Ivan Gaal

A portrait of Denis Evans, a journalist and presenter at Melbourne radio station 3CR.

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This film has been made to provoke discussion of issues about racial prejudice. It tells the story of Ibrahim, a twelve-year-old Lebanese boy, who comes to Melbourne from war-torn Beirut. He goes straight into a post-primary school knowing no English and haunted by the horrors he has seen. Cast includes Sherif Abada. Based on a story by Jane Watson. Suitable for upper primary and secondary levels.

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Looks at the impact of technological change on the Melbourne newspaper 'The Age' and considers this change in terms of its effect on the people involved. Highlights the increasing competition at the desk of reporters and editors from electronic information systems, and the impact of technology on the once labour-intensive area of printing.

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Ron Tandberg is Australia's best known political cartoonist. This film follows through Tandberg's work on the front page of the Melbourne 'Age' on one particular night's edition. This document is significant for its depiction of the production of a broadsheet newspaper (including it printing) in 1983 and the dramatic change in production since computerisation was introduced shortly afterwards.

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A non-narrated impression of the Royal visit to Melbourne, in the Queen's Jubilee year, in 1977. Showing behind the scene preparations by the Army and Navy personnel, news crews, teachers and school children. The actual event is intercut with students from McRobertson Girls High School and Melbourne High School conducting a debate about the role of the Monarchy in Australia, touching on the issue of republic as an alternative.

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Four centres for autistic children in Victoria show how they deal with this problem. Details how they are able to teach the children to eventually integrate into the community. Photographer: Leigh Tilson; Music: Franciscus Henri, Philip Gardner, Audrey Klein.

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A day in the life of one of Melbourne's television stations, as filmed off the screen, one frame in every 10 seconds in 1979. A powerful observation of the content of 'our box in the corner' 20 years ago. Set to the music of Bach.

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A short film about Jack Burnett and his involvment in the horse racing industry in the 1970s. (Jack is the father-in-law of the filmmaker) Identifiable with many students. Could be used for discussion on the idea of bought leisure and deals with gambling relating to horse racing.

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Using time lapse photography, the film gives an impression of the 1976 total eclipse of the sun over Melbourne.

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Antics of Peter and Harry, two dedicated but "out of tune" artists who devote their time obsessively to recreating the characters of Harlequin and Pierrot. Designed to draw attention to the insidious ways in which advertising techniques manipulate the consumer in the market place. Shot in Melbourne. Stars Max Gillies and Joe Bolza.

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This film makes a personal statement on TV and commercial advertising and their insidious effect on the susceptibility of people. The message is given using an avant-garde style, told in mime and dramatics. Cast includes Max Gillies, Joe Bolza and Bob Thorneycroft and original music performed by Frank Zappa.

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This film aims to portray the circus as a nomadic way of life, to give viewers a deeper insight into aspects of circus life, and to show the circus as a form of theatre where the clown is king.

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Filmed before traffic lights were installed at Melbourne's busy five-way intersection Camberwell Junction. The camera captured the scene at every 10 seconds for 24 hours. The result is indicative of the traffic problems in our car saturated cities. The film has three inter-titles: 'past definite', 'present indicative' and 'future indefinite'.

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As notions of civil rights transformed across the world, so was the screen landscape reformed by the ascension of grassroots film movements seeking to challenge the mainstream. Some aspired to push form to its limit; others worked to destabilise what they saw as a homogenous industry, or to provoke questions around gender, sexuality, migration and race.

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A young man in his early twenties living abroad wants to explore his grandfather's past with naive enthusiasm, focusing on his political role in the 1950s. Even from the perspective of so many years later, Péter is still moved by the ideology and purity of the revolution, so he confronts his own grandfather, the former prime minister, with a series of relentless questions about his compromises, servility, and indifferent excuses. A particularly shocking part of the film is when Péter, acting as an intermediary, seeks answers from his grandfather through a tape recording of a victim of the 1956 revolution who fled to Australia.

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