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119-569: The Australian Directors' Guild ( ADG ) is an industry guild representing the interests of film , television , commercials and digital media directors, including documentary makers and animators, throughout Australia. With its headquarters in Sydney , the ADG has branches in New South Wales , Queensland , South Australia , Victoria and Western Australia . As of 2022 the president of ADG

238-495: A 1 ⁄ 6 -shekel per day freight rate for a 60-gur vessel. A type of guild was known in Roman times. Known as collegium , collegia or corpus , these were organised groups of merchants who specialised in a particular craft and whose membership of the group was voluntary. One such example is the corpus naviculariorum , a collegium of merchant mariners based at Rome's La Ostia port . The Roman guilds failed to survive

357-642: A 'tramping' allowance for those needing to travel to find work. As the guild system of the City of London declined during the 17th century, the Livery Companies transformed into mutual assistance fraternities along such lines. European guilds imposed long standardized periods of apprenticeship , and made it difficult for those lacking the capital to set up for themselves or without the approval of their peers to gain access to materials or knowledge, or to sell into certain markets, an area that equally dominated

476-421: A 2-shekel wage for each 60- gur (300- bushel ) vessel constructed in an employment contract between a shipbuilder and a ship-owner. Law 275 stipulated a ferry rate of 3- gerah per day on a charterparty between a ship charterer and a shipmaster . Law 276 stipulated a 2 1 ⁄ 2 -gerah per day freight rate on a contract of affreightment between a charterer and shipmaster, while Law 277 stipulated

595-461: A Day , My Brilliant Career , High Tide , and Oscar and Lucinda continue to reflect the theme. Furthermore, many people have called her a creator of "strong females" but she insists that she is simply making films about complex characters and the choices that they make. Armstrong has a distinctive style in her work that resists easy categorisation. Most of her films cannot simply be stated as being either "women's films" or Australian ones which are

714-653: A Directors Conference and Directors Discussion Screenings. Many such screenings were held over the following years, along with a range of seminars and meetings to discuss industry policy. ASDA's first National Directors Conference was held in June 1993. Over the next years, these conferences coincided with ASDA's AGM and became forums for policy debate as well as for exploration of directing issues. During this period also, ASDA continued its participation in industry policy development with submissions to and meetings with relevant organisations, reviews and government departments. Work on

833-458: A Palme D'Or and two Golden Bear Awards. She has received multiple Honorary Doctorates including an Honorary Doctor of Letter Degree from University of Sydney, and an Honorary Doctorate from Swinburne University of Technology. Armstrong was born in Melbourne, Victoria, Australia, on 18 December 1950. She went to a local high school, Vermont High School (now Vermont Secondary College ), and

952-468: A Standard TV directors contract was begun and a reconstituted Disputes Committee began life by dealing with a serious television dispute arising in some measure out of the lack of such a contract. Other disputes continued to be brought to the committee by directors working in many areas of the industry. In 1999, one of these disputes, with Channel 9 over wages for directors on the Far Scape series, brought

1071-423: A corporation without a charter, such adulterine guilds, as they were called, were not always disfranchised upon that account, but obliged to fine annually to the king for permission to exercise their usurped privileges. Karl Marx in his Communist Manifesto also criticized the guild system for its rigid gradation of social rank and what he saw as the relation of oppressor and oppressed entailed by this system. It

1190-422: A dark room, learning all about photography. When she first decided to go to art school, Armstrong didn't have a very firm grasp on what she wanted to do. Armstrong grew up in the eastern suburb of Mitcham . She was a technical theatre student at Swinburne Technical College , where she worked as a waitress to pay her tuition. Originally, she attended school to become a theatrical set designer but happened to take

1309-427: A decline in women's labor in south German cities from the 16th-18th centuries to both economic and cultural factors; as trades became more specialized, women's domestic responsibilities hindered them from entering the workforce. German guilds started to further regulate women's participation at this time, limiting the privileges of wives, widows, and daughters. It also forbade masters from hiring women. Crowston notes that

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1428-410: A disputes committee was formed and ASDA continued to represent directors in disputes with producers. ASDA Board meetings were initially held in members' houses or at an industry watering hole, the 729 Club, until 1984 by which time income had increased sufficiently for the establishment of an office in the suburb of Glebe. In 1985, with the admission of documentary directors, membership reached 100, but

1547-628: A film course and became enamored of the great directors. She decided to enter the film industry. She won a scholarship to join the first 12 students at the country's first film school, the Australian Film and Television School . She started her studies before the Australian film industry had developed. She recalls that when new films were released, the actors sounded strange; for the first time their accents were Australian rather than American. Attending Swinburne Technical College , she saw

1666-516: A journeyman and entitled him to travel to other towns and countries to learn the art from other masters. These journeys could span large parts of Europe and were an unofficial way of communicating new methods and techniques, though by no means all journeymen made such travels — they were most common in Germany and Italy, and in other countries journeymen from small cities would often visit the capital. After this journey and several years of experience,

1785-401: A journeyman could be received as master craftsman, though in some guilds this step could be made straight from apprentice. This would typically require the approval of all masters of a guild, a donation of money and other goods (often omitted for sons of existing members), and the production of a so-called " masterpiece ", which would illustrate the abilities of the aspiring master craftsman; this

1904-614: A large fuzzy blue sweater dress decorated with coloured beads, a black-and-white polka dot blouse, black tights and blue suede shoes all topped by a punk shag haircut. Following this success, Armstrong was commissioned by the South Australian Film Corporation to make a documentary exploring the lives of young teenage girls living in Adelaide, South Australia. This became Smokes and Lollies (1976) , her first paid job as director. Armstrong's own interest in

2023-430: A lifetime progression of apprentice to craftsman , and then from journeyman eventually to widely recognized master and grandmaster began to emerge. In order to become a master, a journeyman would have to go on a three-year voyage called journeyman years . The practice of the journeyman years still exists in Germany and France. As production became more specialized, trade guilds were divided and subdivided, eliciting

2142-466: A man who was not a member, she usually lost that right. The historian Alice Clark published a study in 1919 on women's participation in guilds during the Medieval period. She argued that the guild system empowered women to participate in family businesses. This viewpoint, among others of Clark's, has been criticized by fellow historians, and has sparked debate in scholarly circles. Clark's analysis of

2261-501: A meeting of film directors was held in response to plans to import an overseas director for Hoodwink , a feature film financed by Australian taxpayers through the New South Wales Film Corporation. The meeting held the view that the development of Australian directors was a key part of the rationale for government funding of films. Failing to gain support for their opposition from the relevant industry union,

2380-617: A million dollars annually to its 800 director members in Australia and New Zealand. In 1999, ASDA made further gains for directors in arguing for their inclusion as beneficiaries under the retransmission scheme proposed in the Copyright Amendment (Digital Agenda) Act (2000). These efforts came to fruition in 2005 through the Copyright Amendment (Film Directors' Rights) Act, providing for film directors to share in retransmission royalties along with producers in certain cases. By

2499-505: A network of cottagers who spun and wove in their own premises on his account, provided with their raw materials, perhaps even their looms, by the capitalist who took a share of the profits. Such a dispersed system could not so easily be controlled where there was a vigorous local market for the raw materials: wool was easily available in sheep-rearing regions, whereas silk was not. In Florence, Italy , there were seven to twelve "greater guilds" and fourteen "lesser guilds". The most important of

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2618-558: A nomination for the Grand Jury Prize at the Sundance Film Festival . Armstrong has voiced her desire to reach a wide audience in her interviews, one that includes both men and women of all nationalities. However, her work continually addresses sexual politics and family tensions. Films focused on the escape and struggle with traditional sex roles and its related drawbacks and progressions such as One hundred

2737-468: A range of artistic films from the commercial cinema and television she was used to. After graduating from art school in 1968, Armstrong was set on pursuing a career in film. She began making short films of 2–10 minutes, and started work as assistant editor in a commercial film house, which lasted a year. Following a string of small jobs within the Australian film industry, she achieved her first directorial recognition through her short film The Singer and

2856-463: A range of local events and activities and liaise with their relevant State screen bodies. The staff and operations of the Guild are financed through fees for membership, income from events, a small percent of overseas royalties collected through ASDACS, a voluntary levy from the budgets of members' productions and sponsorship from state and federal film bodies, Screenrights and Media Super. In early 1981,

2975-509: A schooling period during which he was first called an apprenticeship . After this period he could rise to the level of journeyman . Apprentices would typically not learn more than the most basic techniques until they were trusted by their peers to keep the guild's or company's secrets. Like journey , the distance that could be travelled in a day, the title 'journeyman' derives from the French words for 'day' ( jour and journée ) from which came

3094-420: A set of self-employed skilled craftsmen with ownership and control over the materials and tools they needed to produce their goods. Some argue that guilds operated more like cartels than they were like trade unions (Olson 1982). However, the journeymen organizations, which were at the time illegal, may have been influential. The exclusive privilege of a guild to produce certain goods or provide certain services

3213-591: A significant number of women members. John, Duke of Berry documents payments to female musicians from Le Puy, Lyons, and Paris. In Rouen women had participated as full-fledged masters in 7 of the city's 112 guilds since the 13th century. There were still many restrictions. Medieval Parisian guilds did not offer women independent control of their work. Women did have problems with entering healers' guilds, as opposed to their relative freedom in trade or craft guilds. Their status in healers' guilds were often challenged. The idea that medicine should only be practiced by men

3332-572: A town's place in global commerce — this led to modern trademarks . In many German and Italian cities, the more powerful guilds often had considerable political influence, and sometimes attempted to control the city authorities. In the 14th century, this led to numerous bloody uprisings, during which the guilds dissolved town councils and detained patricians in an attempt to increase their influence. In fourteenth-century north-east Germany, people of Wendish , i.e. Slavic , origin were not allowed to join some guilds. According to Wilhelm Raabe, "down into

3451-748: Is Rowan Woods . Founded initially as the Australian Feature Film Directors' Association in September, 1981 and renamed the Australian Screen Directors' Association four months later, the organisation became the Australian Directors' Guild in 2007 in order to align itself more clearly to other international directors guilds which had for some years been strengthening their ties with each other and with their Australian counterpart. In 2014,

3570-613: Is currently the Asia Pacific member of the Federation Board and coordinates the Australian Coalition for Cultural Diversity. It was in this period also that the ADG finalised rate cards for directors' fees. And while directors' contracts had also been drafted, the ability to negotiate with producers for their implementation still remained a stumbling block. In 2014, following discussions with MEAA and SPAA,

3689-747: The Directors Guild of Canada (DGC) was brought to Australia to help develop a contract which would be acceptable both to Australian and US companies. Also in this period a prolonged struggle to achieve Moral Rights for directors was initiated when both federal government film agencies, the Australian Film Commission and the Film Finance Corporation Australia , as well as the Australian Writers Guild came out in opposition to

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3808-720: The Worshipful Company of Tax Advisers , have been formed far more recently. Membership in a livery company is expected for individuals participating in the governance of The City , as the Lord Mayor and the Remembrancer . The guild system reached a mature state in Germany c.  1300 and held on in German cities into the 19th century, with some special privileges for certain occupations remaining today. In

3927-432: The adaptation of Little Women , starring Winona Ryder , Susan Sarandon , Gabriel Byrne , Christian Bale , Claire Danes and Kirsten Dunst . This adaptation of Louisa May Alcott 's novel was one of the most popular films of the year, and emphasises Armstrong's focus on portraying the intimate lives of strong female characters and their relationships with one another. She followed this success three years later with

4046-757: The collapse of the Roman Empire . A collegium was any association or corporation that acted as a legal entity . In 1816, an archeological excavation in Minya, Egypt produced a Nerva–Antonine dynasty -era (second-century AD) clay tablet from the ruins of the Temple of Antinous in Antinoöpolis , Aegyptus that prescribed the rules and membership dues of a burial society collegium established in Lanuvium , Italia in approximately 133 AD. Following

4165-537: The trade secrets — the guilds' power faded. After the French Revolution they gradually fell in most European nations over the course of the 19th century, as the guild system was disbanded and replaced by laws that promoted free trade. As a consequence of the decline of guilds, many former handicraft workers were forced to seek employment in the emerging manufacturing industries, using not closely guarded techniques formerly protected by guilds, but rather

4284-482: The 15th century, Hamburg had 100 guilds, Cologne 80, and Lübeck 70. The latest guilds to develop in Western Europe were the gremios of Spain: e.g., Valencia (1332) or Toledo (1426). Not all city economies were controlled by guilds; some cities were "free." Where guilds were in control, they shaped labor, production and trade; they had strong controls over instructional capital, and the modern concepts of

4403-460: The 1990s, members participated directly in the Association through a range of committees including a documentary committee, an animators committee, a television directors committee, a women's committee, events committee and policy committee, among others. President Stephen Wallace, in revitalising ASDA, recognised the members' interest in the art/craft of directing and proposed the institution of

4522-408: The 1995 conference, ASDA presented the first Cecil Holmes Award in recognition of services to directing. The Award is now generally given in alternate years or with the identification of a deserving recipient. In 2007, the first ADG Directors Awards were established. They are open to financial members in all categories and are the only Australian film directing awards judged solely by directors. This

4641-618: The ADG membership voted unanimously for constitutional changes to enable the Guild to register as a trade union under Australia's federal Industrial Relations Act 1988 . In February, 2015 registration as an industrial organisation was approved by the Fair Work Commission . The ADG is a craft association representing screen directors working in all genres. It seeks to promote excellence in screen direction through seminars, conferences, workshops and awards, to encourage communication and collaboration between directors and others in

4760-420: The ADG received unanimous support from its members for the constitutional changes necessary for registration as an industrial union. The ADG continued to maintain a focus on directors' creative and craft issues through seminars and discussion screenings in capital cities, at its national conference, and in collaboration with a range of other industry organisations, educational institutions and film festivals. At

4879-770: The ADG. In 1995 the ADG formed the Australian Screen Directors Authorship Collecting Society (ASDACS) to collect overseas royalties for distribution to Australian and New Zealand directors As of 2014, the ADG had a membership of over 700, including full/retired members, associate members and student members. Full members must be refereed and their credentials approved by the ADG Board. Membership fees are determined according to annual wage levels and state location. Guild Chapters in New South Wales , Queensland , South Australia , Victoria and Western Australia organise

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4998-977: The Australian Theatrical & Amusement Employees Association (AT&AEA), the directors decided to set up the Australian Feature Film Directors Association. In around September 1981, 18 directors met at the AT&;AEA headquarters in the Sydney suburb of Glebe to sign the Articles of Association. Nine directors were the formal signatories: Gillian Armstrong , James Ricketson , Esben Storm , Albie Thoms , Henri Safran , Keith Salvat, Tom Jeffrey , Carl Schultz and Michael Pate . The organisation soon attracted interest from directors other than feature film directors, especially from television directors, leading to

5117-528: The Dancer which won an award at the Sydney Film Festival . Armstrong became a film director at the age of 27. During the time of the development of Australian Cinema Armstrong recalls in a Washington Post interview that tremendous tax breaks led to a frightful overproduction. Everybody was interested in doing deals and even stockbrokers were becoming directors. However, very few of them had

5236-572: The European guilds was tied to the emergent money economy, and to urbanization . Before this time it was not possible to run a money-driven organization, as commodity money was the normal way of doing business. The guild was at the center of European handicraft organization into the 16th century. In France, a resurgence of the guilds in the second half of the 17th century is symptomatic of Louis XIV and Jean Baptiste Colbert 's administration's concerns to impose unity, control production, and reap

5355-505: The International Association of English Speaking Directors Organisations (IAESDO). The Guild organises a Directors Attachment Scheme in cooperation with Screen Australia whereby successful applicants are placed in productions in order to gain experience working in film or television. Beginning in 1993, the ADG has held regular directors conferences and between 1988 and 2008, it printed a newsletter which later became

5474-514: The Medieval era was an ever-changing, mutable society—especially considering that it spanned hundreds of years and many different cultures. There were multiple accounts of women's participation in guilds in England and the Continent. In a study of London silkwomen of the 15th century by Marian K. Dale, she notes that medieval women could inherit property, belong to guilds, manage estates, and run

5593-634: The United States. In 1994, ASDA President Stephen Wallace , at the invitation of the late John Juliani the DGC ( Directors Guild of Canada ), met in Toronto with the DGA ( Directors Guild of America ) and BECTU (Britain's Broadcasting, Entertainment, Cinematograph and Theatre Union ), thus beginning a process of achieving closer relationships with overseas guilds. Subsequently, ASDA regularly participated in

5712-400: The acquisition of craft skills required experience-based learning, he argues that this process necessitated many years in apprenticeship. The extent to which guilds were able to monopolize markets is also debated. Guilds were often heavily concerned with product quality. The regulations they established on their own members' work, as well as targeting non-guild members for illicit practice,

5831-698: The annual International Directors' Guild Forum, an event which it hosted in Sydney in 1998. Similarly in 1995, ASDA formed ASDACS (the Australian Directors Collecting Society) after having been approached by the Société des Auteurs et Compositeurs Dramatiques to distribute money collected on behalf of directors from the sale of video tapes in France. ASDACS subsequently formed further relationships with other European collecting societies and in recent years has distributed roughly half

5950-541: The apparent exceptions of stonecutters and perhaps glassmakers, mostly the people that had local skills. Gregory of Tours tells a miraculous tale of a builder whose art and techniques suddenly left him, but were restored by an apparition of the Virgin Mary in a dream. Michel Rouche remarks that the story speaks for the importance of practically transmitted journeymanship. In France , guilds were called corps de métiers . According to Viktor Ivanovich Rutenburg, "Within

6069-439: The armourers were divided into helmet-makers, escutcheon-makers, harness-makers, harness-polishers, etc. In Catalan towns, especially at Barcelona , guilds or gremis were a basic agent in the society: a shoemakers' guild is recorded in 1208. In England, specifically in the City of London Corporation , more than 110 guilds, referred to as livery companies , survive today, with the oldest 869 years old. Other groups, such as

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6188-521: The benefits of transparent structure in the shape of efficient taxation. The guilds were identified with organizations enjoying certain privileges ( letters patent ), usually issued by the king or state and overseen by local town business authorities (some kind of chamber of commerce ). These were the predecessors of the modern patent and trademark system. The guilds also maintained funds in order to support infirm or elderly members, as well as widows and orphans of guild members, funeral benefits, and

6307-522: The binding oaths sworn among the members to support one another in adversity, kill specific enemies, and back one another in feuds or in business ventures. The occasion for these oaths were drunken banquets held on December 26. In 858, West Francian Bishop Hincmar sought vainly to Christianise the guilds. In the Early Middle Ages , most of the Roman craft organisations , originally formed as religious confraternities , had disappeared, with

6426-423: The commitment to cinema that Armstrong and others had, and the films would be shown for a week or two, or not released at all. After Armstrong's second film My Brilliant Career , she had offers from Hollywood but quickly turned them all away, preferring to stay in Australia to make a deliberately small film called Starstruck . After the release of Starstruck , Armstrong went around giving interviews dressed in

6545-568: The decision to change its name to the Australian Screen Directors Association (ASDA). New signatories to the ASDA Articles of Association on 15 January 1982 included Phillip Noyce and Stephen Wallace and a number of directors best known for their television work: John Power , Maurice Murphy, Peter Maxwell , Ron Way and Ian Barry . In the years that followed, ASDA continued to concern itself with

6664-466: The decline thesis has been reaffirmed in the German context by Wiesner and Ogilvie, but that it does not work in looking at the matter from a larger scope, as her expertise is in French history. There were exclusively female guilds that came out of the woodwork in the 17th century, primarily Paris , Rouen , and Cologne . In 1675, Parisian seamstresses requested the guild as their trade was organized and profitable enough to support incorporation. Some of

6783-488: The economic marginalization of women in the 17th c., and has highlighted that domestic life did not organize women's economic activities. The research has documented women's extensive participation in market relations, craft production, and paid labor in the early modern period. Clare Crowston posits that women gained more control of their own work. In the 16th and 17th centuries, rather than losing control, female linen drapers and hemp merchants established independent guilds. In

6902-529: The eighteenth century no German guild accepted a Wend." In the Russian Empire , from the reform of Peter the Great (beginning of the 17th century ) until 1917 , these were corporations of wealthy merchants, with their own rights. They therefore constituted an Order which was divided, according to property, into three classes: merchant of the first Guild, of the second Guild, and of the third Guild and

7021-451: The end of the 1990s, political, social and technological changes were resulting in a diminution of member involvement in many organizations across Australia and ASDA was not immune to these changes. Most of the member committees of the earlier period had become inactive, members meetings became infrequent, and most of the work fell to active members of the board—particularly successive association presidents Donald Crombie and Ray Argall—and to

7140-407: The entire economy but because they benefited the owners, who used political power to protect them. Ogilvie (2011) says they regulated trade for their own benefit, were monopolies, distorted markets, fixed prices, and restricted entrance into the guild. Ogilvie (2008) argues that their long apprenticeships were unnecessary to acquire skills, and their conservatism reduced the rate of innovation and made

7259-660: The executive directors: Richard Harris (1998-2007), Drew Macrae (2007-2009), In 2009–2011, the ADG also employed an industrial relations and policy manager, Needeya Islam. Much of their time was claimed by industrial issues, international relations and the necessity of participation in a large number of policy debates and reviews of public sector institutions and regulations, with their attendant demands for consultations, participation in industry committees and detailed submissions. In this period also, digital media became an increasingly significant area of concern as rapid transformations affected telecommunications, television and "film" which

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7378-503: The family business if widowed. The Livre des métiers de Paris (Book of Trades of Paris) was compiled by Étienne Boileau , the Grand Provost of Paris under King Louis IX . It documents that 5 out of 110 Parisian guilds were female monopolies, and that only a few guilds systematically excluded women. Boileau notes that some professions were also open to women: surgeons, glass-blowers, chain-mail forgers. Entertainment guilds also had

7497-434: The feature films Charlotte Gray (2001), starring Cate Blanchett, and Death Defying Acts (2008), starring Catherine Zeta-Jones and Guy Pearce . Based on the novel by Sebastian Faulks , Charlotte Gray is another of Armstrong's films that centres around a strong female protagonist. Removed from Armstrong's usual subject matter, Death Defying Acts portrays a moment in the life of 1920s escape artist Harry Houdini in

7616-431: The film Oscar and Lucinda (1997), starring Ralph Fiennes and a relatively unknown Cate Blanchett . This film, based on the novel by Australian writer Peter Carey , tells the story of a mismatched love affair in 19th-century Australia. It received mixed reviews both locally and internationally, despite its high production value and strong performances by the film main actors. In the 2000s, Armstrong went on to direct

7735-428: The girls led her to revisit them at ages 18, 26, 33 and 48, resulting in four more films in the style of the popular " Up Series ". These are Fourteen's Good, Eighteen's Better (1980) , Bingo, Bridesmaids and Braces (1988), Not Fourteen Again (1996) , and her most recent film Love, Lust & Lies (2009) Armstrong's first feature-length film My Brilliant Career (1979), an adaptation of Miles Franklin 's novel of

7854-689: The governing body of a town. For example, London's Guildhall became the seat of the Court of Common Council of the City of London Corporation, the world's oldest continuously elected local government, whose members to this day must be Freemen of the city. The Freedom of the City , effective from the Middle Ages until 1835, gave the right to trade, and was only bestowed upon members of a Guild or Livery. Early egalitarian communities called "guilds" were denounced by Catholic clergy for their "conjurations" —

7973-513: The greater guilds and the lesser artisanal guilds, which depended on piecework . "In Florence, they were openly distinguished: the Arti maggiori and the Arti minori —already there was a popolo grasso and a popolo magro ". Fiercer struggles were those between essentially conservative guilds and the merchant class, which increasingly came to control the means of production and the capital that could be ventured in expansive schemes, often under

8092-472: The greater guilds was that for judges and notaries, who handled the legal business of all the other guilds and often served as an arbitrator of disputes. Other greater guilds include the wool, silk, and the money changers' guilds. They prided themselves on a reputation for very high-quality work, which was rewarded with premium prices. The guilds fined members who deviated from standards. Other greater guilds included those of doctors, druggists, and furriers. Among

8211-477: The growth of membership and establishment of a financial base, ASDA was able to play a role in the politics of the industry. Lobbying on behalf of directors' viewpoints on a range of issues soon became one of the Association's primary activities. By 1992 ASDA membership was around 200 and, as activity within the organisation increased, this number soon doubled. By the end of the decade, members numbered almost 900, including both associate and student members. During

8330-678: The guild framework was the emergence of universities at Bologna (established in 1088), Oxford (at least since 1096) and Paris ( c.  1150 ); they originated as guilds of students (as at Bologna) or of masters (as at Paris). Naram-Sin of Akkad ( c.  2254 –2218 BC), grandson of Sargon of Akkad who had unified Sumeria and Assyria into the Akkadian Empire , promulgated common Mesopotamian standards for length, area, volume, weight, time, and shekels , which were used by artisan guilds in each city. Code of Hammurabi Law 234 ( c.  1755–1750 BC ) stipulated

8449-509: The guild itself there was very little division of labour, which tended to operate rather between the guilds. Thus, according to Étienne Boileau 's Book of Handicrafts, by the mid-13th century there were no less than 100 guilds in Paris , a figure which by the 14th century had risen to 350." There were different guilds of metal-workers: the farriers, knife-makers, locksmiths, chain-forgers, nail-makers, often formed separate and distinct corporations;

8568-632: The guild meetings and thus had a means of controlling the handicraft activities. This was important since towns very often depended on a good reputation for export of a narrow range of products, on which not only the guild's, but the town's, reputation depended. Controls on the association of physical locations to well-known exported products, e.g. wine from the Champagne and Bordeaux regions of France , tin-glazed earthenwares from certain cities in Holland , lace from Chantilly , etc., helped to establish

8687-595: The guilds in Cologne had been made up almost entirely of women since the medieval period. Early modern Rouen was an important center of guildswomen's activity. By 1775, there were about 700 female masters, accounting for 10% of all guild masters in the city. A survey that circulated in the late 18th century listed that the Rouen ribbonmakers had 149 masters, mistresses, and widows, indicating its mixed gendered composition. A tax roll of 1775 indicated that their total membership

8806-626: The guilds in France. In 1803 the Napoleonic Code banned any coalition of workmen whatsoever. Smith wrote in The Wealth of Nations (Book I, Chapter X, paragraph 72): It is to prevent this reduction of price, and consequently of wages and profit, by restraining that free competition which would most certainly occasion it, that all corporations, and the greater part of corporation laws, have been established. (...) and when any particular class of artificers or traders thought proper to act as

8925-451: The guilds of dyers, cotton-weavers, and guilds in the leather industry. They did enjoy full rights in some wood-working guilds, the guilds of coopers and turners. Women also seemed to have extensively engaged in the fish trade, both within and outside of the guild. The butcher and cattle-trade guilds also listed women among their ranks. In practically all of these guilds, a widow was allowed to continue her husband's business. If she remarried to

9044-439: The guilds' concerns. These are defining characteristics of mercantilism in economics, which dominated most European thinking about political economy until the rise of classical economics . The guild system survived the emergence of early capitalists , which began to divide guild members into "haves" and dependent "have-nots". The civil struggles that characterize the 14th-century towns and cities were struggles in part between

9163-592: The importation of overseas directors, supporting directors of note and where Australian directors were also included in the projects. A range of cultural events, meetings and seminars were organized and, as membership grew, membership fees enabled the employment of a manager. Attempts at instituting a standard directors contract proved fruitless as the Screen Producers Association of Australia (SPAA) refused to negotiate, citing ASDA's lack of industrial registration as its reason. Nevertheless, in 1985

9282-493: The inclusion of directors as authors in mooted changes to the Copyright law of Australia . ASDA understood that the authorship of screen directors was not well-recognised and was under additional threat in a changing global and technological landscape. As a consequence, many of its activities at this time were aimed at fostering a better understanding of the director's role. Thanks to these efforts, when Moral Rights legislation

9401-677: The industry, to provide professional support for its members, to represent the interests of directors in cultural and policy debates and decisions and to play a constructive role in matters affecting the Australian screen industry as a whole. The ADG is governed by a board of directors, elected from and by the membership, and appoints a full-time executive director and a coordinator. The ADG provides members with information, access, professional advice and advocacy relating to issues that affect directors – such as contracts, fees, codes of practice, rights and disputes. It maintains and provides connections with overseas Guilds through its affiliation with

9520-437: The influence of ASDA through its various activities reached many more directors as well as others interested/involved in film and television production. These cultural events also became a source of finance. As the organization developed further, eventually including membership in other capital cities, the Australian Film Commission (AFC) began to give financial support to ASDA's cultural events and seminars. Correlatively, with

9639-520: The late 17th century and onward, there was evidence of growing economic opportunities for women. Seamstresses in Paris and Rouen and flower sellers in Paris acquired their own guilds in 1675. In Dijon , the number of female artisans recorded in tax rolls rose substantially between the years of 1643 and 1750. In 18th c. Nantes , there was a significant growth in women's access to guilds, with no restrictions on their rights. Historian Merry Wiesner attributed

9758-409: The lesser guilds, were those for bakers, saddle makers, ironworkers and other artisans. They had a sizable membership, but lacked the political and social standing necessary to influence city affairs. The guild was made up by experienced and confirmed experts in their field of handicraft. They were called master craftsmen . Before a new employee could rise to the level of mastery, he had to go through

9877-458: The long-simmering issue of industrial representation to the fore. President Stephen Wallace vigorously rejected the view that ASDA should work through the industry union, the Media, Entertainment & Arts Alliance (MEAA) but rather that it should itself seek industrial registration. ASDA's efforts to develop standard directors' contracts continued and in 1999 Neil Haggquist, the business agent for

9996-529: The magazine, Screen Director . Current issues of Screen Director are available online. In 2007 the ADG began giving annual awards for directors. These have grown to include 17 categories with special awards recognising service and achievement. Ozdox, a semi-autonomous documentary group affiliated with the ADG and working closely with Guild staff, fosters and promotes documentary culture, primarily through discussion screenings and seminars. Founded in 2003, Ozdox encourages documentary directors to become members of

10115-424: The middle English word journei . Journeymen were able to work for other masters, unlike apprentices, and generally paid by the day and were thus day labourers. After being employed by a master for several years, and after producing a qualifying piece of work, the apprentice was granted the rank of journeyman and was given documents (letters or certificates from his master and/or the guild itself) which certified him as

10234-498: The most outspoken critics of the guild system were Jean-Jacques Rousseau and Adam Smith , and all over Europe a tendency to oppose government control over trades in favour of laissez-faire free market systems grew rapidly and made its way into the political and legal systems. Many people who participated in the French Revolution saw guilds as a last remnant of feudalism . The d'Allarde Law of 2 March 1791 suppressed

10353-676: The other hand, Ogilvie agrees, guilds created "social capital" of shared norms, common information, mutual sanctions, and collective political action. This social capital benefited guild members, even as it arguably hurt outsiders. The guild system became a target of much criticism towards the end of the 18th century and the beginning of the 19th century. Critics argued that they hindered free trade and technological innovation , technology transfer and business development . According to several accounts of this time, guilds became increasingly involved in simple territorial struggles against each other and against free practitioners of their arts. Two of

10472-493: The other hand, most trade and craft guilds were male-dominated and frequently limited women's rights if they were members, or did not allow membership at all. The most common way women obtained guild membership was through marriage. Usually only the widows and daughters of known masters were allowed in. Even if a woman entered a guild, she was excluded from guild offices. While this was the overarching practice, there were guilds and professions that did allow women's participation, and

10591-560: The passage of the Lex Julia in 45 BC, and its reaffirmation during the reign of Caesar Augustus (27 BC–14 AD), collegia required the approval of the Roman Senate or the emperor in order to be authorized as legal bodies . Ruins at Lambaesis date the formation of burial societies among Roman soldiers and mariners to the reign of Septimius Severus (193–211) in 198 AD. In September 2011, archeological investigations done at

10710-435: The period is that things change during the early modern period, specifically the 17th century, and become more stifling for women in guilds. She also posits that domestic life drove women out of guild participation. Many historians have done research into the dwindling women's participation in guilds. Studies have provided a contradictory picture. Recent historical research is usually posed in rebuttal to Alice Clark's study on

10829-408: The quality of the wig, making it too thin to style. Guild officers pointed out that if the consumer discovers the bad quality, the guild would be blamed, and the consumer would search elsewhere to purchase goods. Women's participation within medieval guilds was complex and varied. On one hand, guild membership allowed women to participate in the economy that provided social privilege and community. On

10948-557: The responsibilities of some trades toward the public. Modern antitrust law could be said to derive in some ways from the original statutes by which the guilds were abolished in Europe. The economic consequences of guilds have led to heated debates among economic historians. On the one side, scholars say that since merchant guilds persisted over long periods they must have been efficient institutions (since inefficient institutions die out). Others say they persisted not because they benefited

11067-472: The rules of guilds of their own. German social historians trace the Zunftrevolution , the urban revolution of guildmembers against a controlling urban patriciate, sometimes reading into them, however, perceived foretastes of the class struggles of the 19th century. In the countryside, where guild rules did not operate, there was freedom for the entrepreneur with capital to organize cottage industry ,

11186-492: The same name, was the first Australian feature-length film to be directed by a woman for 46 years. Armstrong received six awards at the 1979 Australian Film Awards (previously the Australian Film Institute Awards, or AFI 's) including Best Director. The film also brought considerable attention to its two main stars, Judy Davis and Sam Neill who were relatively unknown at the time. Following

11305-535: The site of an artificial harbor in Rome, the Portus , revealed inscriptions in a shipyard constructed during the reign of Trajan (98–117) indicating the existence of a shipbuilders guild. Collegia also included fraternities of priests overseeing sacrifices , practicing augury , keeping religious texts, arranging festivals , and maintaining specific religious cults . There were several types of guilds, including

11424-400: The society poorer. She says their main goal was rent seeking , that is, to shift money to the membership at the expense of the entire economy. Epstein and Prak's book (2008) rejects Ogilvie's conclusions. Specifically, Epstein argues that guilds were cost-sharing rather than rent-seeking institutions. They located and matched masters and likely apprentices through monitored learning. Whereas

11543-465: The squabbles over jurisdiction that produced the paperwork by which economic historians trace their development: The metalworking guilds of Nuremberg were divided among dozens of independent trades in the boom economy of the 13th century, and there were 101 trades in Paris by 1260. In Ghent , as in Florence , the woolen textile industry developed as a congeries of specialized guilds. The appearance of

11662-491: The standardized methods controlled by corporations . Interest in the medieval guild system was revived during the late 19th century, among far-right circles. Fascism in Italy (among other countries) implemented corporatism , operating at the national rather than city level, to try to imitate the corporatism of the Middle Ages. Guilds are sometimes said to be the precursors of modern cartels . Guilds, however, can also be seen as

11781-419: The style of a supernatural, romantic thriller. It received a modest earning at the box office, and was part of a special screening at the 2007 Toronto International Film Festival Despite the success of these more commercial films, it was Armstrong's lesser-known documentary Unfolding Florence: The Many Lives of Florence Broadhurst (2006), which earned her the most critical recognition during this time, and

11900-540: The success of My Brilliant Career , which was nominated for an Academy Award in Best Costume Design, Armstrong directed the Australian rock-musical Starstruck which proved her ability to tackle more contemporary and experimental subject matter and styles. She has directed a number of rock music videos in the early 1980s, including 1984's " Bop Girl " by Pat Wilson , which featured Nicole Kidman . Since then, Armstrong has specialised in period drama. She

12019-784: The two main categories of merchant guilds and craft guilds but also the frith guild and religious guild. Guilds arose beginning in the High Middle Ages as craftsmen united to protect their common interests. In the German city of Augsburg craft guilds are mentioned in the Towncharter of 1156. The continental system of guilds and merchants arrived in England after the Norman Conquest , with incorporated societies of merchants in each town or city holding exclusive rights of doing business there. In many cases they became

12138-469: The two most generalised categories for women in her line of work. Armstrong's films are described as mixing and intermingling genres in ways that recreate them as something vastly different than what they have been considered. Nevertheless, the films that Armstrong creates can also be considered conventional films in their appeal to the audience. Her films possess sensitive and delicate cinematography, fluid editing, an evocative feel for setting and costume, and

12257-476: Was Rachel Perkins , with Mystery Road , Series. Guild Typically the key "privilege" was that only guild members were allowed to sell their goods or practice their skill within the city. There might be controls on minimum or maximum prices, hours of trading, numbers of apprentices, and many other things. Critics argued that these rules reduced free competition , but defenders maintained that they protected professional standards. An important result of

12376-578: Was a required regulation of the yarn-spinners guild. The guildswomen of the gold-spinners guild were often wives of guildsmen of the gold-smiths. This type of unity between husband and wife was seen in women's guild participation through the medieval and early modern periods; in order to avoid unpleasant litigation or legal situations, the trades of husband and wife often were the same or complementary. Women were not restricted to solely textile guilds in medieval Cologne, and neither did they have total freedom in all textile guilds. They had limited participation in

12495-550: Was about 160, with 58 men, 17 widows, 55 wives, and 30 unmarried women. Gillian Armstrong Gillian May Armstrong (born 18 December 1950) is an Australian feature film and documentary director , best known for My Brilliant Career , Little Women , The Last Days of Chez Nous , and Mrs. Soffel . She is a Member of the Order of Australia . She has won multiple awards including an AFI Best Director Award, and has been nominated for numerous other awards including

12614-534: Was also established. In 2018, Larissa Behrendt won "Best Direction of a Documentary Feature Film" for After the Apology , which was partly funded by the Adelaide Film Festival's Indigenous Feature Documentary Initiative . In May 2019, ten awards were presented, as well as the top prize of Best Direction in a Feature Film, which Warwick Thornton won for Sweet Country . Another major winner

12733-685: Was establishing its own organised representation. ADG President Ray Argall became involved in the work of the Australian Screen Council, an attempt, ultimately ill-fated, to bring the screen guilds together. More broadly and in line with the ADG's understanding of the increasing impact of globalisation on Australian screen, Argall officially represented Australia in the founding of the International Federation of Coalitions for Cultural Diversity in Seville in 2007. He

12852-401: Was increasingly moving away from celluloid formats. Thanks to consistent participation in industry politics and promotion of directors' viewpoints, by the time the association changed its name to the Australian Directors' Guild (ADG) in 2007, it had become a well-established and well-recognised player in a complex industry/cultural scene in which seemingly every possible craft and interest group

12971-601: Was introduced into the Copyright Act in 2000, directors were defined as makers of a film along with writers and producers. Importantly, with the subsequent passing of the 2006 Copyright Amendment Act, ASDA and the Australian Writers Guild, now working together, managed to achieve protection for their members from contractual pressures to waive their moral rights – a waiver which is permitted and widely exercised in some other jurisdictions, notably in

13090-594: Was nominated for Best Director at the 1987 and 1992 Australian Film Institute Awards (AFIs). The Last Days of Chez Nous also earned her a nomination at the Berlin Film Festival . Despite this, both films were largely unrecognised internationally Armstrong discusses the making of High Tide in the 2003 Canadian documentary Complete Unknown co-directed by Griffin Ondaatje and Craig Proctor. In 1994, Armstrong achieved her greatest Hollywood success with

13209-558: Was often retained by the guild. The medieval guild was established by charters or letters patent or similar authority by the city or the ruler and normally held a monopoly on trade in its craft within the city in which it operated: handicraft workers were forbidden by law to run any business if they were not members of a guild, and only masters were allowed to be members of a guild. Before these privileges were legislated, these groups of handicraft workers were simply called 'handicraft associations'. The town authorities might be represented in

13328-508: Was similar in spirit and character to the original patent systems that surfaced in England in 1624. These systems played a role in ending the guilds' dominance, as trade secret methods were superseded by modern firms directly revealing their techniques, and counting on the state to enforce their legal monopoly . Some guild traditions still remain in a few handicrafts, in Europe especially among shoemakers and barbers . These are, however, not very important economically except as reminders of

13447-484: Was supported by some religious and secular authorities at the time. It is believed that the Inquisition and witch hunts throughout the ages contributed to the lack of women in medical guilds. In medieval Cologne there were three guilds that were composed almost entirely of women, the yarn-spinners, gold-spinners, and silk-weavers. Men could join these guilds, but were almost exclusively married to guildswomen. This

13566-453: Was the 18th and 19th centuries that saw the beginning of the low regard in which some people hold the guilds to this day. In part due to their own inability to control unruly corporate behavior, the tide of public opinion turned against the guilds. Because of industrialization and modernization of the trade and industry, and the rise of powerful nation-states that could directly issue patent and copyright protections — often revealing

13685-621: Was the first foreign woman to be approached by the American film company MGM to finance her direction of a big-budget feature, which became Mrs. Soffel (1984) starring Mel Gibson and Diane Keaton . This film tells the true story of an affair between a prisoner and a prison warden's wife, and was relatively well received by audiences and critics. On returning to Australia, Armstrong continued to make both documentaries and feature films. She earned great recognition for High Tide (1987) and The Last Days of Chez Nous (1992), for which she

13804-546: Was the middle child of a local real estate agent father and a primary school teacher mother who stopped outside work to rear a family. Armstrong stated in The Australian that her parents were always very supportive of her hopes and dreams, which was not always true for women in the 1960s and 70s. Her father was a frustrated photographer who wasn't allowed to follow his dreams professionally, yet continued his practise as an amateur. Armstrong reminisces that she grew up in

13923-483: Was the year in which the ADG was first included in the Directors Finder Series by the Directors Guild of America . The DGA Finders Series spotlights the director of an undistributed independent film chosen from member countries within the International Association of English-Speaking Directors Organizations (IAESDO). The Finder's Award was relaunched by the ADG in 2012, and in 2014 an Innovation Award

14042-496: Was to create a standard of work that the consumer could rely on. They were heavily concerned with public perception. In October 1712, the Lyon Wigmaker Guild petitioned the local police magistrates. According to this petition, guildmasters required guild officers to step up policing of statutes forbidding the use of bleached hair or wild goat and lamb hair. The real concern that they had was that bleaching hair destroyed

14161-467: Was transmissible hereditarily. Ogilvie (2004) argues that guilds negatively affected quality, skills, and innovation. Through what economists now call " rent-seeking " they imposed deadweight losses on the economy. Ogilvie argues they generated limited positive externalities and notes that industry began to flourish only after the guilds faded away. Guilds persisted over the centuries because they redistributed resources to politically powerful merchants. On

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