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VIEW from the BRIDGE Marco Melbourne Theatre Company Dir: Iain Sinclair
sue barnett & associates DAMIAN WALSHE-HOWLING AWARDS 2011 A Night of Horror International Film Festival – Best Male Actor – THE REEF 2009 Silver Logie Nomination – Most Outstanding Actor – UNDERBELLY 2008 AFI Award Winner – Best Guest or Supporting Actor in a Television Drama – UNDERBELLY 2001 AFI Award Nomination – Best Actor in a Guest Role in a Television Series – THE SECRET LIFE OF US FILM 2021 SHAME John Kolt Shame Movie Pty Ltd Dir: Scott Major 2018 2067 Billy Mitchell Arcadia/Kojo Entertainment Dir: Seth Larney DESERT DASH (Short) Ivan Ralf Films Dir: Gracie Otto 2014 GOODNIGHT SWEETHEART (Short) Tyson Elephant Stamp Dir: Rebecca Peniston-Bird 2012 MYSTERY ROAD Wayne Mystery Road Films Pty Ltd Dir: Ivan Sen AROUND THE BLOCK Mr Brent Graham Around the Block Pty Ltd Dir; Sarah Spillane THE SUMMER SUIT (Short) Dad Renegade Films 2011 MONKEYS (Short) Blue Tongue Films Dir: Joel Edgerton POST APOCALYPTIC MAN (Short) Shade Dir: Nathan Phillips 2009 THE REEF Luke Prodigy Movies Pty Ltd Dir: Andrew Traucki THE CLEARING (Short) Adam Chaotic Pictures Dir: Seth Larney 2006 MACBETH (M) Ross Mushroom Pictures Dir: Geoffrey Wright 2003 JOSH JARMAN Actor Prod: Eva Orner Dir: Pip Mushin 2002 NED KELLY Glenrowan Policeman Our Sunshine P/L Dir: Gregor Jordan 2001 MINALA Dan Yirandi Productions Ltd Dir: Jean Pierre Mignon 1999 HE DIED WITH A FELAFEL IN HIS HAND Milo Notorious Films Dir: Richard Lowenstein 1998 A WRECK A TANGLE Benjamin Rectango Pty Ltd Dir: Scott Patterson TELEVISION 2021 JACK IRISH (Series 3) Daryl Riley ABC TV Dir: Greg McLean -
Final-Brochure-2020.Pdf
Ngadlu tampinthi Kaurna We acknowledge the Kaurna miyurna yaitya yarta-mathanya people as the traditional custodians Wama Tarntanyaku. of the Adelaide Plains. Parnaku yailtya, parnaku tapa We recognise and respect their purruna, parnaku yarta ngadlu cultural heritage, beliefs and tampinthi. Yalaka Kaurna Miyurna relationship with the land. itu yailtya, tapa purruna, yarta kuma We acknowledge that they are puru martinthi, puru warri-apinthi, of continuing importance to the puru tangka martulayinthi. Ngadlu Kaurna people living today and tampinthi purkarna pukinangku, pay respects to Elders past, yalaka, tarrkarritya. present and future. 2 2 A MESSAGE FROM MITCHELL So, shall we have some fun together? New Australian works of great heart, wit and humanity. New international works of great Shall we lift the curtain, open the door, enter daring and dazzling originality from and with into worlds strange, familiar or new? diverse voices. Classics reinvented to connect history to the here and now. Shall we get set for some of the greatest times that we will ever have in a theatre? There’s a lot of comedy coming your way this year - some satirical, some black and some Sound good? Well, come on in. deeply twisted. Plus works that will break apart the very notions of what you think theatre is. But I’m thrilled to be joining State Theatre all of our works will engage your mind and heart Company South Australia as its new Artistic as fulsomely as your funny bones are tickled. Director. I’ve loved working for this company in the past and I have loved witnessing so many You will leave many of our shows this of the brilliant works it has produced. -
Anthropology of Indigenous Australia
Anthropology of Indigenous Australia Class code ANTH-UA 9037 Instructor Details Petronella Vaarzon-Morel [email protected] 0428633216 (mobile) Office Hour: Tuesday 5-6pm Class Details Anthropology of Indigenous Australia Tuesdays, 2-5pm September 3 to December 10 Room 3.04 NYU Sydney Academic Centre Science House: 157 Gloucester Street, The Rocks Prerequisites None Class Description This course offers an introduction to some of the classical and current issues in the anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, and archiving. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic texts, historical accounts, films, live performances, and an autobiography, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. The course will consist of lectures interspersed with discussions, student presentations, and films/other media; we may also have guest presenters. -
Crossroads in Cultural Studies Conference
Association for Cultural Studies Crossroads in Cultural Studies Conference 14-17th December, 2016 WITH STUDENT PRE-CONFERENCE EVENT 13TH DECEMBER Program Index CREDITS SCHEDULE 01 04 INTERNET VENUES AND ACCESS AND MAPS OTHER FACILITIES 14 15 FULL PROGRAM INVITED OF EVENTS SPEAKERS AND ABSTRACTS 18 24 PARALLEL INDEX OF SESSION PANELS REGISTERED AND ABSTRACTS DELEGATES 48 399 Crossroads 2016 (#XR2016) For the first time in its history, Crossroads in Cultural Studies has come to the southern hemisphere. The 11th Association for Cultural Studies “Crossroads in Cultural Studies” conference is being hosted by the University of Sydney and Western Sydney University. Crossroads 2016 will bring scholars together in the beautiful summertime setting of Sydney University to engage with the past, present and future of cultural studies scholarship. The Crossroads conference has played an important role in the creation of a global discussion of Cultural Studies. It has become a major international conference where scholars from all five continents gather regularly to exchange research, views, and insights. Organized by the Association for Cultural Studies (ACS), the Crossroads conference is held every other year in different parts of the world. Previous conferences have taken place in Birmingham (United Kingdom), Urbana-Champaign (USA), Istanbul (Turkey), Kingston (Jamaica), Hong Kong (China), Paris (France), and Tampere (Finland). This conference program is also available as an iPhone and Android app. Go to either app store and search for “Crossroads2016”. On this app the full program is available with links to social media resources for the conference and to venue maps. Credits The steering committee is Catherine Driscoll (Sydney), Tony Bennett (WSU), Elspeth Probyn, (Sydney), Brett Neilson (WSU), Tess Lea (Sydney), Shanthi Robertson (WSU), and Guy Redden (Sydney), with key additional roles played by Kane Race (Sydney), Greg Noble (WSU), and Prudence Black (Sydney). -
Press Release Shadows
MEDIA RELEASE 7THJULY 2021 PERTH HIP HOP ARTIST DRAPHT RETURNS WITH NEW SINGLE “SHADOWS ON MY WALLS” THE FIRST TASTE FROM FORTHCOMING NEW ALBUM ‘SHADOWS & SHININGS’ OUT SEPTEMBER 10 OUT VIA THE AYEMS/ADA AUSTRALIA Multi ARIA-award winning Perth emcee Drapht today makes his return with new single “Shadows On My Wall”, the first taste from his forthcoming album ‘Shadows & Signings’, due for release September 10. Stream and download the single HERE and pre-order the album HERE. Drapht’s latest offering showcases yet again why he remains at the forefront of the ever-evolving genre. Continuously pushing himself and his boundaries to progress as an artist, he remains true to his signature sound and style that his legion of fans know and love, “Shadows On The Wall” being no exception with its smooth and witty lyrics and effortless flow. Commenting on the track, Drapht notes "This song came to life out of a lot of time for self-reflection during the infamous year of 2020. Realising I may not have been coping as well as I thought I was and I suddenly felt like I was on the verge of a mental breakdown with all of my inner-dialogue and the discourse that was manifesting around me." "Like for many, music has always been my therapy and it's always really cathartic for me to be able to turn a negative into a positive, let go of those thought and feelings and release them out into the world " With a platinum records, multi-platinum and gold singles and two ARIA awards under his belt, it's no secret that Drapht is one Australia’s greats. -
Stephen Page on Nyapanyapa
— OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories. -
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. -
1X 86Min Feature Documentary Press Kit
ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere. -
Australian Television, Music and Place
Screen Sound n1, 2010 SOUNDING EAST OF EVERYTHING Australian Television, Music and Place Liz Giuffre Abstract East of Everything is a contemporary Australian television drama series shot on the New South Wales North Coast in and around the popular tourist destination of Byron Bay. In addition to utilising the region’s visual beauty – a cinematographic technique commonly employed in Australian drama – East of Everything has harnessed the musical culture that has developed in the area over time. The series relies on its soundtrack to create a sense of place and illuminate the program’s dramatic progression. This article will explore the use of music to ‘place’ East of Everything, examining the incorporation of pre-existing and specially commissioned material. I will show that the sonic representation of place through music has been key to the program’s success, and that place in the Australian drama is revealed sonically to be as diverse, emotive and striking as the region’s visual landscape. Keywords Television, Soundtrack, Australian music, Byron Bay, Surfing Culture Introduction Billingham (2000) argues that television drama often relies on the creation of ‘geo- ideological’ relationships to attract audiences. As part of his evaluation of various contemporary British and American television drama series, he suggests that many successful programs created a “dialectic of literal notions of place and location, transposed with their ideological marking, signing and delineation” (2000: 1). For Billingham the depiction of place was central to the success of these television texts, with the program’s target audience engaged as visuals and sound worked in “symbiotic tandem” to create an “imagined city” (2000: 119). -
An Ethnography of Health Promotion with Indigenous Australians in South East Queensland
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/292140373 "We don't tell people what to do": An ethnography of health promotion with Indigenous Australians in South East Queensland Thesis · December 2015 CITATIONS READS 0 36 1 author: Karen McPhail-Bell University of Sydney 25 PUBLICATIONS 14 CITATIONS SEE PROFILE Available from: Karen McPhail-Bell Retrieved on: 25 October 2016 “We don’t tell people what to do” An ethnography of health promotion with Indigenous Australians in South East Queensland Karen McPhail-Bell Bachelor of Behavioural Science, Honours (Public Health) Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy School of Public Health and Social Work Queensland University of Technology 2015 Key words Aboriginal, Aboriginal Medical Service, Australia, colonisation, community controlled health service, critical race theory, cultural interface, culture, ethnography, Facebook, government, health promotion, identity, Indigenous, Instagram, mainstream, policy, postcolonial theory, public health, relationship, self- determination, social media, Torres Strait Islander, Twitter, urban, YouTube. ii Abstract Australia is a world-leader in health promotion, consistently ranking in the best performing group of countries for healthy life expectancy and health expenditure per person. However, these successes have largely failed to translate into Indigenous health outcomes. Given the continued dominance of a colonial imagination, little research exists that values Indigenous perspectives, knowledges and practice in health promotion. This thesis contributes to addressing this knowledge gap. An ethnographic study of health promotion practice was undertaken within an Indigenous-led health promotion team, to learn how practitioners negotiated tensions of daily practice. -
Funkoars the Greatest Hits Mp3, Flac, Wma
Funkoars The Greatest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: The Greatest Hits Country: Australia Released: 2006 MP3 version RAR size: 1474 mb FLAC version RAR size: 1390 mb WMA version RAR size: 1605 mb Rating: 4.7 Votes: 176 Other Formats: TTA MOD MP4 WMA RA AUD FLAC Tracklist Hide Credits 1 Hurro 2:23 2 Da Na Na 3:52 3 The Greatest Skit 1:19 4 The Greatest Hit 3:39 5 Black Out 4:00 6 You Know It 3:17 The Symphony 7 3:47 Featuring, Songwriter – Vents 1* Swank Stedly Presents 8 1:51 Percussion – Brave HandlebarsVocals – Swank Stedly 9 C.O.T.Y 3:58 10 And Now For Something Completely Different... 3:23 11 Sesta Vs. Pressure 1:16 What I Want 12 4:30 Featuring – Hilltop HoodsSongwriter – Pressure , Suffa 13 Masterpiece 3:31 Meet The Family 14 3:13 Featuring, Songwriter – PegzProducer – Suffa 15 The Reason 4:42 Companies, etc. Pressed By – AAV Regency – 91074.1 Mastered At – Disk-Edits Credits Mastered By – Neville Clark Mixed By – DJ Reflux Photography By [Funkoars Pictures] – Andrew Boyle Photography By [Model Pictures] – PJ Producer – Heat Vision & Jack (tracks: 3, 8, 11), Sesta (tracks: 5, 9, 15), Trials (tracks: 1, 2, 4, 6, 10, 12, 13) Recorded By – Heat Vision & Jack Scratches – DJ Reflux Songwriter – Hons (tracks: 1, 2, 4, 6, 7, 9, 10, 12 to 15), Sesta (tracks: 1, 2, 4 to 7, 9, 10, 12 to 15), Trials (tracks: 1, 2, 4 to 7, 9, 10, 12 to 15) Notes Recorded at Sesta's House Tracks 3, 8 and 11 are short comedy skits Mastered at Disk Edits. -
Company B ANNUAL REPORT 2008
company b ANNUAL REPORT 2008 A contents Company B SToRy ............................................ 2 Key peRFoRmanCe inDiCaToRS ...................... 30 CoRe ValueS, pRinCipleS & miSSion ............... 3 FinanCial Report ......................................... 32 ChaiR’S Report ............................................... 4 DiReCToRS’ Report ................................... 32 ArtistiC DiReCToR’S Report ........................... 6 DiReCToRS’ DeClaRaTion ........................... 34 GeneRal manaGeR’S Report .......................... 8 inCome STaTemenT .................................... 35 Company B STaFF ........................................... 10 BalanCe SheeT .......................................... 36 SeaSon 2008 .................................................. 11 CaSh Flow STaTemenT .............................. 37 TouRinG ........................................................ 20 STaTemenT oF ChanGeS in equiTy ............ 37 B ShaRp ......................................................... 22 noTeS To The FinanCial STaTements ....... 38 eDuCaTion ..................................................... 24 inDepenDenT auDiT DeClaRaTion CReaTiVe & aRTiSTiC DeVelopmenT ............... 26 & Report ...................................................... 49 CommuniTy AcceSS & awards ...................... 27 DonoRS, partneRS & GoVeRnmenT SupporteRS ............................ 28 1 the company b story Company B sprang into being out of the unique action taken to save Landmark productions like Cloudstreet, The Judas