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Dr Ian Dixon 1174-1176 Mt Dandenong Tourist Rd

Kalorama, VIC 3766 i.dixon@sae.edu

Mob: 0402 147 107

Age: 49 Nationality: Australian Languages: English & German Current Position: Senior Lecturer & Unit Coordinator SAE Institute, Melbourne Duration: 8 years Professional Memberships:

• Media Arts & Entertainment Alliance • Australian Writers’ Guild • Australian Directors’ Guild • Game Developers’ Association of Australia • Open Channel • IABA Asia-Pacific Scholarly Network

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EDUCATION: The University of Melbourne (2011): My PhD thesis, Creative Collaborations: Performance, Writing and Direction of ‘Crushed’ Inspired by the Films of John Cassavetes and the Theatre of Michael Chekhov, was the pinnacle of twelve years in tertiary education. This interdisciplinary dissertation synthesised over twenty years of my industry experience as a film, television and theatre practitioner combining scholarship in both disciplines to impart diligent, practice-led research through the production and direction of a feature length film. The accompanying exegesis made significant contribution to knowledge by expounding upon Chekhov’s theories, focusing on the previously elided aspects of his methodology specifically geared toward the study of film and, moreover, investigating Cassavetes’ filmmaking oeuvre. My thesis covered areas not traditionally associated with filmmaking, including film’s interrelationship with theatre, the improvisatory nature of screenwriting and the performative process inherent in directing. As such, I illuminated the influence of emotion, inner movement, and kinaesthetic relations in the filmmaking process. Casting, building character, and the director’s relationship with actors and drama, are further aspects of discovery. This constitutes my scholarly contribution; namely the synthesis of theatre-based knowledge and cinematic representations of performance. Thus, this interdisciplinary dissertation uncovered previously obscured knowledge regarding methodological similarities between the two artists. Further, the study illuminated previously erroneous interpretations of Cassavetes as filmmaker and actor as well as bringing the enlightened ideas of Chekhov into modern practice. The resultant, theatrically distributed feature film synthesised kinaesthetic performance as a major aspect of mise-en-scène by expounding upon the

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practice-led methodology of screen direction while drawing on received knowledge from theatrical heritage. Ramifications included international scholarship leading to an invitation to present the Plenary Address for the College English Association (CEA) in America in 2013 and three peer reviewed papers so far. I also received an invitation to present a Cassavetean-Chekhovian workshop to scholars at the Arts in Society conference at Sapienza University, Rome in 2014 and a paper at Monash University’s 2011 World Cinema Now conference. Thesis examiner Professor Maria Viera of California State University called the thesis ‘outstanding’, placing it in the top 5% of all PhDs and nominating it for a Chancellor’s Prize for Excellence.

The Victorian College of the Arts (1998): After a decade in professional theatre practice, I returned to formal study to achieve first class standing and top the class in a Graduate Diploma in Filmmaking at the Victorian College of the Arts, School of Film and Television (VCA). Positions at this prestigious school were awarded on the basis of filmmaking talent, prior scholarship and related disciplinary practice, as well as acumen and the demonstrable temerity required for success in the industry. I subsequently received a fee waiving scholarship to attend. Studies involved shooting five films, mostly on 16 mm celluloid. My graduating short film, Cut (1998) won gold at the Australian Cinematographers’ Society awards and was nominated by senior academics for the ‘most daring and courageous filmmaking’ award at VCA, for which I came runner up. Subsequent invitations were made globally to screen the film at festivals. Flinders University (1988): Four years of intensive dramatic training as a professional actor formed the basis for this Humanities Bachelor Degree with Honours. This involved disciplinary research in theatre history and cinema studies, which formed a major phalanx of study. Cognate time was spent in theatre

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and film productions in various capacities including director, producer and actor for film and theatre. My graduating theatrical production, playing Leanto in Women Beware Women (1988), drew attention from local industry and resulted in professional casting in the lead role of nationally touring theatre production Space Demons (1989) with Ariette Taylor. The University of Adelaide (1986): English Literature and European History formed my dual Major for this Bachelor of Arts Degree, which I commenced immediately following secondary education. These disciplinary studies concretised my writing and English expression to academic standard, while forming the basis of future art and research. University Prizes & Scholarships:

• Nomination for Chancellor’s Prize for Excellence, 2011. • 2006–2010 APA PhD scholarship, The University of Melbourne • 2006 RMIT PhD scholarship∗ • 2003–2005 APA Master’s scholarship (rolled over to PhD), The

University of Melbourne • 2010 Creative and Scholarly Award for outstanding staf, SAE

Institute Staff Excellence Award • 2012 Creative and Scholarly Award for outstanding staff, SAE

Institute Staff Excellence Award • 2015 Teamwork Award: great outcomes for students, staff and

company, SAE Institute Staff Excellence Award

∗ Not taken up.

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EMPLOYMENT HISTORY Current Position: Tertiary Lectureship, SAE Institute, Melbourne TEACHING: For eight years, from 2008 to the present day, I have executed a full time, ongoing, tertiary lectureship at SAE Institute, beginning with narrative, storyboarding, semiotics and digital filmmaking for (former) Qantm College then evolving to cultural and media studies, television production and redesigning AQF accredited courses in new media and traditional storytelling. I was ‘headhunted’ for the above employment as a result of my PhD research and two years sessional teaching for SAE Institute prior to 2008. SAE’s onerous 39 week trimester-based, accelerated learning program demands close scrutiny and constant updating of course material and teaching practices alike. Throughout this, official teaching surveys indicate my consistent mean score of 4.0. The position also required attention to policy, procedure and governance. Further, direct student testimonials attest to my efficacy and popularity as a teacher, which has proved invaluable for student retention. During my time in full time lectureship, I facilitated industry and scholastic benchmarking, through research and by inviting personnel to attend our course review: the resultant panel of experts consisting entirely of my personal contacts. Consequently, I was awarded team leadership of the Australia-wide refurbishing of courses to Master’s accreditation level. I also received regular training in student-centred and heutagogical teaching and learning practices, which included best teaching and innovative practices, new approaches to pedagogy through the ‘flipped’ classroom and specialty training in sensitive delivery of material to hearing impaired, dyslexic, Asperger Syndrome and Spectrum Disorder students. I apply and update these principles regularly with a keen eye to

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improving the student experience while building upon a rigorous approach to pedagogy in general. Indeed, my educational philosophy is to enthuse students and staff alike, deriving from Australian film and television history and instilling the need for ground-breaking originality and to encourage students toward a practical, reflective and entertainment friendly skills-base. ADMINISTRATION: As senior lecturer and unit coordinator, the job necessitates timely marking, administrative duties and online delivery of summative and formative results. These bureaucratic processes are, of course, mandatory for modern academics and augment effective student-centred learning delivered while lecturing to classes often exceeding 100 students. Good teaching practice extends to more intimate student-centred learning delivered in tutorials, which also requires prompt delivery of class exercises and student attendance registers for ongoing assessment. These duties include sensitive liaison with student services while monitoring the bureaucracy of extensions and specialty cases, according to policy needs for both group and individual marking. SUPERVISION: SAE Institute does not currently teach to Masters and Doctorate level although national strategic direction has earmarked me for such supervisory positions as they eventuate and I am eager to comply. In the pursuit of this, I maintain my top-ranking position as supervisor for existing SAE programs as I develop future courses for higher research. Currently, I supervise students’ trimester 6 undergraduate research including scholastic dissertation, elective and studio practice portfolios. This includes supervision of students to create professional standard feature film screenplays and extended scholarly documentation. My experience in this field includes invitations to supervise Masters and PhD theses from other universities and my ongoing employment as an

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industry-based, professional script editor prevails in assisting higher creative methodologies. RESEARCH: In 2011, I was placed in a research position, which afforded me 1.5 days per week for scholarly research during SAE’s 39 week teaching schedule, which means time spent in pure academia has been challenging. Although the generosity of the SAE Institute is noted, my research continues to flourish despite only limited time and fiscal support from SAE. I use this time diligently to expand SAE’s credibility internationally, publish peer reviewed papers and attend conferences globally. I am certain greater achievement would ensue under the auspices of a public university: proper time allocated to academic pursuit promises far more impressive results. Indeed, funds for peer reviewed publication unable to be collected under private education provision promises certain fiscal return given my installment in the public system. With SAE agreeing to scholarship funding at the conclusion of my University of Melbourne APA scholarship for the PhD thesis, my work on Creative Collaborations: Performance, Writing and Direction of ‘Crushed’ Inspired by the Films of John Cassavetes and the Theatre of Michael Chekhov was concluded in timely fashion in 2011. Conference and research funding alike followed as a result of successful grant applications, amounting to significant internal and external funding including private industry development. I was subsequently awarded three internal travel grants and workshop funding under the auspices of SAE. Year Project Amount Funding Body 2014 London University Travel Grant $1,500.00 SAE Institute 2013 CEA Travel Grant USA $1,000.00 SAE Institute 2013 CEA Stipend USA $US1,000.00 CEA, USA

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2012 CEA Travel Grant USA $1,200.00 SAE Institute 2011 Internal PhD Scholarship $10,400.00 SAE Institute 2005 APA PhD Scholarship $33,450.00 Uni of Melbourne

2005 RMIT Scholarship $44,000.00 RMIT University∗ 2003 APA Masters Scholarship $44,600.00 Uni of Melbourne

Further research for SAE continued with a concerted effort to apply best practices for the publication of film and literature-based papers. Gaining confidence, I soon garnered success in peer reviewed papers. In the past two years, I have published six refereed publications, including two papers with the prestigious John Hopkins University Press, USA (The Actor’s Nature in Mise-en-scène; Chekhovian Kinaesthesia and Cinematic Performance) and a third with Routledge, London through Deakin University (Return of the Thin White Repressed: Narcissism in The Stars (Are Out Tonight)). In recent months, a further three papers were chosen for publication including: Arts in Society’s journal through Common Ground Publishing, Cassavetes Meets Chekhov: Improvisational Performance Technique for Digital Camera; Deakin University’s Deviation-Deletion journal, Deviance Under the Dome: Horror/Science-Fiction Hybridity as Uncanny in feature film The Perimeter; and Reframing Quality Assurance in Creative Disciplines: Evidence to Practice, a paper detailing SAE Institute’s course MDU111 Storytelling for Contemporary Media also for Common Ground Publishing. I currently have another two written papers under serious publishing consideration: one invited for secondary editorial with Routledge for The University of New South Wales (To Internet or Not: (Re-)covering New Pathways for Distribution) and another based on a conference paper I am to deliver at ACMI in July: Between Performance and Performativity: Bowie as Actor/Bowie as Icon. This constitutes a rapid turnaround of peer

∗ Not taken up.

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reviewed papers with only limited time allocated for disciplinary research. I am also working as editor and scholar for a volume of essays entitled: I’m Not a Film Star: David Bowie as Actor. The book currently has publication interest from Bloomsbury Publishing Inc., London. My record of scholarship also includes the writing of articles, film and book reviews for Media International Australia and Metro magazine as well as two papers on twice Miles Franklin award winning Australian author Rodney Hall (one of which was presented at CEA USA in 2012) and three articles on John Cassavetes and novel adaptation for SAE’s international magazine published in Germany. COMMUNITY ENGAGEMENT: I have actively participated in community oriented and promotional activities representing SAE Institute, thus raising its local and international profile for the past six years. These pursuits include professional membership with Australian Directors Guild, Australian Writers Guild, actors’ union the Media Arts and Entertainment Alliance and the College English Association in USA. In other forums, I have consistently appeared on the Australian Teachers of Media (ATOM) selection committee: judging film competitions, which includes engagement to write articles for their accompanying magazine. Judging and selection committee placements include the International Association for the Development of the Information Society (IADIS). Judging, revenue raising and participation in the Sri Lankan Film Festival (SCATS) has also become a welcome task. Consequently, I have provided SCATS committee members and members of the Sri Lankan community in general with free classes in filmmaking and screenwriting. I have drawn funds into this not-for-profit organisation from a philanthropic position and pledged ongoing commitment to young filmmakers by donating further instruction for their films. I am currently implementing a mentoring program where young filmmakers can observe the work of

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professionals in films representative of Sri Lankan themes. Further support has consisted of public speaking and classes provided for Open Channel, also on a pro bono basis. Further, I have uniformly promoted the SAE at open days and assisted in promotional activities at choice games forums and career expos annually. SAE and other institutions alike know I am a reliable source of coaching and expertise. Previous Employment: Holmesglen Institute (University of Canberra) TEACHING: Immediately preceding my employment with SAE Institute, I lectured for Holmesglen Institute on a 0.5 contractual basis for two years from 2006 to 2008. Tertiary instruction for degree students at Holmesglen ranged from practical to academic courses including: industry liaison; producing and production management; financing models and budgeting; legal considerations; editing software and principles of montage; pitching feature films; casting and directing actors; as well as screenwriting and cinema studies tuition. This constituted my dedicated work as an ongoing part time lecturer. ADMINISTRATION: Bureaucratic and administrative duties included: filing; timely submission of work charts; attention to delivery requirements; online and paper-based marking, assessment and work sheets; as well as liaison with senior staff. SUPERVISION: Holmesglen aligned student production groups with professionally trained practitioners as supervisors and I filled this capacity with keen attention to facilitating student awareness of best practices in industry. Instruction extended beyond the classroom to production-based pedagogy and included my performing as mentor and even actor on student sets.

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RESEARCH: Although not an official research position prior to my PhD, Holmesglen engaged my services as researcher for tertiary course development and nurtured my studies during the final years of my Master’s Degree, which set me in good stead for my PhD candidature. Indeed the institution actively promoted my exegetic film during its period of distribution and exhibition, including critical insight from PhD established staff members. COMMUNITY ENGAGEMENT: Holmesglen supported my appearance at conferences and film festival events including the Australian Writer’s Guild biennial seminar in Adelaide 2007. Liaison and support continued for years after my engagement including appearances at prize giving and screening events. Previous Employment: Miscellaneous A pedagogical position was accepted at VCA film school where I was engaged immediately after graduation in 1999 to supervise student shoots. I was consistently invited to lecture postgraduate and vocational courses in directing actors and casting until 2003. The employment proved efficacious in manifesting further casual tuition positions including Open Channel, where I implemented new courses for mental health-affected youth and indigenous classes. I subsequently taught disabled youth classes at Grit Media and was invited to give classes in pitching film, production, filmmaking and screenwriting for RMIT University, Swinburne and Flinders University, Monash and Melbourne University student unions. All courses involved my liaising with permanent staff and delivering researched lecture material to specific budgets while delivering academically sound assessment items and marking students accordingly. This constituted the humble beginnings to my tertiary teaching career, which subsequently superseded my artistic career as prime financial support and included delivering the esteemed University of Melbourne Gryphon lecture and enticing me toward permanent lectureship.

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WORK AS CREATIVE ARTIST

I have been directing, acting and producing for over 25 years: a journey which began professionally back in 1988. Having completed two undergraduate degrees as well as directing short film and acting in student productions from 1984 to 1988, my artistic career began in earnest at age 22 with my first industry casting: the lead role for Australian tour of Ariette Taylor’s Space Demons (1989) with its premiere season at the Adelaide Festival Centre. I went on to play many lead roles in my twenties including The Heartbreak Kid (1990) and appearing in key productions at the State Theatre Company of South Australia, including Jonah with theatre-cum-film directors Neil Armfield and David Field. Film and television employment was scant in South Australia during the early 1990s so I relocated to Sydney where I spent five years touring internationally with high profile musicals, the culmination of which was taking over from Guy Pierce to play the lead in Grease (1995). Taking my career to Melbourne, casting in such commercial television shows as Underbelly, Rush, City Homicide, Blue Heelers, Stingers, Martial Law, Guinevere Jones, Heartbreak High, Struck by Lightning, Shadows of the Heart soon ensued. Having established independent theatre company Zero Theatre Productions in 1996, I moved my directing into the professional realm for film and television, beginning with my placement at VCA film school. My short films subsequently won directing awards internationally. Successful funding applications through government and private investment alike (including Screen Australia and Film Victoria) facilitated the writing of screenplays as well as proficient training as director. Employment as a television director followed in such productions as Neighbours and Blue Heelers, which included my San Francisco International Film Festival award winning series Wee Jimmy (2001) for SBSi. With financial

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assistance from angel and government investment and public universities alike, I wrote a series of feature films with internationally acclaimed editorial from Stephen Cleary. These included an adaptation of Rodney Hall’s class selling novel Captivity Captive (1989) and current Hollywood invested thriller Aquarium. One of these films, Crushed (2008), for which I raised over $200,000.00 was screened at Cinema Nova to capacity audiences. A review by Janet Watson Cruse commented on the film’s merits:

Are all men bastards? Ian Dixon's profoundly character-driven masterpiece never gives an easy answer to this question, but instead takes us on an intimate journey into female friendship… The detail of the work blew me away. The camera caught the actors tenderly in very intimate close-ups, often moving in an almost musical way with the conversation. It is obviously a film made with love. The performances are so detailed and subtle, I found myself watching really hard so I wouldn't miss a moment (Actors Australia, 2008).

In addition, I worked as assistant to the Artistic Director of the Australia Korea Foundation for the Department of Foreign Affairs. I have also written two novels now receiving publication interest both locally and internationally. Annette Barlow, book publisher for Allen & Unwin, said of my novel Loving the Amazon:

[Ian] has written some of the best sex scenes and a few of the most beautiful sentences I’ve read for a long while… His sexual writing is the best. It is there that the author seems to reach a direct, simple honesty and really connects with what he is writing about.

Most importantly, my artistic career paid professional fees. Indeed, professional theatre saw me travelling the world as a performer. In a directorial position, I achieved world class production credits and made

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many successful grant applications for further training and development. Following is a list of these: Year Project Amount Funding Body 2012 H. Fine: Masterclass $350.00 SAE Institute 2011 R. McKee Masterclass $300.00 SAE Institute 2011 K. Dennis: Masterclass $100.00 SAE Institute 2011 ADG Membership $450.00 SAE Institute 2010 P. Margolis: Workshop $300.00 SAE Institute 2010 M. Hauge: Story Mastery $120.00 SAE Institute 2010 S. Kaplan: Romantic Com. $172.00 SAE Institute 2010 S. Cleary: Seminar $200.00 SAE Institute 2009 AWG Conference $1,000.00 SAE Institute 2009 GCAP Forum $340.00 SAE Institute 2008 ADG Conference $350.00 SAE Institute 2007 AWG Conference $3156.00 Holmesglen 2007 Crushed (production) $200,000.00 Private/Industry 2005 Captivity Captive (draft) $9,000.00 Film Victoria 2003 Blue Heelers (attachment) $1,400.00 Screen Australia 2001 Horace & Tina (attachment) $1,200.00 Film Victoria 2000 Neighbours (attachment) $1,200.00 Film Victoria 2000 Wee Jimmy (production) $310,000.00 SBSi 1999 Cork Film Fest (Ireland) $2,400.00 Ambridge Ltd. 1999 The Raptor Detail (draft) $10,000.00 Screen Australia

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PUBLICATIONS As mentioned, my peer reviewed publication career is just beginning. When not engaged in film projects or peer articles, I spend time writing reviews for international academic journals and popular film magazines. Following is an inventory so far:

Scholarly: PEER REVIEWED

Dixon, I. (2015). Aerial. Album Rescue Series. Dalton-Koss, 1(1), 33-38.

Dixon, I. (2015). Tin Machine II. Album Rescue Series. Dalton-Koss, 1(1), 74-79.

Dixon, I. (2015). Tonight. Album Rescue Series. Dalton-Koss, 1(1), 134-142.

Dixon, I. (2015). Cassavetes Meets Chekhov: Improvisational Performance Technique for Digital Camera. The International Journal of New Media, Technology and the Arts, 11(1), 15-28.

Dixon, I. (2015). Deviance Under the Dome: Horror/Science-Fiction Hybridity as Uncanny in feature film The Perimeter. Deviation-Deletion, 9(April).

Dixon, I. (2015). MDU111 Storytelling for Contemporary Media. Reframing Quality Assurance in Creative Disciplines: Evidence to Practice, 1(9), 221-234.

Dixon, I. (2013). Return of the Thin White Repressed: Narcissism in The Stars (Are Out Tonight). Celebrity Studies: Special Double Issue: Celebrity Ecologies/The Unearthly David Bowie, 4(3), 397-400.

Dixon, I. (2013). Mise-en-scene and Kinaesthetically Charged Atmosphere in John Cassavetes’ Faces. CEA Forum, 42(2), 157-168.

Dixon, I. (2013). The Actor’s Nature in Mise-en-scène: Chekhovian Kinaesthesia and Cinematic Performance. CEA Critic, 75(3), 201-211.

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CONFERENCE PAPERS Dixon, I. (2015, November). Dangerous Reflections: Trauma, Eroticism

and the disguises of Imperialism in Loving the Amazon. Paper presented at Flinders University, Victoria Square, Adelaide.

Dixon, I. (2015, July). Between Performance and Performativity: Bowie as Actor/Bowie as Icon. Paper presented at ACMI, Deakin Edge, Deakin University.

Dixon, I. (2014, June). Return of the Thin White Repressed: Narcissism in The Stars (Are Out Tonight). Paper presented at Celebrity Studies: Royal Holloway, University of London.

Dixon, I. (2014, July). Cassavetes Meets Chekhov: Improvisational Performance Technique for Digital Camera. Paper presented at Arts in Society: Sapienza University, Rome.

Dixon, I. (2013, April). The Actor’s Nature in Mise-en-scène: Chekhovian Kinaesthesia and Cinematic Performance. Paper presented at College English Association: Savannah, Georgia, USA.

Dixon, I. (2012, April). Borders of the Soul: Internal Metaphor in ‘The Lonely Traveller by Night’. Paper presented at College English Association: Richmond, Virginia, USA.

Dixon, I. (2011, September). Contemporary Legacies: the Films of John Cassavetes and Theatre of Michael Chekhov. Paper presented at World Cinema Now: Monash University, Victoria.

REVIEWS Dixon, I. (2014). Review/The Ned Kelly Films: A Cultural History of Kelly

History. Metro Magazine, Australian Teachers of Media. Adolfo Aranjuez (Ed). No. 181. August. pp. 118-121.

Dixon, I. (2013). Review/Hitchcock’s America. Rethinking Digital Ethnography for Media International Australia. The University of Queensland Press. Heather Horst, Larissa Hjorth and Jo Tacchi (Ed). No. 151. June. pp. 207-208.

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Dixon, I. (2013). Review/Spike Lee’s America. Rethinking Digital Ethnography for Media International Australia. The University of Queensland Press. Heather Horst, Larissa Hjorth and Jo Tacchi (Ed). No. 150. March. pp. 196-197.

Dixon, I. (2012). Review/International Journalism. Rethinking Digital Ethnography for Media International Australia. The University of Queensland Press. Heather Horst, Larissa Hjorth and Jo Tacchi (Ed). No. 145. November. pp. 174-175.

ESSAYS

Dixon, I. (2013). The Trials and Tribulations of Taking Captivity Captive from Book to Screen. SAE Magazine: The Magazine of SAE Institute and SAE Alumni Association. September.

Dixon, I. (2012). The Art of Kinaesthetic. SAE Magazine: The Magazine of SAE Institute and SAE Alumni Association. February. pp. 112/3.

Dixon, I. (2012). The Industry, New Opportunities and the Universal Strength of Writing. Screen Hub. August. [Online]. Available at: http://gndcc2012.blogspot.com.au/

Dixon, I. (2012). The Industry, New Opportunities and the Universal Strength of Writing. Screen Hub. Cinema Nova, August. [Online].

Available at: http://gndcc2012.blogspot.com.au/2012/09/screenhub-article-part-1.html#!/2012/09/screenhub-article-part-1.html

Dixon, I. (2011). John Cassavetes: Still Challenging the Modern Filmmaker. SAE Magazine: The Magazine of SAE Institute and SAE Alumni Association. August. pp. 108–110.

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Filmography: FILM & TV DIRECTING

2016 The Perimeter Feature Film (Director/Producer) In Pre-production

2016 Birth Rites (Director/Writer) In Pre-production

2014 Interference Short Film (Director/Producer/Writer) In Post-production

2009 Australian Industrial Systems Institute Corporate Film

2008 When I Grow Up I Want to be White (Director/Producer)

Written by Agatha Yim

2007 Crushed Feature film (Director/Producer/Writer) Cinema Nova

2005 Dark and Dark and Silent

Dance film with choreographer Delia Silvan 2004 Family Business

50 minute film

2002 Blue Heelers (AFC funded Trainee Director with Steve Mann) Directed significant portion of the episodes

2001 Neighbours

(Film Vic funded Trainee with Tony Osicka) Directed full episodes

2000 Horace and Tina (Film Victoria funded attachment)

Jonathan M. Shiff Productions

2000 Wee Jimmy (26 min film drama for SBS) Selected into 44th San Francisco Film Festival Certificate of Merit Winner at Golden Gate Awards

Selected into 2001 St Kilda Film Festival

1999 The Raptor Detail Awarded draft funding AFC

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Directed test scenes

1998 Cut (VCA major film – 16mm) Selected 1999 Cork International Film Festival (Ireland) Won Gold at 1999 Australian Cinematographers Society

His Dark Secret Love (VCA short film – 16mm)

Filmography: MAJOR ACTING ROLES

2013 Ted Whiting in Underbelly: Squizzy 2009 Sgt. William Carwin in In Her Eyes

2009 John Welsh in Rush (Southern Star Television)

2008 John Cassidy in City Homicide (Global TV)

2006 Various roles in Quilting the Armour

2005 Colin McReady in Blue Heelers (Channel Seven)

2004 Martin Salenger Cold (feature film)

2003 Matthew Lokan in Stingers (Simpson LeMesurier)

2002 De Flores in The Changeling (La Mama)

Gadowain regular role in Guinevere Jones (Crawfords Australia/Ibis Films Canada)

1997 Caliban in The Tempest (Playbox Theatre Co.)

1996 Hyde in Cryptic (Zero Theatre Productions)

Twin in Peter Pan (Kerry Jewell & Associates) Michael in My Blessings (Innersense Productions) Puck in A Midsummer Night’s Dream (Up North)

1995 Danny (Lead) in Grease (Gordon Frost)

1994 Rod in Heartbreak High (Gannon Films)

Moose in West Side Story (Victorian State Opera)

1993 Chris (Lead) in Sir (Griffin Theatre Company) Chang (Lead) in Fortune (Griffin Theatre)

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1991 Dorian Gray (Lead) in The Picture of Dorian Gray Waxy in Jonah (State Theatre Company)

Hänschen in Spring Awakening (S.T.C. of S.A.) 1990 Birdman in Sabat Jesus (Playbox Theatre Company)

Stan Fargo in Shadows of the Heart (SA Film Corporation) Andrew (Lead) in Space Demons (Patch Theatre Company)

1989 Downie in Struck by Lightning (SA Film Corporation)

Nicki (Lead) in The Heartbreak Kid (Theatre 62)

Filmography: SCREENWRITING

2011 Love Parade (feature) (SAE research funding)

2008 Aquarium (feature)

(Melbourne Uni scholarship)

2006 Birth Rites (feature)

2005 Captivity Captive (feature) Film Victoria draft funding – to third draft

2002 The Creeper (feature)

(Melbourne Uni scholarship)

2000 The Raptor Detail (50 mins short feature) (AFC draft funding)

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REFEREES Academic Professor Sally Joy Campus Manager, Dean of School SAE Institute, Melbourne Mob: 0409 809 742 s.joy@sae.edu Assoc. Professor Leon Marvell School of Communication and Creative Arts Deakin University Mob: 0403 939 207 Dr Elizabeth Presa Head of Centre for Ideas, Victorian College of the Arts Tel: (03) 9035 9343 epresa@unimelb.edu.au Dr Lisa Dethridge Senior Lecturer, Media and Communication RMIT University Mob: 0413 625 392 Tel: (03) 9925 9855

lisa.dethridge@rmit.edu.au

Industry Mr Richard Jasek

Film/TV Director

Former Series Producer: Neighbours

Mob: 0412 186 033