The former director and CEO of the Adelaide Film Festival, Katrina Sedgwick, has
been appointed the new ABC TV Head of Arts in a seeming swap. She replaces, in
part, former ABC content head of arts and entertainment, Amanda Duthie, who was
appointed director and CEO of the Adelaide Film Festival in December.
The move comes after criticism of the ABC’s perceived diminution of arts
programming after the axing of production staff in Melbourne and the weekly arts
program Art Nation.
In a statement announcing Sedgwick’s appointment, director of ABC TV Kim Dalton
said, “This new stand alone position reporting directly to me will provide stronger
focus on our arts programming. As a result of changes to our arts production and
line up last year we have increased the resources committed to prime-time arts
programming to be commissioned from the independent production sector,” he said.
Sedgwick will begin the newly-created role, based in Sydney, on 11April.
From The Australian. Michael Bodey. ABC TV names new Head of Arts
February 24, 2012 1:26PM
Google: ABC TV names new Head of Arts
Day blurs into night for the women of L’Apollonide, a Paris brothel in Bertrand
Bonello’s House of Tolerance.
Family, sexuality and the financial crisis are just some of the subjects explored in
this year’s French Film Festival. Philippa Hawker previews the best.
Continue reading French Film Festival Melbourne March 7 to 25.
The NICTA technology can overlay the Twitter discussion on top of any show on any
Your TV experience is about to get a whole lot more social, with government
researchers partnering with the ABC to bring Twitter and Facebook integration to
virtually any show on any channel.
The technology, developed by the Australian Centre for Broadband Innovation,
displays tweets about a show overlaid on top of the TV image and is also able to
recommend shows based on previous behaviour and on what the viewer’s Facebook
friends are watching.
“It’s about allowing people to engage a little more than they have been able to in the
past with what they’re watching,” said ABC’s manager of new media services, Chris
Winter, in a phone interview.
Continue reading ABC TV’s plans for social media
According to Sarah Morrison of The Independent, Britain is entering a golden era of the short film. Apparently the medium has moved out of art houses and into the mainstream as its popularity soars.
Charlie Chaplin built a career on them, and brands are now using them to sell their
latest products. The short film, once a slightly marginal staple of art houses and film
buffs, is experiencing a golden era in Britain and is reportedly reaching wider
audiences than ever before.
Advances in film-making technology and the growth of the internet are behind the
rise, experts say, but their popularity is down to more than digital progress. The
short film, with its capacity to convey ideas concisely, is capturing the mood of an
increasingly time-pressed, information-hungry generation.
Briony Hanson, director of film at the British Council, said we are at a “watershed
moment” when it comes to the proliferation of “perfect little vessels that tell a story
in their own right”. “We are looking at a golden era in Britain,” she said. “Just over
20 per cent of shorts in the total Sundance [Film Festival] selection were UK-made in
2012, while last year, the figure was 6 per cent.”
Continue reading Britain enters a golden era of the short film
Wild weather can’t dampen spirits as winner adds some fizz to
Garry Maddox – SMH – February 20, 2012
Winners are grinners … Alethea Jones (with some other dude in the background)
IN THE race between the films and an approaching thunderstorm, the films won –
but only just – at the 20th Tropfest in the Domain last night.
In heavy rain and intermittent lightning, a judging panel that included Cate
Blanchett, Geoffrey Rush, Nicole Kidman, Toni Colette, Asher Keddie and John
Polson gave the top prize at the country’s biggest short film festival to Alethea Jones
forLemonade Stand, a comedy about a man and his grandfather whose efforts to sell
lemonade bring a clash with an officious council officer.
She collected her prize in a near-deserted Domain, without a working microphone,
amid a few hundred hardy souls sheltering in the VIP tent.
Jones said she was ”absolutely thrilled” and ready to take the next step in her
filmmaking career. Asked whether she planned to step up from shorts to a feature
film, Jones said: ”I’ve got five ready to go.” She is the third woman to win in the past
five years, winning two weeks after signing up for the dole.
In a year in which the 700-plus entries were required to include a ”lightbulb” as the
signature item, Jones’s prizes include a trip to Los Angeles to meet film industry
executives, a $6000 camera and $10,000 cash.
Continue reading Tropfest 2012 winners
Grand Designs – Building egos as well as homes
OPINION: Michael Duffy – SMH – February 20, 2012
I have a recurring dream in which the television program Grand Designs becomes
mixed up with Midsomer Murders. A serial killer is taking out all those irritating
couples in their North Face leisure wear, splattering viscera over the bare white
interiors of their concrete brag boxes in the English countryside.
This uncharitable vision stems from my love-hate relationship with Grand Designs,
which cleverly applies the hero’s journey to home building. In a typical program
Kevin McCloud, a natural television presenter, takes us through the journey of a
wealthy couple who overcome adversity to complete their building. He manages to
express telegenic surprise when deadlines are missed and budgets exceeded – as
though this were completely unexpected – and, at the end, blesses the enterprise with
an emotional, if somewhat vague, homily, such as: ”Although it is a very assertive
building, it’s also very subtle and sensitive” and “this brilliant, if unfinished, building
was snatched from the jaws of doom … buildings like this need heroes and heroines.”
The show is watched by a million Australians and its success tells us a lot about the
way we live now.
Continue reading Grand Designs – Building egos as well as homes
22 February 2012
Julia Overton has been awarded the 2012 AIDC Stanley Hawes Award. She will
accept the award at the opening of the Australian International Documentary
Conference (AIDC) being held in Adelaide, South Australia from February 27 – March
According to the AIDC commendation, ‘during her time at the Australian Film
Commission, the Film Finance Corporation, and most recently, at Screen Australia,
Overton was known to be the human element within the bureaucracy. She was
always willing to look at guidelines as guidelines and not interpret them as rules. She
will go to great lengths to assist individual filmmakers and promote the documentary
genre as a whole, and has opened more doors for documentaries, both in Australia
and to the rest of the world, then anyone in the business.
‘Besides her work at the agencies, she has a multi-faceted track record in production,
encompassing feature films (Cut, Spider and Rose, Fistful of Flies, Until the End of
the World, Travelling North), TV drama (Aftershocks, The Long Ride, Tudawali) and
the multi-award winning documentary (Black Man’s Houses). Prior to her work as an
independent producer Overton worked on documentary programs for CBC Canada
and drama for London Weekend Television, UK.’
Mitzi Goldman, Co-Chair of the AIDC Board describes Overton as a ‘powerhouse’ and
says that, “Julia’s imprint on Australian documentary has been immeasurable and
AIDC is absolutely delighted to honour her with this year’s Stanley Hawes Award”.
Following the Award Ceremony on Monday 27 February, Overton will deliver the
Stanley Hawes Address.
The Stanley Hawes Award was established in 1997 to honour Stanley Gilbert Hawes
(1905 -1991) who was the first Producer-in-Chief of the Australian National Film
Board and Commonwealth Film Unit. The award recognises the significant support
Hawes gave independent filmmakers in the documentary sector and is awarded to a
person or organisation that makes an outstanding contribution to the industry in
According to a recent survey by The Guardian in the UK, here are the top Simpsons episodes of all time:
This episode has it all. Great songs (“you can always rely on the comfort of strangers”); dozens of film parodies (including a subplot involving Maggie’s Great Escape at the Ayn Rand School for Tots); Marge channeling her anger at Homer into some top drawer amateur dramatics and, as @alitadepollo notes, “the revelation that Flanders is buff!“.
Poor Homer is wrongly accused of sexual molestation and hounded by the press but is proved innocent when Groundskeeper Willie reveals that his hobby is secretly filming couples in cars. “I dinna come forward because in this country it makes you look like a pervert,” he tells Homer. “But every single Scottish person does it!” It is “simply the most sublime 22 minutes of television ever,” says @shellsuitwarrior.
According to @bunnymen this episode is “Homer’s finest hour”. He quits church, develops his own religion, invents moon waffles and gets to dance in his underpants like Tom Cruise in Risky Business.
Continue reading The Simpsons top episodes