Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which involves the use of digital technology; the film editor works with the raw footage, selecting shots and combines them into sequences which create a finished motion picture. Film editing is described as an art or skill, the only art, unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms such as poetry and novel writing. Film editing is referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editor's work. On its most fundamental level, film editing is the art and practice of assembling shots into a coherent sequence; the job of an editor is not to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, dialogue, pacing, as well as the actors' performances to "re-imagine" and rewrite the film to craft a cohesive whole.
Editors play a dynamic role in the making of a film. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai and the Coen brothers. With the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture. Sound and visual effects editors dealt with the practicalities of other aspects of the editing process under the direction of the picture editor and director. However, digital systems have put these responsibilities on the picture editor, it is common on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are replaced with more refined final elements produced by the sound and visual effects teams hired to complete the picture. Early films were short films that were one long and locked-down shot.
Motion in the shot was all, necessary to amuse an audience, so the first films showed activity such as traffic moving on a city street. There was no editing; each film ran as long. The use of film editing to establish continuity, involving action moving from one sequence into another, is attributed to British film pioneer Robert W. Paul's Come Along, Do!, made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an art exhibition having lunch and follow other people inside through the door; the second shot shows. Paul's'Cinematograph Camera No. 1' of 1896 was the first camera to feature reverse-cranking, which allowed the same film footage to be exposed several times and thereby to create super-positions and multiple exposures. One of the first films to use this technique, Georges Méliès's The Four Troublesome Heads from 1898, was produced with Paul's camera; the further development of action continuity in multi-shot films continued in 1899-1900 at the Brighton School in England, where it was definitively established by George Albert Smith and James Williamson.
In that year, Smith made As Seen Through a Telescope, in which the main shot shows street scene with a young man tying the shoelace and caressing the foot of his girlfriend, while an old man observes this through a telescope. There is a cut to close shot of the hands on the girl's foot shown inside a black circular mask, a cut back to the continuation of the original scene. More remarkable was James Williamson's Attack on a China Mission Station, made around the same time in 1900; the first shot shows the gate to the mission station from the outside being attacked and broken open by Chinese Boxer rebels there is a cut to the garden of the mission station where a pitched battle ensues. An armed party of British sailors arrived to rescue the missionary's family; the film used the first "reverse angle" cut in film history. James Williamson concentrated on making films taking action from one place shown in one shot to the next shown in another shot in films like Stop Thief! and Fire!, made in 1901, many others.
He experimented with the close-up, made the most extreme one of all in The Big Swallow, when his character approaches the camera and appears to swallow it. These two filmmakers of the Brighton School pioneered the editing of the film. By 1900, their films were extended scenes of up to 5 minutes long. Other filmmakers took up all these ideas including the American Edwin S. Porter, who started making films for the Edison Company in 1901. Porter worked on a number of minor films before making Life of an American Fireman in 1903; the film was the first American film with a plot, featuring action, a closeup of a hand pulling a fire alarm. The film comprised a continuous narrative over seven scenes, rendered in a total of nine shots, he put a dissolve between every shot, just as Georges Méliès was doing, he had the same action repeated across the dissolves. His film, The Great Train Robbery, had a running time of twelve minutes, with twenty separate shots and ten different indoor and outdoor locations.
He used cross-cutting editing method to show simultaneous action in different places. These early film directors discovered impor
The Australian is a broadsheet newspaper published in Australia from Monday to Saturday each week since 14 July 1964, is the country's most circulated nationally distributed newspaper, available in each state and territory. It rivals with other nationally distributed newspapers like the business-focused Australian Financial Review and The Saturday Paper; the Australian is owned by News Corp Australia. The Australian is published by News Corp Australia, an asset of News Corp, which owns the sole daily newspapers in Brisbane, Adelaide and Darwin, the most circulated metropolitan daily newspapers in Sydney and Melbourne. News Corp's Chairman and Founder is Rupert Murdoch; the Australian integrates content from overseas newspapers owned by News Corp Australia's international parent News Corp, including The Wall Street Journal and The Times of London. The first edition of The Australian was published by Rupert Murdoch on 15 July 1964, becoming the third national newspaper in Australia following shipping newspaper Daily Commercial News and Australian Financial Review.
Unlike other original Murdoch newspapers, it is not a tabloid publication. At the time, a national paper was considered commercially unfeasible, as newspapers relied on local advertising for their revenue; the Australian was printed in Canberra plates flown to other cities for copying. From its inception the paper struggled for financial viability and ran at a loss for several decades; the Australian's first editor was Maxwell Newton, before leaving the newspaper within a year, was succeeded by Walter Kommer, by Adrian Deamer. Under his editorship The Australian encouraged female journalists, was the first mainstream daily newspaper to hire an Aboriginal reporter, John Newfong. During the 1975 election, campaigning against the Whitlam government by its owner led to the newspaper's journalists striking over editorial direction. Editor-in-chief Chris Mitchell was appointed in 2002 and retired on 11 December 2015. In May 2010, the newspaper launched. In October 2011 The Australian announced that it was planning to become the first general newspaper in Australia to introduce a paywall, with the introduction of a $2.95 per week charge for readers to view premium content on its website, mobile phone and tablet applications.
The paywall was launched on 24 October, with a free 3 month trial. In September 2017 The Australian launched their Chinese website. In October 2018 it was announced that Chris Dore, former editor of The Daily Telegraph, would be taking over as editor-in-chief. Daily sections include National News followed by Worldwide News and Business News. Contained within each issue is a prominent op/ed section, including regular columnists and non-regular contributors. Other regular sections include Technology, Features, Legal Affairs, Defence, Horse-Racing, The Arts, Health and Higher Education. A Travel & Indulgence section is included on Saturdays, along with The Inquirer, an in-depth analysis of major stories of the week, alongside much political commentary. Saturday lift-outs include Review, focusing on books, arts and television, The Weekend Australian Magazine, the only national weekly glossy insert magazine. A glossy magazine, Wish, is published on the first Friday of the month. "The Australian has long maintained a focus on issues relating to Aboriginal disadvantage."
It devotes attention to the information technology and mining industries, as well as the science and politics of climate change. It has published numerous "special reports" into Australian energy policy; the Australian Literary Review was a monthly supplement from September 2006 to October 2011. Former editor Paul Kelly stated in 1991 that "The Australian has established itself in the marketplace as a newspaper that supports economic libertarianism". Laurie Clancy asserted in 2004 that the newspaper "is conservative in tone and oriented toward business. Former editor-in-chief Chris Mitchell has said that the editorial and op-ed pages of the newspaper are centre-right. In 2007 Crikey described the newspaper as in support of the Liberal Party and the then-Coalition government, but has pragmatically supported Labor governments in the past as well. In 2007 The Australian announced their support for the Rudd Australian Labor Party in the Federal election; the Australian presents varying views on climate change, publishing articles by those who disagree with the scientific consensus such as Ian Plimer, authors who agree with the scientific consensus such as Tim Flannery and Bjørn Lomborg.
A 2011 study of the previous seven years of articles claimed that four out of every five articles were opposed to taking action on climate change. In 2010 the ABC's Media Watch presenter Paul Barry accused The Australian of waging a campaign against the Australian Greens, the Greens' federal leader Bob Brown wrote that The Australian has "stepped out of the fourth estate by seeing itself as a determinant of democracy in Australia." In response, The Australian opined that "Greens leader Bob Brown has accused The Australian of trying to wreck the alliance between the Greens and Labor. We wear Senator Brown's criticism with pride. We believe he and his Green colleagues are hypocrites.
The Sydney Morning Herald
The Sydney Morning Herald is a daily compact newspaper owned by Nine in Sydney, New South Wales, Australia. Founded in 1831 as the Sydney Herald, the SMH is the oldest continuously published newspaper in Australia and a national online news brand; the print version of the newspaper is published six days a week. The Sydney Morning Herald includes a variety including the magazines Good Weekend. There are a variety of lift-outs, some of them co-branded with online classified advertising sites: The Guide on Monday Good Food and Domain on Tuesday Money on Wednesday Drive, Shortlist on Friday News Review, Domain, Drive and MyCareer on SaturdayAs of February 2016, average week-day print circulation of the paper was 104,000; the editor is Lisa Davies. Former editors include Darren Goodsir, Judith Whelan, Sean Aylmer, Peter Fray, Meryl Constance, Amanda Wilson, William Curnow, Andrew Garran, Frederick William Ward, Charles Brunsdon Fletcher, Colin Bingham, Max Prisk, John Alexander, Paul McGeough, Alan Revell and Alan Oakley.
The February 2016 average circulation of the paper was 104,000. In December 2013, the Audit Bureau of Circulations's audit on newspaper circulation states a monthly average of 132,000 copies were sold, Monday to Friday, 228,000 copies on Saturday, both having declined 16% in 12 months. According to Roy Morgan Research Readership Surveys, in the twelve months to March 2011, the paper was read 766,000 times on Monday to Friday, read 1,014,000 times on Saturdays; the newspaper's website smh.com.au was rated by third-party web analytics providers Alexa and SimilarWeb as the 17th and 32nd most visited website in Australia as of July 2015. SimilarWeb rates the site as the fifth most visited news website in Australia and as the 42nd newspaper's website globally, attracting more than 15 million visitors per month, it is available nationally except in the Northern Territory. Limited copies of the newspaper are available at newsagents in New Zealand and at the High Commission of Australia, London. In 1831 three employees of the now-defunct Sydney Gazette, Ward Stephens, Frederick Stokes and William McGarvie, founded The Sydney Herald.
In 1931 a Centenary Supplement was published. The original four-page weekly had a print run of 750. In 1840, the newspaper began to publish daily. In 1841, an Englishman named John Fairfax purchased the operation, renaming it The Sydney Morning Herald the following year. Fairfax, whose family were to control the newspaper for 150 years, based his editorial policies "upon principles of candour and honour. We have no wish to mislead. During the decade 1890, Donald Murray worked there; the SMH was late to the trend of printing news rather than just advertising on the front page, doing so from 15 April 1944. Of the country's metropolitan dailies, only The West Australian was in making the switch. In 1949, the newspaper launched The Sunday Herald. Four years this was merged with the newly acquired Sun newspaper to create The Sun-Herald, which continues to this day. In 1995, the company launched the newspaper's web edition smh.com.au. The site has since grown to include interactive and multimedia features beyond the content in the print edition.
Around the same time, the organisation moved from Jones Street to new offices at Darling Park and built a new printing press at Chullora, in the city's west. The SMH has since moved with other Sydney Fairfax divisions to a building at Darling Island. In May 2007, Fairfax Media announced it would be moving from a broadsheet format to the smaller compact or tabloid-size, in the footsteps of The Times, for both The Sydney Morning Herald and The Age. Fairfax Media dumped these plans in the year. However, in June 2012, Fairfax Media again announced it planned to shift both broadsheet newspapers to tabloid size, in March 2013. Fairfax announced it would cut staff across the entire group by 1,900 over three years and erect paywalls around the papers' websites; the subscription type is to be a freemium model, limiting readers to a number of free stories per month, with a payment required for further access. The announcement was part of an overall "digital first" strategy of digital or on-line content over printed delivery, to "increase sharing of editorial content", to assist the management's wish for "full integration of its online and mobile platforms".
In July 2013 it was announced that the SMH's news director, Darren Goodsir, would become Editor-in-Chief, replacing Sean Aylmer. On 22 February 2014, the final Saturday edition was produced in broadsheet format with this too converted to compact format on 1 March 2014, ahead of the decommissioning of the printing plant at Chullora in June 2014. According to Irial Glynn, the newspaper's editorial stance is centrist, it is seen as the most centrist among the three major Australian non-tabloids. In 2004, the newspaper's editorial page stated: "market libertarianism and social liberalism" were the two "broad themes" that guided the Herald's editorial stance. During the 1999 referendum on whether Australia should become a republic, the Herald supported a "yes" vote; the newspaper did not endorse the Labor Party for federal office in the first six decades of Federation, but did endorse the party in 1961, 1984, 1987. During the 2004 Australian federal election, the Herald annou
A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original adaptations from existing pieces of writing. In them, the movement, actions and dialogues of the characters are narrated. A screenplay written for television is known as a teleplay; the format is structured so that one page equates to one minute of screen time, though this is only used as a ballpark estimate and bears little resemblance to the running time of the final movie. The standard font is 10 pitch Courier Typeface; the major components are dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example descriptions of settings, character movements, or sound effects; the dialogue is the words the characters speak, is written in a center column. Unique to the screenplay is the use of slug lines. A slug line called a master scene heading, occurs at the start of every scene and contains three pieces of information: whether the scene is set inside or outside, the specific location, the time of day.
Each slug line begins a new scene. In a "shooting script" the slug lines are numbered consecutively for ease of reference. American screenplays are printed single-sided on three-hole-punched paper using the standard American letter size, they are held together with two brass brads in the top and bottom hole. The middle hole is left empty as it would otherwise make it harder to read the script. In the United Kingdom, double-hole-punched A4 paper is used, taller and narrower than US letter size; some UK writers format the scripts for use in the US letter size when their scripts are to be read by American producers, since the pages would otherwise be cropped when printed on US paper. Because each country's standard paper size is difficult to obtain in the other country, British writers send an electronic copy to American producers, or crop the A4 size to US letter. A British script may be bound by a single brad at the top left hand side of the page, making flicking through the paper easier during script meetings.
Screenplays are bound with a light card stock cover and back page showing the logo of the production company or agency submitting the script, covers are there to protect the script during handling which can reduce the strength of the paper. This is important if the script is to pass through the hands of several people or through the post. Reading copies of screenplays are distributed printed on both sides of the paper to reduce paper waste, they are reduced to half-size to make a small book, convenient to read or put in a pocket. Although most writing contracts continue to stipulate physical delivery of three or more copies of a finished script, it is common for scripts to be delivered electronically via email. Screenplays and teleplays use a set of standardizations, beginning with proper formatting; these rules are in part to serve the practical purpose of making scripts uniformly readable "blueprints" of movies, to serve as a way of distinguishing a professional from an amateur. Motion picture screenplays intended for submission to mainstream studios, whether in the US or elsewhere in the world, are expected to conform to a standard typographical style known as the studio format which stipulates how elements of the screenplay such as scene headings, transitions, character names and parenthetical matter should be presented on the page, as well as font size and line spacing.
One reason for this is that, when rendered in studio format, most screenplays will transfer onto the screen at the rate of one page per minute. This rule of thumb is contested — a page of dialogue occupies less screen time than a page of action, for example, it depends enormously on the literary style of the writer — and yet it continues to hold sway in modern Hollywood. There is no single standard for studio format; some studios have definitions of the required format written into the rubric of their writer's contract. The Nicholl Fellowship, a screenwriting competition run under the auspices of the Academy of Motion Picture Arts and Sciences, has a guide to screenplay format. A more detailed reference is The Complete Guide to Standard Script Formats. A "spec script" or speculative screenplay is a script written to be sold on the open market with no upfront payment, or promise of payment; the content is invented by the screenwriter, though spec screenplays can be based on established works, or real people and events.
For American TV shows, the format rules for hour-long dramas and single-camera sitcoms are the same as for motion pictures. The main difference is. Multi-camera sitcoms use a specialized format that derives from stage plays and radio. In this format, dialogue is double-spaced, action lines are capitalized, scene headings, character entrances and exits, sound effects are capitalized and underlined. Drama series and sitcoms are no longer the only formats. With reality-based programming crossing genres to create various hybrid programs, many of the so-called "reality" programs are in a large part scripted in format; that is, the overall skeleton of the show and its episodes are written to di
Sydney is the state capital of New South Wales and the most populous city in Australia and Oceania. Located on Australia's east coast, the metropolis surrounds Port Jackson and extends about 70 km on its periphery towards the Blue Mountains to the west, Hawkesbury to the north, the Royal National Park to the south and Macarthur to the south-west. Sydney is made up of 40 local government areas and 15 contiguous regions. Residents of the city are known as "Sydneysiders"; as of June 2017, Sydney's estimated metropolitan population was 5,230,330 and is home to 65% of the state's population. Indigenous Australians have inhabited the Sydney area for at least 30,000 years, thousands of engravings remain throughout the region, making it one of the richest in Australia in terms of Aboriginal archaeological sites. During his first Pacific voyage in 1770, Lieutenant James Cook and his crew became the first Europeans to chart the eastern coast of Australia, making landfall at Botany Bay and inspiring British interest in the area.
In 1788, the First Fleet of convicts, led by Arthur Phillip, founded Sydney as a British penal colony, the first European settlement in Australia. Phillip named the city Sydney in recognition of 1st Viscount Sydney. Penal transportation to New South Wales ended soon after Sydney was incorporated as a city in 1842. A gold rush occurred in the colony in 1851, over the next century, Sydney transformed from a colonial outpost into a major global cultural and economic centre. After World War II, it experienced mass migration and became one of the most multicultural cities in the world. At the time of the 2011 census, more than 250 different languages were spoken in Sydney. In the 2016 Census, about 35.8% of residents spoke a language other than English at home. Furthermore, 45.4% of the population reported having been born overseas, making Sydney the 3rd largest foreign born population of any city in the world after London and New York City, respectively. Despite being one of the most expensive cities in the world, the 2018 Mercer Quality of Living Survey ranks Sydney tenth in the world in terms of quality of living, making it one of the most livable cities.
It is classified as an Alpha+ World City by Globalization and World Cities Research Network, indicating its influence in the region and throughout the world. Ranked eleventh in the world for economic opportunity, Sydney has an advanced market economy with strengths in finance and tourism. There is a significant concentration of foreign banks and multinational corporations in Sydney and the city is promoted as Australia's financial capital and one of Asia Pacific's leading financial hubs. Established in 1850, the University of Sydney is Australia's first university and is regarded as one of the world's leading universities. Sydney is home to the oldest library in Australia, State Library of New South Wales, opened in 1826. Sydney has hosted major international sporting events such as the 2000 Summer Olympics; the city is among the top fifteen most-visited cities in the world, with millions of tourists coming each year to see the city's landmarks. Boasting over 1,000,000 ha of nature reserves and parks, its notable natural features include Sydney Harbour, the Royal National Park, Royal Botanic Garden and Hyde Park, the oldest parkland in the country.
Built attractions such as the Sydney Harbour Bridge and the World Heritage-listed Sydney Opera House are well known to international visitors. The main passenger airport serving the metropolitan area is Kingsford-Smith Airport, one of the world's oldest continually operating airports. Established in 1906, Central station, the largest and busiest railway station in the state, is the main hub of the city's rail network; the first people to inhabit the area now known as Sydney were indigenous Australians having migrated from northern Australia and before that from southeast Asia. Radiocarbon dating suggests human activity first started to occur in the Sydney area from around 30,735 years ago. However, numerous Aboriginal stone tools were found in Western Sydney's gravel sediments that were dated from 45,000 to 50,000 years BP, which would indicate that there was human settlement in Sydney earlier than thought; the first meeting between the native people and the British occurred on 29 April 1770 when Lieutenant James Cook landed at Botany Bay on the Kurnell Peninsula and encountered the Gweagal clan.
He noted in his journal that they were somewhat hostile towards the foreign visitors. Cook was not commissioned to start a settlement, he spent a short time collecting food and conducting scientific observations before continuing further north along the east coast of Australia and claiming the new land he had discovered for Britain. Prior to the arrival of the British there were 4,000 to 8,000 native people in Sydney from as many as 29 different clans; the earliest British settlers called the natives Eora people. "Eora" is the term the indigenous population used to explain their origins upon first contact with the British. Its literal meaning is "from this place". Sydney Cove from Port Jackson to Petersham was inhabited by the Cadigal clan; the principal language groups were Darug and Dharawal. The earliest Europeans to visit the area noted that the indigenous people were conducting activities such as camping and fishing, using trees for bark and food, collecting shells, cooking fish. Britain—before that, England—and Ireland had for a long time been sending their convicts across the Atlantic to the American colonies.
That trade was ended with the Declaration of Independence by the United States in 1776. Britain decided in 1786 to found a new penal outpost in the territory discovered by Cook some 16 years ear
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
David James Stratton AM is an English-Australian award-winning film critic, as both a journalist and interviewer, film historian and lecturer and television personality and producer. Born in Trowbridge, England in 1939, Stratton was sent to Hampshire to see out the war years with his grandmother, an avid filmgoer, where he was taken to the local cinemas and saw a diverse range of movies, he attended Chafyn Grove School from 1948 to 1953 as a boarder. He saw his first foreign film at Bath in 1955 – Italian romantic comedy Bread and Dreams; that was soon followed by Akira Kurosawa's Japanese adventure drama classic Seven Samurai tracked down in Birmingham. At the age of 19, he founded District Film Society. David arrived in Australia in 1963, soon became involved with the local film society movement, he directed the Sydney Film Festival from 1966 until 1983. At the time, he was the subject of surveillance by the Australian Security Intelligence Organisation, due to the festival showing Soviet films and his late 1960s visit to Russia.
This information was not made public until January 2014. A regarded expert on international cinema French cinema, Stratton was President of FIPRESCI Juries in Cannes and Venice, he was a member of the jury at the 32nd Berlin International Film Festival in 1982. Stratton worked for SBS from 1980, acting as their film consultant and introducing the SBS Cinema Classic and Movie of the Week for 24 weeks a year. From 1986 onwards Stratton co-hosted the long-running SBS TV program The Movie Show with Margaret Pomeranz, the show's original producer. Stratton and Pomeranz left SBS in 2004. From 2004 Stratton and Pomeranz have co-hosted the ABC film show, At the Movies. On 16 September 2014, Stratton and Pomeranz announced they would be retiring at the end of the 2014 series; the ABC confirmed that the series would end with the last episode to be broadcast on 9 December 2014. Stratton has stated on numerous occasions that his favourite film of all time is Singin' in the Rain, he writes reviews for The Australian newspaper and did so for the US film industry magazine Variety.
He does film reviews for TV Week, where he has been for a number of years. He lectures in film history at the University of Sydney's Centre for Continuing Education. In 2008 he released his autobiography called I Peed on Fellini, a reference to a drunken attempt to shake Federico Fellini's hand while using a urinal. Stratton and Margaret Pomeranz have played an important role in challenging the heavy-handed decisions of the Australian Classification Office throughout their career; the documentary film David Stratton: A Cinematic Life and directed by Sally Aitken, was released in 2017, re-edited for television, featuring interviews with Stratton about his life and with actors, producers representing Australian cinema since the 1960s. Stratton has a cameo appearance in the 1993 film Hercules Returns In 1995 Stratton made an uncredited cameo in Touch Me, one of the short films featured in Zieglerfilm's series Erotic Tales Stratton has appeared in several ABC programs including The Chaser's War on Everything, Review with Myles Barlow, Good Game, Adam Hills in Gordon Street Tonight, Lawrence Leung's Choose Your Own Adventure and The Bazura Project parodying himself.
On Saturday 14 March 2015 Stratton appeared in a meeting with David Lynch in "David Lynch: Between Two Worlds' 14 March - 8 June 2015 | Gallery of Modern Art Brisbane, Australia". On 1 January 2001 Stratton was awarded the Centenary Medal for "Service to Australian society and Australian film production". On 22 March 2001 he was appointed with the Croix de Commandeur of the Ordre des Arts et des Lettres, the highest rank for this award, for his services to cinema, in particular French cinema. In 2001 he received the Australian Film Institute's Longford Life Achievement Award. On 9 June 2006 Stratton received an honorary degree of Doctor of Letters from the University of Sydney in recognition of his career and his contribution to intellectual life at the university. In 2007, he received the 60th Anniversary Medal by the Festival du Film de Cannes and The Chauvel Award by the Brisbane International Film Festival. Stratton became a Member of the Order of Australia in the 2015 Australia Day honours.
The Last New Wave: The Australian film revival. ISBN 0-207-14146-0 The Avocado Plantation: Boom and bust in the Australian film industry. ISBN 0-7329-0250-9 Stratton, David. I Peed on Fellini: Recollections of a life in film. William Heinemann Australia. ISBN 1-74166-619-8. Honorary doctorate presentation Official biography ABC Radio biography Quickflix biography David Stratton on IMDb