A Studyguide by Marguerite O'hara
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International Film Festival April 24 – May 4, 2008 the Washington, Dc International Film Festival
THE 22ND ANNUAL WASHINGTON, DC INTERNATIONAL FILM FESTIVAL APRIL 24 – MAY 4, 2008 THE WASHINGTON, DC INTERNATIONAL FILM FESTIVAL A world of films…a window into our world. Whether experienced in movie theaters, on DVDs or television in our homes, on our iPods or computers, films are the major communications media of our time. Hollywood films dominate commercial cinema. However, scores of talented filmmakers around the globe produce thou- sands of quality films that speak with a different voice, provide a different point of view, and tell different stories. Presenting these films in the nation’s capital is the purpose of Filmfest DC. Photo: Chad Evans Wyatt Film festivals are a journey of Tony Gittens, Festival Director and Shirin Ghareeb, Assistant Director discovery, a visual and thought provoking adventure into how people see and interpret our world. Every Filmfest DC is different and every film is unique from every other film in the festival. Together, they comprise an amazing representation of human imagination, commitment and talent. The festival has two special focuses this year — Politics & Film and New Latin Ameri- can Cinema. Obviously, politics are especially prominent during this election season and we wanted to explore the role affairs of state play in people’s every day lives. Latin American filmmakers are always a treasure trove of inventive storytelling. The di- verse selection of new work we have gathered from the Spanish-speaking world (in- cluding Spain) are moving, humorous, and insightful. None of this would be possible without the many dedicated people who have shared their time and talents with Filmfest DC. -
David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor -
Destination East Coast Australia It’S All About the Water
© Lonely Planet Publications 21 Destination East Coast Australia It’s all about the water. The East Coast of Australia bangs into the Pacific Ocean for some 4000km (almost five times that if you measure every notched crag and every sinuous strand). Or maybe it’s the other way around: the Pacific bangs into the coast. Given the number of surfers riding those breaks, it’s probably the latter. Life here revolves around water and so will your trip, often in ways you might not imagine. Take Melbourne: one of its great joys is its café culture, which entices you to nurse a long black for hours. What’s key to that cof- fee you’re drinking? Water. Move up the coast a bit along to southeastern Victoria. What’s at the heart of those misty, fern-filled temperate rainforests? FAST FACTS Water. The same can be said for southern New South Wales, although as the East Coast population: weather becomes warmer, the form of water focused on is the ocean. Like 15.5 million (75% of amphibians in an eternal spring, the surfers and divers increasingly shed Australia’s total) their wetsuits as you go north. Sydney and water are inextricably linked. The harbour. The bridge over the Length of coastline: harbour. The people taking the bridge over the harbour to get to some of the 17,996km (30% of most beautiful urban beaches in the world. North of Sydney, philosophers Australia’s total) at the many beaches can spend a lifetime pondering the question: if a wave Inflation rate: 3% breaks on a beach and there’s no one there to hear it, does it make a noise? Unemployment rate: 4% Astonishingly long stretches of sand are backed by national parks along the north coast of New South Wales. -
Resume Wizard
Expressive Culture: Film Class Code CORE-UA 9750 – 001 Instructor Dr Megan Carrigy Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Fall 2017 Expressive Culture: Film Wednesday 1:30 - 5:30pm 6 September to 13 December 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 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. Page 1 of 14 Expressive Culture: Film • Grasp the mechanics of structuring a written argument about a film’s meaning. -
Animal Kingdom Press
A Sony Pictures Classics Release BEN MENDELSOHN JOEL EDGERTON and GUY PEARCE LUKE FORD JACKI WEAVER SULLIVAN STAPLETON and introducing JAMES FRECHEVILLE Written & Directed by DAVID MICHÔD Produced by LIZ WATTS A Porchlight Films Production Winner - Grand Jury Prize World Cinema- 2010 Sundance Film Festival Winner: Best Supporting Actress – Jacki Weaver, National Board of Review 2010 Winner: Best First Feature, 2010 New York Film Critics Circle Awards Winner: Best Supporting Actress, Jacki Weaver, 2010 Los Angeles Film Critics Association Awards Winner, Best Supporting Actress – Jacki Weaver, 2010 San Francisco Film Critics Circle Golden Globe® Award Nominee, Best Supporting Actress – Jacki Weaver Academy Award® Nominee, Best Supporting Actress – Jacki Weaver NY & Los Angeles Release: August 13, 2010 | TRT: 112 min | MPAA: Rated R East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Judy Chang Carmelo Pirrone 34 East 39th Street 2A Melody Korenbrot Lindsay Macik New York, NY 10016 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054, ext 101 Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax 2 Screen Australia and Porchlight Films presents In association with Film Victoria, Screen NSW, Fulcrum Media Finance and Showtime Australia A Porchlight Films Production BEN MENDELSOHN JOEL EDGERTON and GUY PEARCE ANIMAL KINGDOM LUKE FORD JACKI WEAVER SULLIVAN STAPLETON and introducing JAMES FRECHEVILLE DAN WYLLIE ANTHONY -
Animal Kingdom
QuickTime™ e un decompressore sono necessari per visualizzare quest'immagine. ANIMAL KINGDOM Scritto e diretto da DAVID MICHÔD con BEN MENDELSOHN JOEL EDGERTON e GUY PEARCE e con LUKE FORD JACKI WEAVER SULLIVAN STAPLETON e per la prima volta sullo schermo JAMES FRECHEVILLE Vincitore del SUNDANCE FILM FESTIVAL 2010 - WORLD CINEMA USCITA PREVISTA: 30 OTTOBRE 2010 QuickTime™ e un decompressore In partnership con sono necessari per visualizzare quest'immagine. www.ivid.it/animalkingdom/ GLI ATTORI Andrew ‘Pope’ Cody BEN MENDELSOHN Barry ‘Baz’ Brown JOEL EDGERTON Detective Nathan Leckie GUY PEARCE Darren Cody LUKE FORD Janine ‘Smurf’ Cody JACKI WEAVER Craig Cody SULLIVAN STAPLETON Joshua ‘J’ Cody JAMES FRECHEVILLE Ezra White DAN WYLLIE Detective Justin Norris ANTHONY HAYES Nicky Henry LAURA WHEELWRIGHT Catherine Brown MIRRAH FOULKES Detective Randall Roache JUSTIN ROSNIAK Alicia Henry SUSAN PRIOR Gus Emery CLAYTON JACOBSON Avvocato Justine Hopper ANNA LISE PHILLIPS Paramedico#1 BRYCE LINDEMANN Paramedico #2 PAUL SMITS Detective rapina a mano armata ANTHONY AHERN Teppista #1 MICHAEL VICE Teppista #2 CHRIS WEIR Cameriera SARAH NGUYEN Cassiera LUCIA CAI Negoziante ANN MICHÔD Agente Daniel Hordern TIM PHILLIPPS Agente Peter Simmons JOSH HELMAN Operatore radio della polizia MICHAEL CODY John Harrop KIERAN DARCY-SMITH Andy Emery JACK HEANLY Richard Collis ANDY MCPHEE Dacinta Collis CHRISTINA AZUCENA Sarah Leckie JACQUIE BRENNAN Scott Leckie BEN OUWEHAND Vicina di Smurf BRENDA PALMER Vigilante al tribunale TOM NOBLE SOG DANIEL ROCHE Reporter DAVID -
The Agency of Papercutting in the Post-Digital Era
The Agency of Papercutting in the Post-Digital Era Author See, Pamela M Published 2020-10-01 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3981 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/398415 Griffith Research Online https://research-repository.griffith.edu.au The Agency of Papercutting in the Post-Digital Era Pamela See BVA, M.Bus (Comm) Queensland College of Art Art, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy July 2020 For my beautiful daughter 刈劈冰 who accompanied me on this journey through the millennia in search of the diffracted light. i Abstract In 2010, the chief curator of the Museum of Art and Design in New York, David McFadden, posited a ‘renaissance’ in the application of paper as an independent medium. The international instatement of papercutting into contemporary art sectors commenced in North America during the mid-1990s. This movement was associated with the transition from digitalism to post-digitalism. The materiality of paper was considered antithetical to the non-materiality of digital art. A more recent global survey of paper as an independent medium, The First Cut, was organised by Manchester Art Gallery in 2012. It was the same year the term ‘post-digital’ was applied to paper by Alessandro Ludovico in The Post-Digital Print: The Mutilation of Publishing Since 1894. Using the paper as independent medium movement as a fulcrum, this doctorate employs an arts-based research methodology to explore the applications for this image-making technique in the post-digital era. -
Fv07/08 Annual Report
FV07/08 ANNUAL REPORT ORGANISATIONAL SECTION 01 : NURTURING SECTION 04 : SECTION 07 : ATTRACTING 03 PROFILE 19 THE NEXT GENERATION 41 PRODUCTION INVESTMENT 63 PRODUCTION TO VICTORIA Who We Are Propeller Shorts Production Investment Production Investment Our History New Feature Writers Program Highlights Attraction Fund What We Do Attachments Supported Projects Project Commitments Our Vision Internships Pilot for TV or Digital Media Projects supported which filmed Our Mission Broadcast or post-produced in 2009 Our Strategic Objectives SECTION 02 : Regional Location Assistance Fund Our Standards 27 CONTENT CREATION SECTION 05 : Inbounds, location scouts BUSINESS SUPPORT Our Corporate Governance Fiction 49 and surveys Our Nature and Range of Services Program Highlights Business Support for Producers Sales Missions and Trade Shows Factual Slate Funding BOARD Highlights Cash Flow Facility SECTION 08 : 08 MEMBERS Digital Media 69 AUDIENCE ENGAGEMENT SECTION 06 : DESTINATION OUR Public Screen Engagement Fund MELBOURNE, AUSTRALIA 11 YEAR SECTION 03 : 55 Program Highlights 35 INDUSTRY DEVELOPMENT Creating an attractive PRESIDENT’S Screen Industry Production Destination SECTION 09 : REPORT 14 Development Program Online Tools 73 AWARDS AND SCREENINGS CEO’S Highlights Marketing Campaigns Supported Award Recipients 15 REPORT International Market Attendance Location Victoria: Screenings International Festival Attendance Our Provincial Film Strategy ORGANISATIONAL No Borders Production Liaison and REPORT OF CHART 16 Policy Development 78 OPERATIONS Case Study: Provincial Victoria Onscreen Emily Robins and Miles Szanto in The Elephant Princess. Jonathan M Shiff Productions. Supported through Cash Flow Facility & Production Investment. 1 WHO WE ARE Film Victoria is the State Government agency that provides strategic leadership and Support to the film, television and digital media sectors of Victoria. -
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 2018 Expressive Culture: Film Thursday 9:00am –1:00pm (4 hours per week including film screening) OR Thursday 2:00 –6:00pm (4 hours per week including film screening) 1 February to 10 May 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 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 Page 1 of 14 Expressive Culture: Film • Apply the basic vocabulary of film form. -
Stranded in Suburbia: Women's Violence in Australian Cinema
Stranded in Suburbia: Women’s Violence in Australian Cinema Janice Loreck USTRALIAN CINEMA HAS A LONG HISTORY OF DEPICTING VIOLENT MEN: FROM WAKE IN Fright (Ted Kotcheff, 1971), Mad Dog Morgan (Philippe Mora, 1976) and A Mad Max (George Miller, 1979) in the 1970s, Romper Stomper (Geoffrey Wright, 1992), Blackrock (Steven Vidler, 1997) and The Boys (Rowan Woods, 1998) in the 1990s, to Wolf Creek (Greg McLean, 2005) and Snowtown (Justin Kurzel, 2011) in the 2000s. Throughout this period, Australian cinema has paid exclusive attention to men’s violence: vigilantes, petty criminals and troubled young men in the suburbs. Felicity Holland and Jane O’Sullivan declare that these ‘lethal larrikin’ films are in discussion with concepts of Australian masculinity, ‘questioning and subverting a number of almost iconic assumptions about power, powerlessness, and violence in Australian masculine culture’ (79). In recent years, however, there has been a small but impactful cluster of films that show women acting violently, too. Suburban Mayhem (Paul Goldman, 2006), Animal Kingdom (David Michôd, 2011) and Hounds of Love (Ben Young, 2016) all contain female characters who exhibit intensely violent behaviour, committing (or conspiring to commit) acts of homicide and murder. While critics have examined men’s brutality extensively, Australian women’s aggression has not been considered in the same way (Butterss; Heller-Nicholas; Holland and O’Sullivan; O’Brien; Villella). Female violence in Australian cinema is a new and unanswered question. © Australian Humanities Review 64 (May 2019). ISSN: 1325 8338 122 Janice Loreck / Stranded in Suburbia: Women’s Violence in Australian Cinema Speaking broadly, Western cultural narratives—whether in cinema, literature, television or other media discourses—tend to frame women’s violence as exceptional. -
Fred Schepisi's
presents Fred Schepisi’s THE EYE OF THE STORM Starring Geoffrey Rush Judy Davis Charlotte Rampling IN CINEMAS 2011 For all queries, please contact: Chris Chamberlin (Pop Culture) [email protected] +61 404 075 749 SYNOPSIS: ONE LINE SYNOPSIS Elizabeth Hunter, controls all in her life – society, her staff, her children; but the once great beauty will now determine her most defi ant act as she chooses her time to die. SHORT SYNOPSIS In the Sydney suburb of Centennial Park, two nurses, a housekeeper and a solicitor attend to Elizabeth Hunter as her expatriate son and daughter convene at her deathbed. But in dying, as in living, Mrs Hunter remains a powerful force on those who surround her. Based on the novel by Nobel Prize winner Patrick White, THE EYE OF THE STORM is a savage exploration of family relationships — and the sharp undercurrents of love and hate, comedy and tragedy, which defi ne them. LONG SYNOPSIS In a Sydney suburb, two nurses, a housekeeper and a solicitor attend to Elizabeth Hunter (Charlotte Rampling) as her expatriate son and daughter convene at her deathbed. In dying, as in living, Mrs. Hunter remains a formidable force on those around her. It is via Mrs Hunter’s authority over living that her household and children vicariously face death and struggle to give consequence to life. Estranged from a mother who was never capable of loving them Sir Basil (Geoffrey Rush), a famous but struggling actor in London and Dorothy (Judy Davis), an impecunious French princess, attempt to reconcile with her. In doing so they are reduced from states of worldly sophistication to fl oundering adolescence. -
Awgie Award Winners 1968 – 2019
AWGIE AWARD WINNERS 1968 – 2019 1968 Major Award Winner (Joint Winners) Colin Free Contrabandits: ‘Cage a Tame Tiger’ Major Award Winner (Joint Winners) Richard Lane You Can’t See ‘Round Corners (Television Serial) Children’s Michael Wright Skippy: ‘The Poachers’ Radio Jocelyn Smith I-Day Television James Workman Contrabandits: ‘Target Smokehouse’ Television – Play Gregory Marton Silo 15 1969 Major Award Winner Alan Hopgood The Cheerful Cuckold (Teleplay) Radio – Comedy Serial Bob Symons & She’ll Be Right Mate Trevor Meyers Documentary Joan Long The Picture That Moved Radio – Play Ron Harrison Ride on the Big Dipper Radio – Feature Joceyln Smith This is the Way We Stamp Our Feet Television – Play Joan Baldwin Diana 1970 Major Award Winner Mungo MacCallum The Stoneham Obsessions (Radio Feature) Television John Dingwall Homicide: ‘Everyone Knows Charlie’ Television Tony Morphett Delta: ‘A Touch of DFP’ Television – Play Pat Flower Friends of the Family Television – Comedy Maurice Wiltshire & The Greater Illustrated History Antipodes Show John O’Grady 1971 Major Award Winner Michael Boddy & The Legend of King O’Malley (Stage) Bob Ellis Children’s Film Marcia Hatfield Molala Harai Documentary Reg Barry Seeds of Promise Radio – Feature Ivan Smith Sounds Television – Comedy Maurice Wiltshire & Australia A–Z John O’Grady Television Series – Drama (Joint Winners) John Dingwall Division 4: ‘Johnny Red’ Television Series – Drama (Joint Winners) Tony Morphett Dynasty: ‘Cry Me A River’ Film Joan Long Paddington Lace 1972 Major Award Winner David