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'John was Catholic to his bootstraps: Catholic, Irish Australian, a Labor man and a Carlton supporter. He'd have loved the inaugural speech delivered in the Victorian Parliament last month by the new Labor member for Hawthorn.' — Frank Brennan, Great Hall University House, Australian National University, 1 March 2019.
Half past ten, I'm off to bed. One more whizz around the sun. Ho hum ... What's the point? If it were the solstice, maybe. All that nonsense on TV. And fireworks, celebrating what? The triumph of chronology? This year maybe I will die ...
Film buffs might regret there's not a more detailed technical breakdown of Bilcock's craft. Still it it is a warm-hearted tribute to the art of editing, the process by which a film takes its final form, often as different from what was shot as the footage isfrom the original script; and to one editor whose sense of character and audience is hailed by these directors as defining their films.
The views of Kevin 'Bloody' Wilson and Rodney Rude can be summed up in the quote: 'The soft new generation of PC-wary comedians need to grow some balls.' There seems to be a sense that comedy isn't funny nowadays unless it's offensive. But it's more than possible to create comedy that avoids this. In fact, it can be better.
... the actuality of Her and me growing dimmer as the distorted glow of a new morning's haze illuminates factories in the distance as if deleted scenes ...
'What would it mean for any of us to be wishing Steve Smith and David Warner a happy and blessed Easter?' Easter Homily by Fr Frank Brennan SJ at the churches of Adamaniby and Nimmitabel, Easter 2018.
There must be something in between those world-wide 60 million urgers bobbing in their boats ... Nailing up our own 400, give or take a few, to crosses cut from tropic palms via chainsaws made in China, intending that the westward waft from all the dried and dying will stop those wallowers in Java from putting out to sea ...
American-British writer Amanda Foreman is campaigning to return authors such as Austen, Dickens and Eliot to curricula in famous schools. But teachers have told her that a generation reared on smartphones and iPads finds such authors too ‘difficult'. So what? is my inward cry.
On the face of it, it's a cautionary tale against relying on social media as a source of relationships and self-identity. That's a fairly retrograde take-home though, and the film is actually more than that; it's an exploration of loneliness and isolation that is universal despite a context that is very much of this moment.
In our society ethical questions such as those to do with marriage, crime and punishment, the beginnings and endings of life, and freedom of speech are often highway issues. Protagonists establish in advance the right way to go, keep their foot down and their eyes on the road without noticing the terrain the highway traverses. Road signs indicating another destinations or alternative routes are ignored and towns by-passed. Certainty is gained; understanding of country is sacrificed.
Who was that luckless politician, federal, I think, gone now from so many memories, including mine? Male, a sort of suited fledgling, older maybe than he looked, the guy who feelingly achieved, while reaching for the aphoristic wisdom of his people, the verbal train-wreck we remember so much better than than the 'issue' or his features as they pleaded with the swooping of a lens: I'm torn between two places and a hard rock?
The inflated image I once had of Cardinal Ratzinger, and that many Catholics have of cardinals and other authority figures, was shaped by fear. Fear hands over to the human beings behind the image a power they do not possess. Conversations always turn to them and inhibit the free and constructive living of faith. In helping to demystify such images Last Testament, the autobiography (written with Peter Seewald) of Pope Benedict XVI, serves us well.
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