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.

For many migrants, the real benefits of migration are seen in the second generation of the family, as migration has afforded life opportunities for their children that would have been unavailable to them in their homeland.

Through ACMI’s Digital Storytelling program, the children of migrants document their personal stories and share the richness and challenges of their bicultural lives in Australia.

The people of Victoria have had a constantly changing relationship with their native birdlife.

Ever-present and iconic, we’ve put Australian birds on official state heraldry and on tomato sauce bottles and biscuit packets. There has always been an immense fondness and respect for our unique birds. However, attitudes towards wildlife generally and birds specifically have undergone seismic paradigm shifts over the last few hundred years.

Looking at objects catalogued here on Victorian Collections, we can map this change and trace the ways that Victorians have interacted with birds, from Indigenous spirituality to citizen science programs.

Mildura Arts Centre was founded on one of Australia's most remarkable and generous bequests.

Senator 'R.D.' and Mrs Hilda Elliott's collection of mainly British and Australian art has provided Mildura Arts Centre with intriguing and significant works by such artists as William Orpen, Edgar Degas, Frederick McCubbin, Arthur Streeton, Glyn Philpot and Frank Brangwyn: artists, for the most part, from a world about to swamped by the tides of modernism and the avant-garde.

Family is central to our lives: from our immediate families to our neighbourhoods and communities.

Explore the present and our history, from a celebration of culture to a reflection on hard times, such as the stolen generations, share our stories about family and what family means to us.

There are stories about indigenous families in different Victorian communities, the memories of Gunditjmara Elder Aunty Iris Lovett-Gardiner and her life at Lake Condah Mission. Stories of football, dance and culture and life in the Yorta Yorta community of Echuca as well as much, much more.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.

By exploring aspects of the J. C. Williamson Archive at the Arts Centre, and interviewing scenic artist Paul Kathner, we get a sense of the behind the scenes work involved in creating the visual effect of theatre.

Curator Margaret Marshall introduces us to a Williamson scenebook from the 1920s, and to costume designs from the late 19th and early 20th century, and Paul invites us to explore his craft and his career with major theatre companies for the past 50 years.

This selection of early photographs were taken by Antoine Fauchery and Richard Daintree between late 1857 and early 1859 for inclusion in their photographic series Sun Pictures of Victoria. The album consists of fifty albumen silver prints, twelve of which are photographs of Indigenous Victorians and were the first photographic series of Australian scenes presented for sale to the public.

Featuring Victorian scenes such as landscapes and gold mining activities, the series included 12 images of various Indigenous Victorians. Taking a very 19th Century approach to their subjects, the portraits show people in both traditional and western wear, documenting the effects of colonisation.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users of this website are warned that this story contains images of deceased persons and places that could cause sorrow.

From the grinding stones of Australia’s first farmers, Wagga quilts, butter pats and recipe books to family photographs, garden tools and agricultural equipment – women’s farm work is frequently found in museums. The contribution of women to Australian agriculture has a rich and very deep history. Yet these stories have been unacknowledged and continue to be undervalued.

The nature of women’s farm work is often rendered invisible because much of it is intangible and ephemeral, is characterised by relationships and oral tradition, and dismissed as just ‘domestic’ work when in fact this work is what has often sustained families, farms and communities. The layers of invisibility are even deeper for migrant and Indigenous women.

There has also been a long history of official barriers to recognising women’s work on the land. Farm women were deliberately omitted from the 1891 Victorian Census. Women were excluded from agriculture courses up into the early 1970s. It wasn’t until 1994 that women were legally recognised as farmers, prior to this they were defined as ‘non-productive "sleeping" partners’. And, It is only in recent years that scholars have finally acknowledged the 40-50,000 years of Indigenous knowledge and practice in complex systems of agriculture and aquaculture.

Victorian museums are a treasure trove of untold stories about the extraordinary lives of farm women and how they have shaped our land and rural communities.

An authoritative presence on Platform One at Spencer Street Station for almost one hundred years, the Main Line Starter Clock stood over the people of Victoria from its installation in 1871 until 1960, when the station was re-developed and the clock was gifted by Victorian Railways to the Melbourne Museum.

This majestic artifact is now cleverly housed in a model ‘Museum Station’ in the new Pauline Gandel Children’s Gallery.

Built by watchmaker Thomas Gaunt at his premises in Bourke Street’s Royal Arcade in consultation with Government Astronomer Robert Ellery, the clock weighs some 150kg and stands – as you can gauge from this image of Conservator Sarah Babister as she repaired paint loss and removed decades of accumulated grime from the face – an imposing 1820mm high by 1190mm wide.

These images are part of the first photographic series of Australian scenes presented for sale to the public. Produced by the studio of Antoine Fauchery and Richard Daintree in 1858, these photograph are from a series of 53 collectively known as the Fauchery-Daintree Album.

Using the latest collodion wet-plate process, Fauchery and Daintree produced their collection of albumen silver prints at a time when the sales of photographs were flourishing.

Antoine Fauchery and Richard Daintree produced iconic images of both early gold diggers and the landscapes scarred by the exploding search for gold, which attracted miners from all over the world and created the boom that made Melbourne the fastest growing metropolis of the time.

Antoine Fauchery and Richard Daintree were both migrants who tried their luck on the goldfields – Daintree coming out from England in 1853, Fauchery from France in 1852.

Unsuccessful on the goldfields, in 1857 they combined forces to produce a series of photographs titled Sun Pictures of Victoria, capturing important early images of the goldfields, Melbourne Streets, landscapes and portraits of Indigenous Victorians. Using the new collodion wet-plate process, they created albumen silver prints of a rare quality for the time.

Further information on Antoine Fauchery's time in Melbourne can be found at the State Library of Victoria's Ergo site.

The current Flinders Street Station building has been part of the lives of Melbournians for over 100 years.

Inspired by the launch of the latest competition to put forward proposals for its restoration and reinvigoration, and to highlight some of the amazing Flinders Street-related material in Victoria's cultural collections, I will be celebrating the past, present and future of my favorite station.

Over the next few months, I will be recording impressions and stories found whilst exploring the station as it exists today, trawling the internet for related sounds and images (such as this timelapse) and featuring some of the wonderful images of the station that are held in Victoria's cultural collections. As a taster for my future posts, here's a selection of images that I've found.

Television broadcasting arrived in Australia in 1956. At the end of that year only about 5% of Melbourne households had a television set. That figure is now closer to 99%.

Fifty years have seen many much-loved shows and celebrities come and go. The technologies of production have changed. Our televisions are no longer the bulky furniture items that once dominated the lounge room.

In 2006 the Australian Centre for the Moving Image (ACMI) celebrated the 50th anniversary of Australian TV with an exhibition dedicated to its rich heritage.

TV50 brought together iconic objects from the ACMI collection, the television networks and memorabilia accrued in private collections.

Many significant objects were acquired by ACMI from Mr Bob Phillips, whose career as a floor manager/producer - and collecting passion - began in the still pioneering days of the early sixties.

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

Refusing to set foot in the colony, the eminent Gothic Revivalist architect William Butterfield resorted to sending extremely detailed architectural drawings and plans of St Paul's Cathedral to Australia.

He even produced life-size drawings of columns, window tracery and other features, to ensure the antipodeans could get nothing wrong.

In the end however, he was defeated by distance, and St Paul's was completed by the Australian firm Reed, Henderson and Smart, and later, in the 1930s, the towers he designed (but were not built at the time) were shafted for a new design by Australian architect John Barr.

Welcome to Country! Learn about Koorie Culture: our people, our flags, and history.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.

The Last Yarn, a digitisation project, has supported the photography of key nineteenth-century works in the NGV’s Australian fashion and textiles collection for access through our online collection database.

Giving the garments a life beyond the archive, the project acknowledged the appeal of recent exhibitions such as Australian Made (2010) and Fashion Detective (2014) which investigated aspects of historical dress. 

Now over 50 additional works have been catalogued, given new underpinnings, photographed and uploaded so that audiences elsewhere in the world can discover the local dressmakers, tailors and retailers who defined early Australian style.