Cinetel's List of Oral History Interviewees Actors

Total Page:16

File Type:pdf, Size:1020Kb

Cinetel's List of Oral History Interviewees Actors CINETEL’S LIST OF ORAL HISTORY INTERVIEWEES ACTORS & DIRECTORS: Hayes Gordon (actor & director) Kim Gyngell (comedy actor) Cecil Holmes (pioneer Australian film director) John McCallum (actor) Fred Schepisi (film director & producer) Jack Thompson (actor) Googie Withers (actor) ADMINISTRATORS/PUBLIC SERVANTS: Dame Beryl Beaurepaire (Liberal Party fundraiser) Michael Carmody (former Commissioner of Taxation) Michael D’Ascenzo (Commissioner of Taxation) Jennie Granger (Second Commissioner of Taxation) Sir Lenox Hewitt (senior Public Servant) John Phillips (Dep. Governor, Reserve Bank of Aust) Mervyn Wood (NSW Police commissioner) Ron Christie (former NSW Rail Chief) ANTHROPOLOGISTS: Prof Derek Freeman (Mead-Freeman controversy) ARCHITECTS: Chris Johnson (Former NSW Government Architect) George Molnar (cartoonist, architect) ARTISTS: Judy Cassab Sali Herman Nora Heysen Louis Kahan Desiderius Orban Albert Tucker ART ADMINISTRATORS: Michael Keon (writer & art critic) Noel Staunton (Arts administrator) AVIATORS: Nancy Bird Walton (pioneer aviator) BIOLOGISTS: Isobel Bennett (Marine Biologist) Charles Birch (Biologist) COMMUNITY LEADERS: George Wojak (ethnic community leader) DANCERS: Graeme Murphy (Sydney Dance Company Principal) Dame Margaret Scott (Australian Ballet School Head) DESIGNERS: John Moriarty (Indigenous designer) ECONOMISTS: Dr H.C. ‘Nugget’ Coombs (Governor, Reserve Bank) Helen Hughes (economist) EDUCATORS: Frank Knopfelmacher (university lecturer) John Passmore (philosopher) Margaret Somerville (missionary) Tony Vinson (educator, prison system reformer) ENGINEERS: Gennaro Abignano (Construction industry leader) Kerry Byrne (Mechanical Engineering, UNSW) Harry Camkin (Civil Engineer) Branko Celler (Electrical Engineering, UNSW) Graham de Vahl Davis (Civil Engineer) Sasha Dimitric (Traffic Engineer) Ken Dobinson (Civil Engineer) Murray Fairlie (Road Design Engineer) Rae French (Electrical Engineer) Jim Galvin (School of Mining Engineering, UNSW) Ian Gilbert (Civil Engineer) Martin Green (Head of Voltaic Research UNSW) Peter Lowrie (Electrical Engineer) Allan Knight (CEO Tasmanian Hydro Commission) Bruce MacNamara (environmental engineer) Hugo Messerle (engineer) Harry Minnett (Radiophysicist) Peter Murray (Civil Engineer)Civil Engineer) Peter Morris (Civil Engineer) Michael Norman (Geotechnical Engineer Harry Perlman (Acoustic engineer) Val Pinczewski (Petroleum Engineer) Harry Poulos (Civil Engineer) Neville Rees (Electrical Engineer) Chris Rizos (Prof. of Surveying & Spatial Information) Klaus Schindhelm (Chemical Engineer) Arthur Sims (Traffic Engineer) George Vorobief (Civil Engineer) Ray Wedgwood (Bridge engineer) Stuart Wenham (Electrical Engineer) Ron Woodhead (Civil Engineer) Peter Wyton (Civil Engineer) ENTERTAINERS: Smoky Dawson (Country singer and performer) Edna Edgley (arts company head) Sadie Gale (vaudeville star, wife of Roy Rene) Joan Hammond (opera singer) Joy McKean (country music writer & performer) FOOD & LIFESTYLE: Margaret Fulton (food personality & writer) HISTORIANS: Shirley Fitzgerald (City of Sydney Historian) Ida West (Tasmanian Aboriginal historian) HUMAN RIGHTS COMMISSIONERS & SUPPORTERS: Faith Bandler (Fighter for Aboriginal rights) Marcus Einfeld (Judge, Human Rights Commissioner) Sev Ozdowski (Human Rights Commissioner) INDIGENOUS PERSONS: Yami Lester (Aboriginal writer) Rosalie Kunoth Monks (Indigenous actor) Ruby Langford Ginibi (Indigenous writer) Lowitja O’Donogue (Indigenous administrator) Bill Simon (Aboriginal pastor) Vince Wenberg (member, Stolen Generation) Julie Wilson (Link-Up counsellor) INDUSTRY EXECUTIVES: Franco Belgiorno-Nettis (former joint Chairman, Transfield) Sir John Holland (construction industry pioneer) Hugh Morgan (mining industry executive) Sir Arvi Parbo (industrialist) Carlo Salteri (Former joint Chairman, Transfield) Paul Simons (former Chairman, Woolworths Ltd) Victor Smorgon (businessman) JOURNALISTS & BROADCASTERS: Larry Gartenstein (writer, photographer, weightlifter) Sam Lipski (Commentator, broadcaster) Rupert Lockwood (journalist) Mungo MacCallum (reporter, writer) Elizabeth Riddell (poet, journalist) B.A. Santamaria (writer, commentator) LAWYERS: Sir Richard Kirby (lawyer) Dame Roma Mitchell (lawyer & SA Governor) Jim McClelland (judge, politician) LIBRARIANS: Jean Arnot (NSW State Librarian) MEDICAL PRACTITIONERS: Neville Anderson (Medical practitioner) Richard Finch (General Practitioner) Eric Fisher (Doctor) Clair Isbister (Paediatrician) MUSICIANS & COMPOSERS: Graeme Bell (jazz band leader) Miriam Hyde (composer) PHOTOGRAPHERS: Adelie Hurley (photographer) Greg Weight (photographer) POLITICIANS & POLITICAL ACTIVISTS: Flo Bjelke-Petersen (former National Party senator) Neville Bonner (former Liberal Party senator) Alan Cadman (Federal parliamentarian) Jim Cairns (Former Treasurer) Charles Court (former Premier of WA) Don Dunstan (former Premier of SA) Rosemary Foot (former MLA, NSW Parliament) Malcolm Fraser (former Prime Minister) Peter Garrett (Minister for Arts & Environment) John Gorton (former Prime Minister) James Killen (politician) Nicholas Shehadie (former Sydney Lord Mayor) Tom Uren (former Minister) PUBLISHERS: Theodore Skalkos (newspaper publisher) RELIGIOUS FIGURES: Frank Brennan (Jesuit priest, lawyer, social reformer) Veronica Brady (nun and university lecturer) Frank Flynn (NT priest) Colin Steep (administrator, St Mary’s Hostel) James McGlade (teacher, Christian Brother) SCIENTISTS: Frank Fenner (medical researcher) Phillip Law (Antarctic explorer) Helen Newton Turner (agronomist) Sir Mark Oliphant (Nuclear Physicist) Alan Trounson (IVF and stem cell research scientist) Carl Wood (IVF pioneer) SOLDIERS: Jack Hazlitt (Gallipoli veteran) SPORTS PEOPLE: Forbes Carlisle (swimming coach) Betty Cuthbert (athlete & Olympian) Ray Lindwall (cricketer) Keith Miller (cricketer) Shirley Strickland de la Hunty (Athlete, Olympic Gold Medalist) T.J ‘Tommy’ Smith (racehorse trainer) Peter Thompson (golfer) UNIONISTS: Pat Mackie (unionist) VINTNERS: Claudio Alcorso (Tasmanian winemaker) Wolf Blass (Wine industry innovator) Len Evans (winemaker and writer) Peter Lehmann (pioneer winemaker) WRITERS: Russell Braddon (Author) Alex Buzo (playwright) Nancy Cato (author) Nene Gare (writer) Frank Hardy (author) Donald Horne (author, editor & publisher) Robert Manne (academic, author and columnist) John Morrison (writer) Joan Williams (writer & political activist) MISCELLANEOUS OCCUPATIONS: Lily Ah Toy (NT pioneer shopkeeper) Eva Burrows (World President, Salvation Army) Allan James (prisoner, Maitland Gaol) Dame Raigh Roe (former CWA World President) June Dally Watkins (Model agency owner) Phyllis Frost (fundraiser) .
Recommended publications
  • Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
    TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution.
    [Show full text]
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • National Portrait Gallery of Australia Annual Report 18/19
    National Portrait Gallery of Australia Annual Report 18/19 Study of Louis Nowra 2018 by Imants Tillers commissioned with funds provided by Tim Bednall, Jillian Broadbent ao, John Kaldor ao and Naomi Milgrom ao, Anna Meares 2018 by Narelle Autio commissioned with funds provided by King & Wood Mallesons and Li Cunxin 2017–18 by Jun Chen commissioned with funds provided by Tim Fairfax ac. On display as part of the 20/20: Celebrating twenty years with twenty new portrait commissions exhibition. b National Portrait Gallery of Australia Annual Report 18/19 © National Portrait Gallery The National Portrait Gallery is located on of Australia 2019 King Edward Terrace in the Parliamentary Zone of Canberra. issn 2204-0811 Location and opening hours All rights reserved. No part of this publication The National Portrait Gallery is situated in front may be reproduced or transmitted in any form of the High Court and alongside the National or by any means, electronic or mechanical Gallery of Australia. The Gallery is open daily (including photocopying, recording or any from 10.00am to 5.00pm, except for Christmas information storage and retrieval system), Day 25, December. For more information visit without permission from the publisher. portrait.gov.au All photographs unless otherwise stated Parking by Mark Mohell. The underground public car park can be accessed from Parkes Place. The car park is open seven This report is also accessible on the days per week and closes at 5.30pm. Parking National Portrait Gallery’s website spaces for people with mobility difficulties are portrait.gov.au provided in the car park close to the public access lifts.
    [Show full text]
  • NEW Media Document.Indd
    MEDIA RELEASE WICKED is coming to Australia. The hottest musical in the world will open in Melbourne’s Regent Theatre in July 2008. With combined box office sales of $US 1/2 billion, WICKED is already one of the most successful shows in theatre history. WICKED opened on Broadway in October 2003. Since then over two and a half million people have seen WICKED in New York and just over another two million have seen the North American touring production. The smash-hit musical with music and lyrics by Stephen Schwartz (Godspell, Pippin, Academy Award-winner for Pocahontas and The Prince of Egypt) and book by Winnie Holzman (My So Called Life, Once And Again and thirtysomething) is based on the best-selling novel by Gregory Maguire. WICKED is produced by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. ‘We’re delighted that Melbourne is now set to follow WICKED productions in New York, Chicago, Los Angeles, the North American tour and London’s West End,’ Marc Platt and David Stone said in a joint statement from New York. ‘Melbourne will join new productions springing up around the world over the next 16 months, and we’re absolutely sure that Aussies – and international visitors to Melbourne – will be just as enchanted by WICKED as the audiences are in America and England.’ WICKED will premiere in Tokyo in June; Stuttgart in November; Melbourne in July 2008; and Amsterdam in 2008. Winner of 15 major awards including the Grammy Award and three Tony Awards, WICKED is the untold story of the witches of Oz.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • The Australian Ballet Celebrates Three New Honorary Life Members
    For immediate release: Tuesday 30 May 2017 The Australian Ballet’s Benedicte Bemet. Photo by Justin Ridler. The Australian Ballet celebrates three new Honorary Life Members The Australian Ballet today announced three new Honorary ballet family.” Life Members at the company’s Annual General Meeting in Sydney. Mrs Barbara Duhig, Ms Marilyn Jones OBE and Since appointing its first Honorary Life Member, Peggy van Mr Christopher Knoblanche AM will join the esteemed Praagh DBE 37 years ago in 1980, The Australian Ballet ranks of The Australian Ballet’s Honorary Life Members. has recognised and honoured the exceptional contributions The Australian Ballet’s Honorary Life Memberships are to artistic, administrative, governance, management, awarded from time to time to people who have made an fundraising, philanthropy and voluntary services of 39 outstanding contribution to the long-term success of the outstanding supporters, including the most recent company and to ballet in Australia. announcements. Honoured for her generous and extensive philanthropic Current Honorary Life Members support for The Australian Ballet over many years, Mrs Lady June Porter Barbara Duhig has made a significant contribution to the Mr John Calvert-Jones AM wellbeing and careers of the dancers at Mr Colin Peasley OAM The Australian Ballet. Mrs Duhig currently supports the Lady Primrose Potter AC Principal Artist position held by Amber Scott. Dame Margaret Scott AC DBE Lady Marigold Southey AC Honoured for her extraordinary and invaluable artistic Ms Josephine Woodgate OAM contribution as the company’s first Ballerina and founding Elizabeth Albert Principal Artist, Ms Marilyn Jones OBE continued her Mr Robert O Albert AO RFD RD career with The Australian Ballet as The Australian Ballet’s Mr Timothy KF Cox AO Artistic Director and as a guest artist after a highly Ms Maina Gielgud AO successful career as a dancer.
    [Show full text]
  • Dame Margaret Scott AC DBE
    Having trouble viewing this email? You can view it online. Like | @LivePerfAust | Follow | Forward VALE Dame Margaret Scott AC DBE LPA was very saddened to hear of the passing of Dame Margaret Scott AC DBE who died last week in Melbourne at the age of 96. Margaret or "Maggie" as she perferred to be called was a pioneer of Australian dance. She had been involved in most, if not all, of the major developments in dance education in Australia since the mid 1960s, including the establishment of the country’s dance organisation, Ausdance and The Australian Ballet Foundation. In 1964 she was appointed Founding Director of The Australian Ballet School and continued this role until 1990. During her time as Director she transformed the school from humble beginnings to an internationally recognised training institution discovering and nurturing elite performers. Born in Johannesburg, South Africa, Maggie moved to London initially accepted into the Sadler's Wells Ballet School but joined the Sadler's Wells Ballet shortly after. Dissatisfied with her prospects she resigned and successfully auditioned for Ballet Rambert. She arrived in Australia in 1947 as part of Ballet Rambert's overseas tour and chose to stay. Passionate about dance and education she was an advocate for Australian dance and taught many dancers and choreographers including Graeme Murphy AO and Meryl Tankard. Maggie changed the landscape of dance in Australia and was awarded the Order of the British Empire in 1977 and made a Dame in 1981. Maggie received Live Performance Australia’s James Cassius Williamson Lifetime Achievement Award in 2007.
    [Show full text]
  • Opera Australia 2018 Annual Report
    2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell.
    [Show full text]
  • SOH-Annual-Report-2016-2017.Pdf
    Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]
  • Lists of Members 1996
    Lists of Members Governing Bodies, Faculties, Boards, Academic and Administrative Staff 1996 Main Committees and Departmental Lists as at 1st February, 1996. Address All general correspondence directed to the University should be addressed to The Registrar, The University of Melbourne, Parkville, Victoria. Australia, 3052. Telephone: (03) 9344 4000 Fax: (03) 9344 5104 Contents UNIVERSITY OF MELBOURNE: SENIOR OFFICE BEARERS COUNCIL 1 *COMMI 11tES 2 4 COUNCILS OF HALLS OF RESIDENCE COMMITthE OF CONVOCATION 8 *ACADEMIC BOARD FACULTIES 10 BOARDS 13 PROFESSORS 21 22 PROFESSORIAL ASSOCIATES WITH 1-11LE OF PROFESSOR 28 READERS 30 PROFESSORS EMERITUS 35 HEADS OF AFFILIATED COLLEGES 40 HEADS OF HALLS OF RESIDENCE 40 TEACHING AND RESEARCH STAFF - Agriculture, Forestry and Horticulture 41 Architecture, Building and Planning 45 Arts 46 Economics and Commerce 53 Education 56 Engineering 60 Law 65 Medicine, Dentistry and Health Sciences 67 Melbourne Business School 99 Music 100 Science 101 Veterinary Science 107 Victorian College of the Arts 109 LIBRARY 112 FACULTY ADMINISTRATION 115 GRADUATE SCHOOL ADMINISTRATION 119 CENTRAL ADMINISTRATION 120 Office of the Vice-Chancellor and Principal 120 Academic Registrar's Division 122 Academic Services 122 Academic Administration 122 Academic Planning Support Unit 122 External Relations 122 The Graduate Centre 123 International Office 123 Student and Staff Services 123 Human Resources 125 Registrar's Division 126 Executive Services 126 Financial Operations 126 Information
    [Show full text]