapers have periodically announced the end of the world. Playful headlines such as “The End is Nigh” and “Armageddon Outta Here!” are followed a few days later by reports that there’s no danger after all: “PHEW. The end of the world has been cancelled” (Britten, 1998; Wickham, 2002; Evening Standard , 1998). These stories, and others like them appearing in news media around the world, deal with the possibility that an asteroid or comet may one day collide with the Earth causing global destruction. The threat posed by near-Earth objects (NEOs) has been actively promoted by a group of astronomers and planetary scientists since the late 1980s. -
ADAMS, Phillip
DON DUNSTAN FOUNDATION 1 DON DUNSTAN ORAL HISTORY PROJECT Phillip ADAMS This is George Lewkowicz for the Don Dunstan Foundation’s Don Dunstan Oral History Project interviewing Phillip Adams on the 1st May 2008 at Phillip Adams’s residence. The topic of interest is the film industry, Phillip’s advice to Don Dunstan on the setting up of the film industry in South Australia and Don and the arts more generally. Phillip, thanks very much for being willing to do this interview. Can you, just for the record, talk briefly about yourself and how you became interested in the film industry? (clock chimes) Well, by the time I got the phone call from Don I’d spent some years persuading, cajoling, bullying, flattering a rapid succession of prime ministers into doing things. My interest in the film industry was simply as a member of an audience for most of my life and it seemed no-one ever considered it remotely possible that Australia make films. We were an audience for films – leaving aside our extraordinary history of film production, which went back to the dawn of time, which none of us knew about; we didn’t know, for example, we’d made 500 films during the Silent Era alone – so, anyway, nothing was happening. The only film productions in Australia were a couple of very boring industrial docos. But once 1956 arrived with television we had to start doing a few things of our own, and long before I started getting fundamental changes in policy and support mechanisms a law was passed. -
Press Release AFF GOES ROGUE
For Immediate Release ADELAIDE FILM FESTIVAL GOES ROGUE ANNOUNCES GUESTS, CLOSING NIGHT FILM The Adelaide Film Festival (AFF), counting down to the Oct 27 – 30 AFF GOES ROGUE 2016 event, today announced its ofFicial Rogues Gallery, a lively line-up of guests set to add some serious spark to Australian cinema in 2016. Also announced is the Closing Night screening, which sees some of the world’s most lovable rock’n’roll rogues, The Stooges, take to the screen in Jim Jarmusch’s GIMME DANGER, a film that will leave audiences screaming For an encore, which they will be delivered when the ADLFF returns, full throttle, in 2017. Be there as Australian cinema breaks new ground as the country’s First Muslim rom-com, ALI’S WEDDING, hits the big screen For its Gala World Premiere screening and after-party on Friday 28 October, with Ali’s Wedding cast and crew there to laugh, cry and rejoice alongside you. Joining the festive celebrations of this life affirming film will be the creator, writer and star, Osamah Sami, lead actress Helena Sawires, co-writer Andrew Knight (Sami and Knight on Friday won an AWGIE Award for the film), director Jeffrey Walker (Jack Irish, Modern Family, Angry Boys, Dance Academy), producer Sheila Jayadev, and legendary cinematographer Don McAlpine (The Dressmaker, Moulin Rouge). An Adelaide Film Festival Fund Film, ALI’S WEDDING tells the story of Ali, the charming son of a Muslim cleric, and his hilarious attempts to balance the expectations of his community with his heart in the lead up to his wedding day. -
The Cinema of Giorgio Mangiamele
WHO IS BEHIND THE CAMERA? The cinema of Giorgio Mangiamele Silvana Tuccio Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy August, 2009 School of Culture and Communication The University of Melbourne Who is behind the camera? Abstract The cinema of independent film director Giorgio Mangiamele has remained in the shadows of Australian film history since the 1960s when he produced a remarkable body of films, including the feature film Clay, which was invited to the Cannes Film Festival in 1965. This thesis explores the silence that surrounds Mangiamele’s films. His oeuvre is characterised by a specific poetic vision that worked to make tangible a social reality arising out of the impact with foreignness—a foreign society, a foreign country. This thesis analyses the concept of the foreigner as a dominant feature in the development of a cinematic language, and the extent to which the foreigner as outsider intersects with the cinematic process. Each of Giorgio Mangiamele’s films depicts a sharp and sensitive picture of the dislocated figure, the foreigner apprehending the oppressive and silencing forces that surround his being whilst dealing with a new environment; at the same time the urban landscape of inner suburban Melbourne and the natural Australian landscape are recreated in the films. As well as the international recognition given to Clay, Mangiamele’s short films The Spag and Ninety-Nine Percent won Australian Film Institute awards. Giorgio Mangiamele’s films are particularly noted for their style. This thesis explores the cinematic aesthetic, visual style and language of the films. -
A Festival of Restored Classics and Archival Prints from Cinema's
3-7 May 2018 A Festival of Restored Classics and Archival Prints from Cinema’s Grand Heritage Presented in Partnership with the Australian Film Television and Radio School OPENING NIGHT experiences, trying to make a Treasure is his most acclaimed THU 3 MAY 6.30PM living in a range of menial jobs in work, frequently topping best Sri SANS LENDEMAIN 1960s Paris, infuse his first film, Lankan films of all time polls. “My Dir: Max OPHÜLS, France, 1939, Soleil Ô. “From the stylized and most controversial film… holds a 82 mins, b&w, sd., DCP (orig. surreal opening sequence to the strong social and political value 35mm), French with English episodic adventures of a particular in denouncing the system. The subtitles, UC/18+ man, the director presents a series character is trapped between two Sans lendemain was the of imaginative set pieces, linked cultures: the Western/British one penultimate picture cosmopolitan by voice-over narrative, that and his culture of origin…” (Lester director Max Ophüls made in investigate and dramatize a complex James Peries). pre-war France before leaving for of interrelated themes. A scathing Introduction by Adrienne Hollywood. Evelyn/Babs works attack on colonialism, the film is McKibbins. Restored in 2013 by the as one of four topless dancers also a shocking exposé of racism...” Film Foundation’s World Cinema at “La Sirene”. Babs has a fateful (Harvard Film Archives notes). Project at Cineteca di Bologna chance meeting with an old flame, Introduction by Peter Hourigan. /L'immagine ritrovata laboratory. In Georges, and fate throws up an Restoration Australian premiere. -
Sunday Too Far Away in the 1970S
11111111''''200612110 UNDAY Too Far Wales, Arthur Black (peter Away was one of Cummins), or Black Arthur S the seminal films in as he comes to be known, what is often referred to as will battle Foley to be top the 'new wave' of Austra dog (and end up beating lian cinema that emerged him). Sunday Too Far Away in the 1970s. A significant ends with the confrontation step forward in Australian between the shearers (who filmmaking and storytelling, have decided to strike Sunday Too Far Away was because the graziers are also one of the first major trying to remove their features of the new wave prosperity bonus) and the to be made entirely with 'scabs' (non-union labour Australian finances Ot was brought in by the graziers funded by the South Austra to do the shearing). The lian Film Corporation) and strike lasts for nine months, by an all-Australian creative with the shearers eventually team. 1 winning. The title Sunday Too Far Fight Club Away is derived from a poem, The Shearer's Ken Hannam was only Wife's Lament. It refers thirty years old when he to a comment made by Of Myths directed Sunday Too Far the shearer's wife on the Away. Although it was lack of opportunity for a his feature film debut, he sexual relationship with and Meng had been directing and her husband when he has producing TV programs in left her to work on another London for several years sheep shed: 'Friday night, Sun'day Too Far Away when producer GiI Brealey too tired, Saturday night, of the newly formed South too drunk, Sunday Too Far ~eD'D ~CllD'DD'DCllm'S ~915 fuim Sunday 100 Far Australian Film Corporation Away.'2 Away US Ulhle Cllrche~~icCllI ~ulm Cd~Oll.Qft 1tIhe offered him John Dingwall's All.QsitrraioaD'D male. -
“We Say Yes” to a Price on Carbon Pollution
“We Say Yes” to a Price on Carbon Pollution STATEMENT “We Say Yes” to a Price on Carbon Pollution Climate change is already affecting our country, our communities, and the survival of the world’s poor. This year, we have an opportunity to tackle climate change through a price on carbon pollution. To reduce pollution and embrace a cleaner and healthier future Australia urgently needs to put a fair price on pollution. It’s reasonable to ask the big polluters to pay a fair amount per tonne of carbon they emit so they have an incentive to pollute less. We say yes to embracing a cleaner and healthier future by placing a fair price on pollution. We say yes to rewarding businesses who do the right thing, and giving other businesses a reason to clean up their act. Saying yes to a price on pollution means saying yes to investment, innovation, and new jobs based on renewable energy that never runs out. In a country abundant with sun and wind, these industries have waited years to flourish while Australia has delayed. Putting a price on pollution will release billions of dollars that will be used to support low income households, protect jobs, drive innovation in adaptation and clean energy projects and technologies, and support Australian farmers who want to protect the land for future generations. We say YES to a price on pollution and renewable energy investment, YES to jobs and YES to protecting our ecosystems, health and environment before it’s too late. Will you join us? “We Say Yes” to a Price on Carbon Pollution 1 million women Communities Combating Climate Crisis, 350.org Australia Healesville Adam Kilgour, Board Member, The Climate Community Environment Network, Lake Institute Macquarie Planning Committee Alternative Technology Association Conservation Council of South Australia Ann Kantor, Philanthropist Conservation Council of Western Australia Ararat Greenhouse Action Group Inc Cool Melbourne Assoc. -
Phillip Adams Broadcaster and Social Commentator
Why We Need a Revolution Now Address to the Communities in Control Conference Melbourne, 7th June 2004 Phillip Adams Broadcaster and Social Commentator *If quoting from this speech, please acknowledge that it was presented to the 2004 Communities in Control conference convened by Our Community and Catholic Social Services. Phillip Adams, Communities in Control conference, June 2004. Visit www.ourcommunity.com.au Some people have personal trainers: I have my own dominatrix, and I’ll be telling you more about Rhonda Galbally a little later. Her introduction, though, did forget one thing, which is that I too spent a day in a wheelchair. It was in Adelaide, in the International year of the Disabled, and we we’d been having a meeting on the seventh floor of a government building in Adelaide. A young angry man, who knew bloody well that I wasn’t sufficiently credentialled on the issue, insisted that I get into his wheelchair. I wheeled myself outside and was masticated by the lift doors, and when I got in to the lift I found I couldn’t reach the button. When I got to the bottom and was expectorated into the lobby I looked down a cascade, a Niagara, of steps, and realised that that wasn’t on; so I backpedalled - backwheeled – into the carpark, where because I was below the visual threshold I was nearly run over four times. And this was all in the first five minutes. I got out on to the footpath, where I could see people looking at me oddly and mouthing “I didn’t know he was disabled!” And then I came to the lip of the curb, which was, once again, impassable. -
Contents Trade Offerings
CONTENTS TRADE OFFERINGS The Secret Life of the Brain 2 Richard Restak, M.D. Eclipse 4 Duncan Steel In Search of the Lost Cord 6 Luba Vikhanski The Genomic Revolution 8 Rob DeSalle and Michael Yudell How Students Learn 10 National Research Council A Case of Chronic Neglect 11 Felicia Cohn, Marla Salmon, and John Stobo Previously Announced Books and New and Recently Published Books Adding It Up 13 Jeremy Kilpatrick, Jane Swafford, and Bradford Findell Educating Children with Autism 14 Catherine Lord and James P.McGee Knowing What Students Know 15 James Pellegrino, Robert Glaser, and Naomi Chudowsky Speaking of Health 16 Institute of Medicine Backlist Offerings 30 General Information 34 October General Interest Science ISBN 0-309-07435-5 $35.00 8 x 10, 224 pages, index Cloth with jacket Color photographs and illustrations A Joseph Henry Press book Rights: World MARKETING • Concurrent publicity with airing of PBS series in early 2002 • Full-color blads • National review attention • National print advertising campaign • National media attention: radio and television • Co-op available 2 THE SECRET LIFE OF THE BRAIN Richard Restak, M.D. with a foreword by David Grubin Companion to the five-part television series brought to PBS by award- winning producer David Grubin, The Secret Life of the Brain takes readers on a tour of the human brain. Lavishly illustrated and beautifully presented, the many mysteries of the brain are explored from infancy to old age. en years ago a presidential proclamation ushered in the “Decade of the Brain.”We have Dr. Richard Restak since realized enormous benefits from this decade of discovery. -
Download the Cinema Reborn Catalogue
Cinema Reborn Melbourne Season 14 – 17 October 2021 A Celebration of Cinema’s Grand Heritage 1 Cinema Reborn The Films Aimless Bullet 5 Le Corbeau 8 Criss Cross 12 Filibus 20 Vintage Ads Four flms from CAAMA 23 Vintage Ads Le amiche 28 NFSA ONLINE EXHIBITION NFSA ONLINE EXHIBITION The Juniper Tree 36 Discover the National Film and Sound Archive of Australia’s collection of vintage The Leopard 41 Discover the National Film and Sound Archive of Australia’s collection of vintage Australian cinema, radio and television advertisements, which spans six decades, Australian cinema, radio and television advertisements, which spans six decades, Shadow Panic 45 two world wars and thirteen prime ministers. two world wars and thirteen prime ministers. Sons of Matthew 46 In these ads – dating from 1914 to 1969 – you’ll see iconic brands, hear familiar In these ads – datingjingles from and 1914 possibly to 1969 recognise – you’ll a few see famous iconic brands,faces. hear familiar jingles and possibly recognise a few famous faces. Cover photo: Te Leopard, courtesy Park Circus 2 NFSA.GOV.AU 3 NFSA.GOV.AU Tis page: Te Juniper Tree, courtesy Arbelos Films Cinema Reborn CINEMA Aimless Bullet Introduction by Tony Rayns restored the flm in 2014/15, the major challenge was to digitally erase those REBORN Te flm culture of South Korea was intrusive subtitles while returning the a virtual closed book until the end images to something like their original of military dictatorships and the sharpness and grading. Tey were not A message from the Organising Committee introduction of democratic reforms in able to mitigate all the damage or restore the early 1990s.