John Teasdale – Chronicle of a Country Life... machinery...These little films from Victoria's Western Plains are about the actual and the everyday. They have no hint of sensationalism in them. They are plain and utterly honest. They tell us about tractors and farming machinery. About fire and flood and snow ...
These little films from Victoria's Western Plains are about the actual and the everyday.
They have no hint of sensationalism in them. They are plain and utterly honest. They tell us about tractors and farming machinery. About fire and flood and snow. We glimpse Anzac Day and are touched by the irony of people remembering in a time and place few people remember or think about today. But there is no sentimentality in these films either. They are just plain good. - Martin Flanagan.
John Teasdale (1936 – 2004) was a farmer at Rupanyup in the Victorian Wimmera. He was also a keen and highly accomplished cinematographer, filming consistently for over 50 years to create a long-term record of working life on a family farm and of community life in a particular part of rural Victoria.
When television arrived in Australia in 1956, John successfully applied to the ABC to become a 'stringer' cameraman, shooting regional footage that was frequently included in state-wide news broadcasts and in segments produced particularly for regional viewers. John continued in this role for thirty years, until changing technology eventually made the role of 'regional stringers' obsolete.
The Teasdale film collection constitutes a nationally significant record of working and community life in a small Australian dry-land farming community, reflecting enormous changes in farming practices as well as transformations in the character and scale of community life in and around Rupanyup. At a time when many dry-land farming communities are actively reinventing themselves as their underlying social and economic structures change dramatically, John Teasdale’s films provide a critical point of reference and affirmation.
Artist and filmmaker Malcolm McKinnon, with the support of John Teasdale’s family, is undertaking ongoing work to interpret and celebrate this rich and resonant archive.
Wangaratta, Textile Town... machinery. Bob Beel, was a self-taught photographer from Wangaratta. He established the Le Dawn Studios in Wangaratta in 1956. From 1956 to his retirement in October 1996 he recorded public events and life in North Eastern Victoria....This photograph, taken inside the Bruck Mill, of a worker in amongst the factory machinery was taken by Wolfgang Sievers. ...
It is 1919, the end of First World War, and a group of Wangaratta businessmen come together with a big idea: to build a woollen mill to create jobs, keep people in the town, draw workers and families from afar, and make the town prosper.
They start a share float and one of the men, William Callander, comes up with a bold plan to promote the project. His two daughters Alma and Lena take to the skies in an open biplane, seated on kerosene tins, to scatter leaflets across the region. The Wangaratta Woollen Mills is born, and soon becomes the largest mainland woollen mill in the nation.
It was the success of its textile industry that took Wangaratta from small country town to major rural city. But Wangaratta’s story as a textile town also reflects the making of modern Australia. It traces the path of post-war migration and the accompanying growth of Australia’s economy.
Following the Second World War Australia's prosperity began to boom and thousands of Europeans settled here. It was in this atmosphere, in 1946, that a Canadian company, Bruck Textiles, comes to Wangaratta and creates a population explosion, employing thousands of workers from places as diverse as Poland, Italy, Holland and Wangaratta itself.
Some of these workers' stories are presented here, as well as interviews with employees of Australian Country Spinners (formerly Wangaratta Woollen Mills). Photographs of the factories are also presented, along with moving image postcards of the industrial processes.
Ash Wednesday 30... (CFA) firefighters from Panton Hill, Nar Nar Goon, Narre Warren and Wallacedale brigades. Many businesses, stores, equipment, machinery, stock and other assets were lost. The total cost of the property damage in Victoria was estimated to be over $200 ...
On 16 February 1983 the Ash Wednesday bushfires burned approximately 210,000 hectares of land, 2,080 homes were destroyed and 75 people, including 47 Victorians, lost their lives.
Among the 47 Victorians killed were volunteer Country Fire Authority (CFA) firefighters from Panton Hill, Nar Nar Goon, Narre Warren and Wallacedale brigades.
Many businesses, stores, equipment, machinery, stock and other assets were lost. The total cost of the property damage in Victoria was estimated to be over $200 million.
These web pages were created to commemorate the 30th anniversary of the Ash Wednesday Bushfires in 2013.
The Victorian Government invited people to share their stories of recovery, healing and hope as a tribute to those who experienced a natural disaster, and as an inspiration to all Victorians.
A collection of selected stories and short films have now been published here.
Collingwood Technical School... , and the boot and shoe department became the largest at the school. It was also strongly supported by local industry via significant donations of equipment. With an enrollment of 220 boys, ‘the large work shop [was] equipped with £5,000 worth of machinery, which ...
For over 140 years, the site of the former Collingwood Technical School on Johnston Street, Melbourne, has played an integral role in the well being of the local community.
It has been a civic hub, including courthouse (1853), Council Chambers (1860) and the Collingwood Artisans’ School of Design (1871). The school opened in 1912 when its first principal, Matthew Richmond, rang a bell on the street to attract new students. Collingwood was a poor and industrial suburb, and as a trade school, young boys were offered the opportunity to gain industrial employment skills.
Throughout the twentieth century, Collingwood Technical School supported the local and broader community. From training schemes for ex-servicemen who were suffering from post traumatic stress following World War I (1914-1918), to extra classes during the Great Depression, and the development of chrome and electroplating for machine parts for the Australian Army and Air Force during World War II (1939-1945).
The precinct between Johnston, Perry and Wellington Streets has transformed over time, including expansion with new buildings and school departments, and the change in the demographic of students as Collingwood evolved from an industrial centre to eventual gentrification. And in 1984, New York street artist, Keith Haring (1958-1990), painted a large mural onsite.
Collingwood Technical College closed in 1987 when it amalgamated with the Preston TAFE (Technical and Further Education) campus. Education classes continued until 2005 and the site sat empty for more than a decade, before a section was redeveloped for Circus Oz in 2013.
The former school now has a new identity as Collingwood Arts Precinct, and is being developed into an independent space for small and medium creative organisations. The heritage buildings will house the next generation of thinkers and makers, and will become a permanent home to the arts in Collingwood.
Women on Farms... earlier times – a big old rusty spring speaks of an important job of support for the farming community, in transport, early machinery or even an old chair when the day’s work is done. It’s a simple piece of equipment with so much potential. It works well ...
In 1990, a group of rural and farming women met in Warragul for what was to be the inaugural Women on Farms Gathering.
A group of local women had developed the idea while involved in a Women on Farms Skill Course. It was to prove inspirational, and the gatherings have been held annually ever since, throughout regional Victoria.
The Women on Farms Gathering provides a unique opportunity for women to network, increase their skills base in farming and business practices, share their stories and experience a wonderful sense of support, particularly crucial due to the shocking rural crises of the last decade. Importantly, the gatherings help promote and establish the notion of rural women as farmers, business women and community leaders.
The relationship between Museums Victoria and the Women on Farms Gathering is a model of museums working with living history.