Except where otherwise noted, the content by Fred Harden is licensed under a Creative Commons Attribution 4.0 International License.
This only applies to content I've created of course
This only applies to content I've created of course
A place for the re-membering of things
We need our computer folk heroes, and if they come with an air of danger around them, it restores the feeling that we were on the digital frontier. Another story from MM, for the last print issue June 1995.
“Truffaut’s ‘The 400 Blows’ was only the setup. ‘Breathless’ was the knockout blow. If ‘The 400 Blows’ was the February revolution, ‘Breathless’ was October.” Richard Brody.
I was still pining from losing Australian MultiMedia and couldn’t stop scratching the ‘publishing’ itch. ‘Written so you can understand it’.
November 1995. This was a ‘walk-through’ demo, part of how we saw Murdoch Magazines’ many women’s lifestyle publications working on the web -via Conde Nast’s experiment Epicurious.
As I rounded the corner I saw the road covered with white flying feathers and a splattered chook being picked up by a tall young man with a look of pain on his face. He crossed the road just in front of me, the early yellow sunlight on him against the dark road.
Adrian Carr, Australian film editor and director talked to me about interactive components for The Pandora Directive game from 1997, and Power Rangers TV shoots. Updated from Cinema Papers #115
This captures a time of media change nicely I think. It was when suddenly it was cool to write about computers, and the advertisers rushed to The Age, Sydney Morning Herald and The Australian computer sections. That’s where I was writing.
I think Tony Sarno has created another monster, this one may be Godzilla and stomp across standard newspaper conventions, and it might have to battle to win its own audience. On the positive side, almost like Godzilla, there’s going to be a new episode every week and that’s a lot of opportunity to get it right.
“The road connects things, the road has the potential of the continually changing viewpoint, a different driveway every night. The only thing about the road that is frustrating, is that it would be terrific if you could turn a corner and really be in a different place. On the Internet you can do that with a simple link. Click on a URL and you are in some fantastic place you never imagined.” Dana Atchley
While I was a student at RMIT . We rented the top three rooms upstairs from Crest Records for a studio. And there was a bathroom that we turned into a darkroom.
Don’t look for much about my friend Jim Wilson on the web. This may be the best you’ll find.
Besides the difficulty in re-organising my desk so that I could actually see the monitor if I faced it East, I wondered if the beneficial effects would carry over into my other peripherals and software.
Neil Young is a keen filmmaker and when he is the cinematographer on a project, he lists his name in the credits as Bernard Shakey. Here’s a showreel I assembled when I could still see and hold the camera steady. It’s 3 mins. long.
Characterizing Mr.Storm (and other stories) Cinema Papers #114 1997 Baz Luhrman’s William Shakespeare’s Romeo and Juliet was shot in Mexico, cut in Los Angeles and neg cut in San Francisco. Although there were a large number of Australian crew working on it, it was a feature planned as international and designed for a young American audience. […]
Fame is fleeting. Only twice has someone recognised my voice or name from radio. A friend who said I appeared in his nightmare, then woke up to hear my voice on his clock radio.And a man at a ceramic tile shop who said he enjoyed the pieces I did with that nice Louise Maher so he gave me a discount.
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