Rowe St. Last Drinks, Art & About Sydney. 2012.

Last Drinks

It’s been awhile between drinks. So a few updates to follow with news of what I’ve been up to and projects a’happening. Most noteworthy for now is the latest installation featuring as part of the City of Sydney’s 2012 Art & About Festival. The success of Unguarded Moments in 2011 led to funding for a major project for the 2012 Festival.

Last Drinks – One More Round at the Hotel Australia

Imagine a hotel so grand that famed French actress Sarah Bernhardt performed at its opening night in 1891; an establishment so glamorous that it was the hotel of choice for Hollywood heavyweights Katharine Hepburn, Shirley Bassey and Sir Robert Helpmann â?? and you will be recreating the famed Hotel Australia.

The video and sound installation project, Last Drinks: One more round at the Hotel Australia, is part of the City of Sydney’s 11th annual Art & About Festival running from 21 September until 21 October 2012. A series of night time installations will re-inscribe the hidden history of the precinct back onto the buildings and laneways of the precinct, enabling memories of sophistication and style to collide with the present day.

Visit the Last Drinks website to find out more.

Here’s a selection of videos from the project.

Last Drinks: Australia Hotel, Commonwealth Bank, Martin Place from sarah barns on Vimeo.

Last Drinks video installation, Commonwealth Bank, Martin Place Sydney from sarah barns on Vimeo.

Rowe St video projections for Last Drinks, Art & About Sydney 2012 from sarah barns on Vimeo.

Lees Court video projections, Last Drinks project, Art & About Sydney 2012 from sarah barns on Vimeo.

If you plan to make it along before the Festival finishes – do consult the map before you go. There are also signs and maps around the site and an msite to help you around. But to be sure, here is a map of the installations.

Past Forward

ABC Open Archives on Pool

Through ABC Pool, I’ve been working to publish a number of the archival recordings featured on Sydney Sidetracks through an open access Creative Commons licence. That means they are now available for re-use and remix. The project is starting with the Sydney collection, but will be expanding to include other cities very soon.

The project has featured on the ABC’s social media website Pool. It launched on January 2011 and has since seen the release of a number of additional ABC TV & Radio Archives items into the public domain.

An example of some of the items I have cleared through this project include:

VP Day 1945

Voices

Through this project I cleared a number of voice recordings of infamous Sydney-siders, including the gunman Chow Hayes, the activist Juanita Nielsen and the colourful lady-about-town Bea Miles.

Living on the Fringe

As part of this ABC Pool project I conducted an interview with the director, Gian Carlo Manara, and undertook further research into the ABC’s document archives to uncover some of the unwanted press associated with the release of this once controversial documentary.

Q&A With GianCarlo Manara, Director of Living on the Fringe
Creative Commons License: Attribution Non-commercial No Derivatives

GianCarlo Manara, director of the ABC’s 1963 documentary Living on the Fringe, shares some of his memories about the film with Sarah Barns.

SB: What opportunities were there for documentary makers working in Australia at this time? How important was the ABC in supporting documentary production?

GM: At the time we made Living on the Fringe, there weren’t so many opportunities for the few people with sufficient professional skill to make documentaries. The ABC was one of the first institutions to offer that chance, through programs like Big Country.

SB: Was this a difficult film to make within the ABC at this time?

GM: Documentaries like this weren’t very common. It was Allan Ashbolt in the Talks Dept who wanted to use television to make more political documentaries like this one. We worked together on Four Corners – our association grew from there.

SB: What inspiration did you draw from when making this film? (for example, Italian neo-realist films etc).

GM: I graduated in Film Direction and Scriptwriting in Italy in 1955. We all in the school were the products of Italian neo-realism. I personally have been also influenced by other filmmakers such as Grierson, Rota, and Cavalanti.

SB: Did your own migrant story influence this film in any way?

GM: No, I was not influenced by my migrant experience, but by the stark reality of the life of the neglected and the poor. The the media at the time always preferred to ignore this.

SB: How did people on the streets of Sydney react to your filming of them?

GM: Filming in the streets at that time was still a novelty. I often used a “candid camera” approach to catch reality. An exception was when I asked my sexy friend Diana Roberts, now the well know writer Di Morrisey, to walk around some streets in East Sydney. At this time many Italians and Maltese migrants used to hang around on Sunday morning. Migrants at the time were very lonely â?? no social life and above all no women! The “Latin Lover” was not yet a trendy image!

SB: What did you hope audiences would learn from Living on the Fringe?

GM: My hope was for the average viewer to understand that Australia was not just the land of milk and honey – that here, just like other part of the world, there were people in need.

SB: Do you think Sydney is a better city today than it was when Living on the Film was made?

GM: Is Sydney a better place today? It is a big question. It is certainly different – there is more social awareness in the area of welfare and help. Of course lifestyles are also very different. Is it better? If I look back at the Sydney of this time I see a child, and today I see an adult. But is the adult of today better than the child of yesterday? It is a big question… I often think about it, about the old beach carnival when the Life Savers were marching like soldiers, when the girls were wearing petticoats and Saturday night was the night of dance at the Trocadero! All gone! However the girls are still beautiful, and the Life Savers are still so important and so Australian!

But one thing is for sure: the “greed” that today is often rampant was not so much at the time, even if everyone of course attempted to make some â??quidsâ??!

The BLF Green Bans

George St gets a makeover: 1906 to 2030

Publishing street level film archives online can lead to some interesting results.

While the Powerhouse Museum have been exploring new uses of high-res images published from the Tyrrell Collection, I’ve also spotted a recent montage by Dan Hill which uses some of the film footage published through Sidetracks on Architect.

Peering into the flow of pedestrians and trams on George St in 1906 not only provides insight into Sydney city life before cars, but also illuminates future planning possibilities.