Gotowe bibliografie tematyczne / Australian independent film

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Gotowa bibliografia na temat „Australian independent film”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 lutego 2022

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Artykuły w czasopismach na temat "Australian independent film"

Cunningham, Stuart. "Regionalism in Audiovisual Production: The Case of Queensland". Queensland Review 1, nr 1 (czerwiec 1994): 47–54. http://dx.doi.org/10.1017/s1321816600000490.

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A great deal has been made of the boom in audiovisual production based in southern Queensland (and to some extent in northern Queensland) in the 1990s. This follows a pattern throughout the so-called ‘revival’ period (since the early 1970s) in Australia which has seen successive moments of regional upsurge. In the 1970s, it was South Australia, under the energetic leadership of the South Australian Film Corporation, that saw many of the best feature films and several of the early historical mini-series of the early revival period made in that state (see, for example, Moran). During the early to mid-1980s, Western Australia, with the location of bold production houses such as Barron Films and strong independent documentary traditions, offered robust regional opportunities, culminating in such memorable films as Shame and Fran.

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Smaill, Belinda. "Commissioning Difference? The Case of SBS Independent and Documentary". Media International Australia 107, nr 1 (maj 2003): 105–16. http://dx.doi.org/10.1177/1329878x0310700111.

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SBS Independent (SBSI) is the arm of SBS Television responsible for commissioning new work. Since 1994, SBSI has been working in conjunction with other screen funding bodies to commission feature film, short drama, animation and documentary. The charter that dictates the practices of SBS Television also provides guidelines for SBSI, which is consequently required to focus on work that is innovative and concerned with Indigenous issues and cultural diversity. This article focuses on the case of documentary in Australia and the impact of SBSI on a filmmaking community and contemporary documentary culture with particular reference to the Australia by Numbers and Hybrid Life series of half-hour programs. The focus on diversity, and the fact that this is the first Australian television institution to adopt an outsourcing model for almost all production, means that SBSI has formed a unique relationship with independent documentary. Here I examine the specificity and efficacy of this relationship.

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Hogan, Trevor, i Priti Singh. "Modes of indigenous modernity". Thesis Eleven 145, nr 1 (26.03.2018): 3–9. http://dx.doi.org/10.1177/0725513618763836.

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This special issue is the outcome of a collaborative venture – a three-day workshop between La Trobe University and Ateneo de Manila University, held in Manila. It brought together indigenous and non-indigenous researchers from both the Philippines and Australia and included aboriginal researchers in business studies, history, literature and anthropology, and non-indigenous researchers working on themes of indigenous history, material culture, film studies, literature, the visual arts, law and linguistics. The ‘indigenous’ peoples of the Philippines are very different to Australian Aborigines or Torres Strait Islanders. Nevertheless, they have common quests for political autonomy, protection of indigenous customary laws, traditions and knowledge, biodiversity, and development of independent self-governance structures for health, education and community development. These concerns involve analogous and overlapping political struggles with nation-states and in the forums of the UN, regional associations, global consortia, and the international courts. The papers in this issue are based on a roundtable in which the participants showcased their own research projects and interests on indigenous pathways, cultural pluralism and national identities; socio-economic development; and representation of indigenous identities in creative and visual arts.

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L. Mack, Andrew, Debra D. Wright, J. Ross Sinclair i Banak Gamui. "Should there be efforts to establish two Australasian conservation biology societies?" Pacific Conservation Biology 8, nr 1 (2002): 2. http://dx.doi.org/10.1071/pc020002.

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In a recent editorial, H. Recher presents some history on why there is not currently an Australasian conservation biology society. He asserts that a motion to create such a society was abandoned because the Ecological Society of Australia (ESA) and the Australian Institute of Biology (AlB) promised to assume greater roles in conservation biology and obviated the need for a separate society, but that these organizations have not fulfilled this promise. The Society for Conservation Biology (SCB) has initiated a drive to develop a regional Australasian chapter and Recher raises the question: "is it better to form an independent body, or will an Australasian branch of the SCB fill the advocacy void left empty in 1993?" This is a fair question.

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Murray, Virginia, i Katya Johanson. "The cut-through concept:52 Tuesdays, festivals and the distribution of independent Australian films". Studies in Australasian Cinema 9, nr 1 (2.01.2015): 52–65. http://dx.doi.org/10.1080/17503175.2014.1002270.

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Hughes, Peter. "The films of John Hughes: a history of independent screen production in Australia". Studies in Documentary Film 10, nr 2 (3.05.2016): 212–13. http://dx.doi.org/10.1080/17503280.2016.1222716.

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Appuhami, Ranjith. "The signalling role of audit committee characteristics and the cost of equity capital". Pacific Accounting Review 30, nr 3 (6.08.2018): 387–406. http://dx.doi.org/10.1108/par-12-2016-0120.

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Purpose The purpose of this study is to examine whether audit committee characteristics influence the cost of equity capital. Design/methodology/approach Drawing on signalling theory, this study hypothesises that the presence of an AC with adequate characteristics serves as a market “signal” of the credibility of the effective monitoring process and hence affects the perception of capital providers on the cost of equity capital. The study uses a multiple regression analysis on data collected from a sample of top Australian listed firms. Findings The study finds that audit committee characteristics such as size, meeting frequency and independence are significantly and negatively associated with the cost of equity capital. However, there is no significant evidence that the financial qualifications of audit committee directors are associated with the cost of equity capital. Originality/value While there have been several studies examining the cost of equity capital, there is very limited research on the cost of capital in Australian firms. The study aims to fill this gap, in part, and contribute to the literature on corporate governance and signalling theory.

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Ohtsuka, Keis, Eric Bruton, Louisa Deluca i Victoria Borg. "Sex Differences in Pathological Gambling Using Gaming Machines". Psychological Reports 80, nr 3 (czerwiec 1997): 1051–57. http://dx.doi.org/10.2466/pr0.1997.80.3.1051.

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With recent introduction of poker machines in Australia, there have been claims of increases in the number of women with gambling-related problems. Research in the United States indicates, however, that men have a higher incidence of pathological gambling. The aims of this study were to ascertain among game machine users in a major city in Australia whether (a) more women than men exhibited symptoms of pathological gambling, (b) women reported higher guilt associated with their gambling, and (c) gamblers' self-assessment on several mood states was predictive of pathological gambling. A modified version of the South Oaks Gambling Screen was administered to 104 users of game machines (44 men, 60 women) sampled from patrons at gaming venues in Melbourne, Australia. Data indicated no significant sex difference in the proportion of pathological gamblers or in gambling-related guilt. Self-assessment of Happiness, Propensity for Boredom, and Loneliness, significantly predicted scores on the South Oaks Gambling Screen, with Unhappiness a significant independent predictor of pathological gambling. This may suggest that gambling acts to fill a need in the lives of unhappy people or that individuals who lack control over their gambling report higher unhappiness. Further research is needed to discover this relationship.

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Peden, Amy E., Pooria Sarrami, Michael Dinh, Christine Lassen, Benjamin Hall, Hatem Alkhouri, Lovana Daniel i Brian Burns. "Description and prediction of outcome of drowning patients in New South Wales, Australia: protocol for a data linkage study". BMJ Open 11, nr 1 (styczeń 2021): e042489. http://dx.doi.org/10.1136/bmjopen-2020-042489.

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IntroductionDespite being a preventable cause of death, drowning is a global public health threat. Australia records an average of 288 unintentional drowning deaths per year; an estimated annual economic burden of $1.24 billion AUD ($2017). On average, a further 712 hospitalisations occur due to non-fatal drowning annually. The Australian state of New South Wales (NSW) is the most populous and accounts for 34% of the average fatal drowning burden. This study aims to explore the demographics and outcome of patients who are admitted to hospitals for drowning in NSW and also investigates prediction of patients’ outcome based on accessible data.Methods and analysisThis protocol describes a retrospective, cross-sectional data linkage study across secondary data sources for any person (adult or paediatric) who was transferred by NSW Ambulance services and/or admitted to a NSW hospital for fatal or non-fatal drowning between 1/1/2010 and 31/12/2019. The NSW Admitted Patient Data Collection will provide data on admitted patients’ characteristics and provided care in NSW hospitals. In order to map patients’ pathways of care, data will be linked with NSW Ambulance Data Collection and the NSW Emergency Department Data Collection. Finally patient’s mortality will be assessed via linkage with NSW Mortality data, which is made up of the NSW Register of Births, Deaths and Marriages and a Cause of Death Unit Record File. Regression analyses will be used to identify predicting values of independent variables with study outcomes.Ethics and disseminationThis study has been approved by the NSW Population & Health Services Research Ethics Committee. Results will be disseminated through peer-reviewed publications, mass media releases and at academic conferences. The study will provide outcome data for drowning patients across NSW and study results will provide data to deliver evidence-informed recommendations for improving patient care, including updating relevant guidelines.

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Tachedjian, Gilda. "Microbicides for HIV". Microbiology Australia 31, nr 4 (2010): 188. http://dx.doi.org/10.1071/ma10188.

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Microbicides are chemical entities that can be incorporated in gels, films, tablets or rings for application to the vagina or rectum to prevent the transmission of HIV and other sexually transmitted infections. Leading Australian microbicide efforts include the development of a dendrimer nanoparticle with broad-spectrum activity against HIV, HSV and HPV, and a natural factor produced by lactobacilli in the healthy female genital tract. Clinical trials have revealed that nonspecific agents such as nonoxynol-9 and moderately specific linear polyanions lack efficacy in preventing male to female HIV transmission. In contrast, the CAPRISA 004 study demonstrates that a gel containing an antiretroviral agent, 1% tenofovir, provides women with 39% protection against HIV infection. While this proof of concept study is arguably one of the most encouraging results seen in the HIV prevention field, efficacy and adherence could be improved by developing combination microbicides and coitally independent dosing strategies, respectively.

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Rozprawy doktorskie na temat "Australian independent film"

au, larissa sextonfinck@uwa edu, i Larissa Claire Sexton-Finck. "Be(com)ing Reel Independent Woman: An Autoethnographic Journey Through Female Subjectivity and Agency in Contemporary Cinema with Particular Reference to Independent Scriptwriting Practice". Murdoch University, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100512.122302.

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Women exert only a modicum of production power in 21st century cinema despite its growing accessibility and spectatorship through the developing technologies of the digital era. In 2007, of the top 250 grossing films in Hollywood, only 10% were written, and 6% directed, by women, and just 16% contained leading female protagonists. Why, after the gains of the film feminist movement, is there such a significant gender imbalance in mainstream film, and an imbalance that is only increasing over time? More significantly, what are the possibilities and limitations for reel womans subjectivity and agency, in and on screen, in this male-dominated landscape? As a female filmmaker in this current climate I conduct an autoethnographical scriptwriting-based investigation into female subjectivity and agency, by writing the feature length screenplay Float, which is both the dramatic experiment and the creative outcome of this research. The exegesis works symbiotically with my scriptwriting journey by outlining the broader contexts surrounding women filmmakers and their female representations. In this self-reflexive examination, I use an interdisciplinary methodology to unravel the overt and latent sites of resistance for reel woman today on three interdependent levels. These comprise the historical, political and philosophical background to womans treatment both behind, and in front of, the camera; my lived experiences as an emerging writer/director as I write Float; and my representation of the screenplays central female character. I use the multiple logic of screenplay diegesis to explore the issues that have a bearing on womens ability to be active agents in the world they inhabit, including: the dichotomising of female desire, the influence of familial history, the repression of the mother, the dominance of the male gaze, the disavowal of female specificity, and womens consequent dislocation from their self-determined desire. These obstacles are simultaneously negotiated as I map my process of writing Float and deal with the challenging contexts in which the screenplay was created. In the course of my scriptwriting investigation, film feminist and French poststructuralist paradigms are considered and negotiated as I experiment whether it is possible for female filmmakers, and their female characters, to overcome the seemingly insurmountable odds facing womens actualisation today. My research brings to light the critical need for more inclusive modes of practice across the film industry, discourse and pedagogy that are cognisant and respectful of reel womens difference, and allow them to explore their own specificity. The thesis argues that it would be advantageous for female filmmakers to challenge their fixed status in phallocentric discourse, and to deconstruct their patriarchal conditioning through engagement with forms of identity and writing resistance that recognise the fluidity of their subjectivity, and the consequent potential for change. I also highlight the importance of an accessible and affirmative feminist cinema pertinent to the 21st century, to integrate feminist ideals into the mainstream, and finally bring reel woman out of the margins.

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Ryan, Mark David. "A dark new world : anatomy of Australian horror films". Queensland University of Technology, 2008. http://eprints.qut.edu.au/18351/.

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.

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Mikhail, Samia, i fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill". RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.

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This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?

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Catling, Aaron. "The Ending Needs Work AKA the Good, the Bad and the Ugly of being an independent filmmaker in Australia". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16091/.

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Over the period of candidature, write and direct a feature film to completion. Furthermore, undertake a thorough reflective phase which involves the analysis of each aspect relating to those key components, writing and directing. Through this form of creative practice and utilising state of the art digital filmmaking techniques it is hoped that an addition to knowledge will be achieved.

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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]

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Książki na temat "Australian independent film"

Goodall, Heather. Beyond Borders. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462981454.

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Beyond Borders: Indians, Australians and the Indonesian Revolution, 1939 to 1950 rediscovers an intense internationalism — and charts its loss — in the Indonesian Revolution. Momentous far beyond Indonesia itself, and not just for elites, generals, or diplomats, the Indonesian anti-colonial struggle from 1945 to 1949 also became a powerful symbol of hope at the most grassroots levels in India and Australia. As the news flashed across crumbling colonial borders by cable, radio, and photograph, ordinary men and women became caught up in in the struggle. Whether seamen, soldiers, journalists, activists, and merchants, Indonesian independence inspired all of them to challenge colonialism and racism. And the outcomes were made into myths in each country through films, memoirs, and civic commemorations. But as heroes were remembered, or invented, this 1940s internationalism was buried behind the hardening borders of new nations and hostile Cold War blocs, only to reemerge as the basis for the globalisation of later years.

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Annette, Blonski, Creed Barbara i Freiberg Freda, red. Don't shoot darling!: Women's independent filmmaking in Australia. Richmond, Australia: Greenhouse Publications, 1987.

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Blonski, Annette. Don't Shoot Darling: Women's Independent Filmmaking in Australia. Australia in Print, 1988.

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Części książek na temat "Australian independent film"

Williams, Deane, i John Hughes. "No Going Back: Continuity and Change in Australian Documentary". W Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0003.

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This chapter discusses how, over the years, Australian filmmakers have responded to the public broadcaster's control over documentary funding, forms, production, and distribution patterns. It assess the evolution of the role of Australian television by focusing on a group of films dealing with asylum seekers, refugees, and immigration. Here, independence is not only understood in terms of production and distribution patterns, but also in terms of political stance and social commitment. The chapter examines two projects: one that sits at the commencement of official government filmmaking, and another, a television series emblematic of recent developments in Australian factual programming. Both of these projects, Mike and Stefani (1952) and Go Back to Where You Came From (2011) address Australian responses to asylum seekers and refugees.

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"television, constrained at the time from such a move by Independent Broadcasting Association regulations (Willock 1992). Coronation Street and Crossroads had been stripped across three evenings, and EastEnders across two. Stripping across five days/nights had long been common in Australian television. This was first done for Number 96 (1972–1977) by Ian Holmes, later the Grundy Organisation’s president. So successful was the stripping of Neighbours across five days that the same principle has since been adopted in the UK for Home and Away. David Liddiment, Head of Entertainment at Granada, which produces Coronation Street and Families, both Neighbours competitors, went so far as to say: “In future, no-one will contemplate running a daytime serial in the UK except as a strip. It’s inevitable that you build success more quickly when you strip a soap” (Liddiment 1989: 20). Second, on scheduling, Loughton made the schedules more cost-effective by repeating each edition daily (Patterson 1992). “The time-slots chosen by the BBC were 1.30 pm, with a repeat the following morning at 9.05. It attracted a typical audience of housewives, shift workers, the unemployed, people home sick” (Oram 1988: 48). After the unexpected success of Neighbours’ first year, it was decided to reschedule the next morning repeat for the same evening, at 5:35 p.m. This was to cater for working mothers, but most of all for schoolchildren who had previously played truant to watch the series. The most famous story attributes the schedule change to the representations made to no less than Michael Grade himself by his daughter. Rescheduled in January 1988, Neighbours nearly doubled its audience to 16.25 million within six weeks. By Christmas 1988, audiences topped 20 million. Five-day stripping and repeat screenings, then, offered a regularity and familiarity significant in capturing such huge audiences, representing one-third of the UK population. The third precondition was the UK “mediascape.” This included a very broad familiarity with Australian soaps. When Neighbours was launched on October 27, 1986, The Sullivans, A Country Practice, Young Doctors, Flying Doctors, Richmond Hills, Prisoner: Cell Block H, and others had broadened the paths already beaten by many Australian films released in the UK. Michael Collins, executive in charge of production at JNP, producers of A Country Practice, maintains that the serial, screened in the UK since 1983, “was a forerunner in getting audiences used to Australian drama” (Collins 1991). And one factor contributing to Neighbours’s topping the ratings late in 1988 would have been the demise of Crossroads, the British soap created by Reg Watson, in spring 1988 after a twenty-four-year run. Fourth, tabloids, television, and un(der)employment. Under Thatcher and Murdoch, the tabloid press in Britain expanded in the mid-1980s, producing what one television executive described, albeit parodically, as “one page of news, one page of sex, and twenty-two pages of television and sport” (Patterson 1992). So when Neighbours was stripped over five days, “the papers really noticed it” (Willock 1992). Together with Woman, Woman’s Day, Jackie, Scoop, and other teen magazines, the tabloids ran myriad stories on Kylie, Jason, Peter O’Brien, and so on, as is indicated by the three sample headlines from three successive days:". W To Be Continued..., 113. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-15.

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Streszczenia konferencji na temat "Australian independent film"

Melchers, R. E., X. L. Jiang i K. J. Lu. "Coating Life Prediction for Water Ballast Tank". W ASME 2005 24th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2005. http://dx.doi.org/10.1115/omae2005-67425.

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Corrosion is the key factor responsible for the degradation of ship structures and in no place is this truer than water ballast tanks. Coating protection system is a continual research interest for classification societies and coating industries. Up to now, most coating performance analyses are qualitative not quantitative. Coating life prediction is almost always based on experience and various assumptions, due to unavailability of practical data support systems. This paper describes a preliminary impartial investigation of coating life carried out with interviewees from the Australian Defence Science and Technology Organization (DSTO), shipyards, coating supplier and an independent expert. Plate surface, edges and welds in ballast tank were considered and the influences of dry film thickness (DFT) and surface preparation (SP) are addressed. The investigation gives some insight into the life of practical coating systems for water ballast tanks. Coating life is proposed to be representable by a normal distribution when corrosion breakdown is below 10% of plate thickness, which is of practical implication.

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