Country Football. On one hand it's just a game. On the other, it's life or death...

Films in this collection are a record of living memory: how the game has changed; how it continues to evolve; and how football is inextricably linked with our communities.

These 21 films include stories of legendary games, long time campaigners, rivalries, reluctant mergers, and of things lost and lamented. Collected from all corners of Victoria.

This innovative collaboration between community museums and local artists captures the unique living memories and rich cultural heritage of communities along the Murray River between Wodonga and Corryong.

Seven short films were created as part of the project:

Nox-All Rabbits: How do you deal with a plague of rabbits? With Nox-All. Rabbiting was a way of life in Victoria, especially during the plague of 1932. Rabbits were a source of food and income (the felt from their pelts used in Akubra hats), and thought by some to be "better than chickens".

Jim Simpson's knitted war trophy: During World War II Jim Simpson's aircraft was shot down over Germany and he became a prisoner of war at Stalag IVB. Jim's ingenuity helped to keep prisoners warm, and ultimately resulted in an extraordinary memorial.

Old time music in the blood: Nariel Creek residents have music in the blood, so much so that they've been told their accordion style is special, using all four fingers at once. The Nariel old time style of Australian traditional music and dance continues with the Nariel Creek Folk Festival.

A history of engine power: Watch out... refurbishing engines can become an addiction. The gem of this collection of over 150 engines is an 1866 Ransom Sims engine, one of only 5 in the world, which has been lovingly restored.

The Saleyards Made Wodonga: Cattle were one of the biggest industries in Wodonga, and the saleyards a focal point town, not least because plum pudding was served in the luncheon room all year round.

The Icon of Wodonga: You need more than a trickle of water to fight a fire. The Wodonga water tower was welcomed as it brought the 'luxury' of water to town, and when it was decommissioned the community rallied to prevent its demolition.

The Saw Doctor's Wagon: The 'Sharpening King' and his family travelled throughout eastern Australia sharpening knives in their 'road urchin'. A circus-like wagon, the urchin was first pulled by horses, then a Chevron truck, and finally, by a David Brown tractor.

Participating museums: Granya Pioneer Museum, Man From Snowy River Museum, Tallangatta & District Heritage Group, Wodonga Historical Society.

Supported by: the Commonwealth Government’s Regional Arts Fund, Regional Arts Victoria, National Museum of Australia, City of Wodonga, Shire of Towong, Museums Australia (Vic) and Arts Victoria. Auspice organisation: Murray Arts

MORELAND CITY BAND - and its antecedents in Brunswick and Coburg - has been pumping out brassy tunes since 1882. Originally developed as an essential civic instrumentality (pun intended), the band has long served to enliven parades, festivals and ceremonial events. At the Moreland Band Hall in Brunswick there’s a gallery of photographs and a cabinet of trophies reflecting this illustrious history of community music making.

In more recent decades community interest in traditional brass bands has waned. The brass band isn’t dead, but at least in Moreland it was an institution in serious need of reinvention. So in 2008, facing what seemed to be a terminal decline, the Band embarked on a process of transformation, working to attract new ideas, new people and new energy. Since that time, Moreland City Band has created a whole new model for what a community band might be.

The reinvented Band maintains the best aspects of the local band tradition, supporting musicians of all abilities to play and develop. The band still performs at local festivals and events, but it’s no longer simply a brass band. Under the energetic direction of trumpet maestro Scott Tinkler, the MCB Phoenix Project has arisen from the ashes of a traditional British-style brass band to embrace more diverse instrumentation and a broader, more original musical repertoire. There’s also a resident learner’s group (the MCB Krysallis Band) and a wide range of other ensembles practicing and performing every day and night of the week: big bands, jazz groups, African drummers, ukulele ensembles, avant-garde composers and arrangers, brass choirs, youth bands and others.

It’s dynamic, open and inclusive, deliberately blurring boundaries between musical genres and between professional and amateur musicians. Moreland City Band ensembles include players aged under ten through to musicians in their eighties, and people from all kinds of cultural backgrounds.

The band’s home at Cross Street in Brunswick is a rehearsal space, a performance venue, a recording studio, a music library and still, in some ways, an old-fashioned band hall, all rolled into one.

New players are always welcome - www.morelandcityband.com

Additional recordings by the MCB Phoenix Project can be heard at:  https://www.reverbnation.com/morelandcityband/songs

Moreland City Band acknowledges the ongoing support of Moreland City Council.

MacRobertson Steam Confectionery Works was a confectionery company founded in 1880 by Macpherson Robertson and operated by his family in Fitzroy, Melbourne until 1967 when it was sold to Cadbury.

This story accompanies the 'Nail Can to Knighthood: the life of Sir Macpherson Robertson KBE' exhibition which took place at the Royal Historical Society of Victoria in 2015.

This project documents the very beginning of the Gay Liberation Movement in Melbourne.

Through the manifestos, photographs, flyers and recollections of those who were part of the movement, this digital story explores the ways in which gay people found their voice in Melbourne, and refused to pass for straight anymore.

Gay Liberation had both local and imported roots. Internationally the New York City Stonewall riots in 1969 sparked off a new phase of radical gay politics, drawing on the momentum of activist organisations and protests across America throughout the 1960s, but locally few people took immediate notice, though fledgling advancements in homosexual law reform had developed within the civil liberties movement.

In Melbourne, the short-lived Daughters of Bilitis (later Australasian Lesbian Movement) arrived quietly on the scene in January 1970, gaining media coverage but limited influence. The real start to the Australian gay movement occurred in September 1970 with the formation of the Campaign Against Moral Persecution, or CAMP, in Sydney. Within two years there were CAMP branches in most Australian capital cities, with the Melbourne branch established in January 1971, soon renamed Society Five. However, despite the success of these organisations in counselling and socialising and later law reform, the relatively closeted nature of Society Five was never radical enough for some activists.

Gay Liberation arrived in Australia first in Sydney in 1971 and soon after in Melbourne and other states. By 1972 small Gay Liberation groups were springing up around the country. The differences between Gay Liberation and Society Five were in practice small, but those in Gay Liberation prided themselves on their commitment to bringing about radical social change.

Influenced by the counter-cultural movements and radical political movements of the 1970s, the politics of gay liberation became an all-encompassing liberation, an ‘embodied politics’ that saw liberation in all aspects of one’s life, from households to classrooms, sexual relations to workplaces, clothing to protests. Young gay people had found their voice, and group members organised the demonstrations, marches and public events illustrated in this story.

This Digital Story draws on material produced for the Australian Lesbian and Gay Archives (now Australian Queer Archives) exhibition Out of the Closets, Into the Streets: Histories of Melbourne Gay Liberation, curated and written by Nick Henderson, drawing on the original research of Graham Willett. A complementary documentary film, additional interviews, and written curatorial and audio content was produced by documentary film makers Wind & Sky Productions.