Collaborative authorship in film production: Walter Murch and film editing

Filmmaking is frequently cited as the most collaborative of all arts, yet for the most part, mainstream and scholarly literature have received films as the creative voice of just one artist – the director. The reasons for this are many: general ignorance of how films are made; the hijacking of film theory by literary theory, and the continuing popularity of the myth of the Romantic Artist as solitary genius are some of them. The case for collaborative authorship has gained momentum since the 1980s as studies on the production of individual films, actors, production companies and the history of the film industry as a whole have proliferated and drawn attention to the disparities between how films are perceived and how they are actually made. This article analyses collaboration in film production culture through examination of the role of the film editor. Concentrating specifically on the film/sound editor and mixer Walter Murch, it examines his role as a collaborative author in his early work with director Francis Ford Coppola and his later work with English director Anthony Minghella.

Discovering semantics from visualizations of film takes

In this paper, we study the application of a scene structure visualizing technique called Double-Ring Take-Transition-Diagram (DR-TTD). This technique presents takes and their transitions during a film scene via nodes and edges of a 'graph' consisting of two rings as its backbone. We describe how certain filmic elements such as montage, centre/cutaway, dialogue, temporal flow, zone change, dramatic progression, shot association, scene introduction, scene resolution, master shot and editing orchestration can be identified from a scene through the signature arrangements of nodes and edges in the DR-TTD.

Round the bend : a history of psychiatric nursing in Victoria

This feature length documentary explores the development of psychiatric nursing from the early colonial beginnings in 1848 through to the post-institutional present. The film commences with a montage of photos, film and narrative that documents the period until 1930s.

The period from the 1930s to the present is described chronologically in oral histories provided by personal interviews with psychiatric nurses. The interviews include a number of key psychiatric nurse leaders who were instrumental in bringing about significant changes to nursing practice and education, and were also at the forefront of leading major reforms to service delivery in Victoria such as the community mental health movement.

The oral histories provide an account of the history of this unique area specialty of nursing. At times confronting and challenging, the film also highlights the significant contribution of psychiatric nursing to the development of humanistic, person-centered philosophies of care in mental health. The narratives are woven together with photographs and film footage of historical artifacts and institutions.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

A history of urban planning policy and heritage protection in Vientiane, Laos

This paper examines the tensions between modernisation and heritage protection in the Lao capital, Vientiane. Vientiane provides an interesting case study of the dilemmas facing small cities in developing countries as those countries try to manage the pressures that result from greater integration in regional and global processes of economic and cultural change. While modernisation appears to be winning out over heritage  protection, the paper concludes that they are not necessarily mutually exclusive, and that heritage protection in Vientiane is largely aimed at  reinforcing monumental and nation-building elements, emphasising the  development of a contemporary national capital of a modern nation state.

The history of distance education in Australia

This article presents a history of distance education in Australia. Australia's large distances and widely distributed population has meant that distance education has been an important part of its history. From the earliest provision of schooling by mail through a series of correspondence schools, both state and federal governments have provided a sound infrastructure to support distance education. Innovative uses of technologies to provide communication and interaction and ease the isolation of distance have also been a feature of Australia's distance education history. The impact of this history is particularly relevant as the Internet and information and communication technologies are changing this field and making distance educators of all institutions and sectors.

Late Paleozoic depositional history of the Tarim basin, northwest China: an integration of biostratigraphic and lithostratigraphic constraints

This study provides the first detailed lithostratigraphic and biostratigraphic constraints for improving stratigraphic resolution for hydrocarbon prospecting and exploration in the Tarim basin. A total of 49 stratigraphic units (38 formations and 11 members), ranging in age from the latest Devonian to Permian, are reviewed or redefined in terms of nomenclatures, lithology, age constraints, and lateral distributions based on the detailed field works or newly published data. Of these, the Piqiang Formation (new formation) is proposed to include the reefal carbonates of Asselian-Sakmarian age from the northern Tarim. The subsurface upper Paleozoic stratigraphic framework of the desert areas of the basin is also established for the first time. The high-resolution, basinwide stratigraphic correlations reveal that the sedimentation of the basin in the late Paleozoic was extremely uneven. Of these, the Famennian to Changhsingian successions are completely recorded in the south-western margin areas of the basin. Here, five eustatic sedimentary cycles are well recognizable, suggesting the sedimentation was more eustatically controlled and little affected by local tectonism. The late Paleozoic successions of both Kalpin and Taklimakan regions are commonly interrupted by major hiatuses at various horizons, suggesting that the sedimentation was apparently modified by local tectonism. Of these, the northward movement of the Tarim block and its subsequent collision with the Yili microcontinent (part of the Kazakhstan plate) may be principally accountable for the discrepancy in the sedimentation of the various regions in the basin in the late Paleozoic.