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Dr Ian Dixon
1174-1176 Mt Dandenong Tourist Rd
Kalorama, VIC 3766
i.dixon@sae.edu
Mob: 0402 147 107
Age: 49
Nationality: Australian
Languages: English & German
Current Position: Senior Lecturer & Unit Coordinator
SAE Institute, Melbourne
Duration: 8 years
Professional Memberships:
• Media Arts & Entertainment Alliance
• Australian Writers’ Guild
• Australian Directors’ Guild
• Game Developers’ Association of Australia
• Open Channel
• IABA Asia-Pacific Scholarly Network

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EDUCATION:
The University of Melbourne (2011):
My PhD thesis, Creative Collaborations: Performance, Writing and
Direction of ‘Crushed’ Inspired by the Films of John Cassavetes and the
Theatre of Michael Chekhov, was the pinnacle of twelve years in tertiary
education. This interdisciplinary dissertation synthesised over twenty
years of my industry experience as a film, television and theatre
practitioner combining scholarship in both disciplines to impart diligent,
practice-led research through the production and direction of a feature
length film.
The accompanying exegesis made significant contribution to knowledge by
expounding upon Chekhov’s theories, focusing on the previously elided
aspects of his methodology specifically geared toward the study of film
and, moreover, investigating Cassavetes’ filmmaking oeuvre. My thesis
covered areas not traditionally associated with filmmaking, including
film’s interrelationship with theatre, the improvisatory nature of
screenwriting and the performative process inherent in directing. As such,
I illuminated the influence of emotion, inner movement, and kinaesthetic
relations in the filmmaking process. Casting, building character, and the
director’s relationship with actors and drama, are further aspects of
discovery. This constitutes my scholarly contribution; namely the
synthesis of theatre-based knowledge and cinematic representations of
performance. Thus, this interdisciplinary dissertation uncovered
previously obscured knowledge regarding methodological similarities
between the two artists. Further, the study illuminated previously
erroneous interpretations of Cassavetes as filmmaker and actor as well as
bringing the enlightened ideas of Chekhov into modern practice. The
resultant, theatrically distributed feature film synthesised kinaesthetic
performance as a major aspect of mise-en-scène by expounding upon the

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practice-led methodology of screen direction while drawing on received
knowledge from theatrical heritage. Ramifications included international
scholarship leading to an invitation to present the Plenary Address for the
College English Association (CEA) in America in 2013 and three peer
reviewed papers so far. I also received an invitation to present a
Cassavetean-Chekhovian workshop to scholars at the Arts in Society
conference at Sapienza University, Rome in 2014 and a paper at Monash
University’s 2011 World Cinema Now conference. Thesis examiner
Professor Maria Viera of California State University called the thesis
‘outstanding’, placing it in the top 5% of all PhDs and nominating it for a
Chancellor’s Prize for Excellence.
The Victorian College of the Arts (1998):
After a decade in professional theatre practice, I returned to formal study
to achieve first class standing and top the class in a Graduate Diploma in
Filmmaking at the Victorian College of the Arts, School of Film and
Television (VCA). Positions at this prestigious school were awarded on the
basis of filmmaking talent, prior scholarship and related disciplinary
practice, as well as acumen and the demonstrable temerity required for
success in the industry. I subsequently received a fee waiving scholarship
to attend. Studies involved shooting five films, mostly on 16 mm celluloid.
My graduating short film, Cut (1998) won gold at the Australian
Cinematographers’ Society awards and was nominated by senior
academics for the ‘most daring and courageous filmmaking’ award at VCA,
for which I came runner up. Subsequent invitations were made globally to
screen the film at festivals.
Flinders University (1988):
Four years of intensive dramatic training as a professional actor formed
the basis for this Humanities Bachelor Degree with Honours. This
involved disciplinary research in theatre history and cinema studies,
which formed a major phalanx of study. Cognate time was spent in theatre

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and film productions in various capacities including director, producer and
actor for film and theatre. My graduating theatrical production, playing
Leanto in Women Beware Women (1988), drew attention from local
industry and resulted in professional casting in the lead role of nationally
touring theatre production Space Demons (1989) with Ariette Taylor.
The University of Adelaide (1986):
English Literature and European History formed my dual Major for this
Bachelor of Arts Degree, which I commenced immediately following
secondary education. These disciplinary studies concretised my writing
and English expression to academic standard, while forming the basis of
future art and research.
University Prizes & Scholarships:
• Nomination for Chancellor’s Prize for Excellence, 2011.
• 2006–2010 APA PhD scholarship, The University of Melbourne
• 2006 RMIT PhD scholarship∗
• 2003–2005 APA Master’s scholarship (rolled over to PhD), The
University of Melbourne
• 2010 Creative and Scholarly Award for outstanding staf, SAE
Institute Staff Excellence Award
• 2012 Creative and Scholarly Award for outstanding staff, SAE
Institute Staff Excellence Award
• 2015 Teamwork Award: great outcomes for students, staff and
company, SAE Institute Staff Excellence Award
∗
Not taken up.

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EMPLOYMENT HISTORY
Current Position: Tertiary Lectureship, SAE Institute, Melbourne
TEACHING:
For eight years, from 2008 to the present day, I have executed a full time,
ongoing, tertiary lectureship at SAE Institute, beginning with narrative,
storyboarding, semiotics and digital filmmaking for (former) Qantm
College then evolving to cultural and media studies, television production
and redesigning AQF accredited courses in new media and traditional
storytelling. I was ‘headhunted’ for the above employment as a result of
my PhD research and two years sessional teaching for SAE Institute prior
to 2008. SAE’s onerous 39 week trimester-based, accelerated learning
program demands close scrutiny and constant updating of course material
and teaching practices alike. Throughout this, official teaching surveys
indicate my consistent mean score of 4.0. The position also required
attention to policy, procedure and governance. Further, direct student
testimonials attest to my efficacy and popularity as a teacher, which has
proved invaluable for student retention.
During my time in full time lectureship, I facilitated industry and
scholastic benchmarking, through research and by inviting personnel to
attend our course review: the resultant panel of experts consisting entirely
of my personal contacts. Consequently, I was awarded team leadership of
the Australia-wide refurbishing of courses to Master’s accreditation level.
I also received regular training in student-centred and heutagogical
teaching and learning practices, which included best teaching and
innovative practices, new approaches to pedagogy through the ‘flipped’
classroom and specialty training in sensitive delivery of material to
hearing impaired, dyslexic, Asperger Syndrome and Spectrum Disorder
students. I apply and update these principles regularly with a keen eye to

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improving the student experience while building upon a rigorous approach
to pedagogy in general. Indeed, my educational philosophy is to enthuse
students and staff alike, deriving from Australian film and television
history and instilling the need for ground-breaking originality and to
encourage students toward a practical, reflective and entertainment
friendly skills-base.
ADMINISTRATION:
As senior lecturer and unit coordinator, the job necessitates timely
marking, administrative duties and online delivery of summative and
formative results. These bureaucratic processes are, of course, mandatory
for modern academics and augment effective student-centred learning
delivered while lecturing to classes often exceeding 100 students. Good
teaching practice extends to more intimate student-centred learning
delivered in tutorials, which also requires prompt delivery of class
exercises and student attendance registers for ongoing assessment. These
duties include sensitive liaison with student services while monitoring the
bureaucracy of extensions and specialty cases, according to policy needs
for both group and individual marking.
SUPERVISION:
SAE Institute does not currently teach to Masters and Doctorate level
although national strategic direction has earmarked me for such
supervisory positions as they eventuate and I am eager to comply. In the
pursuit of this, I maintain my top-ranking position as supervisor for
existing SAE programs as I develop future courses for higher research.
Currently, I supervise students’ trimester 6 undergraduate research
including scholastic dissertation, elective and studio practice portfolios.
This includes supervision of students to create professional standard
feature film screenplays and extended scholarly documentation. My
experience in this field includes invitations to supervise Masters and PhD
theses from other universities and my ongoing employment as an

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industry-based, professional script editor prevails in assisting higher
creative methodologies.
RESEARCH:
In 2011, I was placed in a research position, which afforded me 1.5 days
per week for scholarly research during SAE’s 39 week teaching schedule,
which means time spent in pure academia has been challenging. Although
the generosity of the SAE Institute is noted, my research continues to
flourish despite only limited time and fiscal support from SAE. I use this
time diligently to expand SAE’s credibility internationally, publish peer
reviewed papers and attend conferences globally. I am certain greater
achievement would ensue under the auspices of a public university: proper
time allocated to academic pursuit promises far more impressive results.
Indeed, funds for peer reviewed publication unable to be collected under
private education provision promises certain fiscal return given my
installment in the public system.
With SAE agreeing to scholarship funding at the conclusion of my
University of Melbourne APA scholarship for the PhD thesis, my work on
Creative Collaborations: Performance, Writing and Direction of ‘Crushed’
Inspired by the Films of John Cassavetes and the Theatre of Michael
Chekhov was concluded in timely fashion in 2011. Conference and
research funding alike followed as a result of successful grant
applications, amounting to significant internal and external funding
including private industry development. I was subsequently awarded
three internal travel grants and workshop funding under the auspices of
SAE.
Year Project Amount Funding Body
2014 London University Travel Grant $1,500.00 SAE Institute
2013 CEA Travel Grant USA $1,000.00 SAE Institute
2013 CEA Stipend USA $US1,000.00 CEA, USA

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2012 CEA Travel Grant USA $1,200.00 SAE Institute
2011 Internal PhD Scholarship $10,400.00 SAE Institute
2005 APA PhD Scholarship $33,450.00 Uni of Melbourne
2005 RMIT Scholarship $44,000.00 RMIT University∗
2003 APA Masters Scholarship $44,600.00 Uni of Melbourne
Further research for SAE continued with a concerted effort to apply best
practices for the publication of film and literature-based papers. Gaining
confidence, I soon garnered success in peer reviewed papers. In the past
two years, I have published six refereed publications, including two papers
with the prestigious John Hopkins University Press, USA (The Actor’s
Nature in Mise-en-scène; Chekhovian Kinaesthesia and Cinematic
Performance) and a third with Routledge, London through Deakin
University (Return of the Thin White Repressed: Narcissism in The Stars
(Are Out Tonight)). In recent months, a further three papers were chosen
for publication including: Arts in Society’s journal through Common
Ground Publishing, Cassavetes Meets Chekhov: Improvisational
Performance Technique for Digital Camera; Deakin University’s
Deviation-Deletion journal, Deviance Under the Dome: Horror/Science-
Fiction Hybridity as Uncanny in feature film The Perimeter; and
Reframing Quality Assurance in Creative Disciplines: Evidence to
Practice, a paper detailing SAE Institute’s course MDU111 Storytelling
for Contemporary Media also for Common Ground Publishing.
I currently have another two written papers under serious publishing
consideration: one invited for secondary editorial with Routledge for The
University of New South Wales (To Internet or Not: (Re-)covering New
Pathways for Distribution) and another based on a conference paper I am
to deliver at ACMI in July: Between Performance and Performativity:
Bowie as Actor/Bowie as Icon. This constitutes a rapid turnaround of peer
∗
Not taken up.

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reviewed papers with only limited time allocated for disciplinary research.
I am also working as editor and scholar for a volume of essays entitled: I’m
Not a Film Star: David Bowie as Actor. The book currently has
publication interest from Bloomsbury Publishing Inc., London.
My record of scholarship also includes the writing of articles, film and
book reviews for Media International Australia and Metro magazine as
well as two papers on twice Miles Franklin award winning Australian
author Rodney Hall (one of which was presented at CEA USA in 2012) and
three articles on John Cassavetes and novel adaptation for SAE’s
international magazine published in Germany.
COMMUNITY ENGAGEMENT:
I have actively participated in community oriented and promotional
activities representing SAE Institute, thus raising its local and
international profile for the past six years. These pursuits include
professional membership with Australian Directors Guild, Australian
Writers Guild, actors’ union the Media Arts and Entertainment Alliance
and the College English Association in USA. In other forums, I have
consistently appeared on the Australian Teachers of Media (ATOM)
selection committee: judging film competitions, which includes
engagement to write articles for their accompanying magazine. Judging
and selection committee placements include the International Association
for the Development of the Information Society (IADIS). Judging, revenue
raising and participation in the Sri Lankan Film Festival (SCATS) has
also become a welcome task. Consequently, I have provided SCATS
committee members and members of the Sri Lankan community in
general with free classes in filmmaking and screenwriting. I have drawn
funds into this not-for-profit organisation from a philanthropic position
and pledged ongoing commitment to young filmmakers by donating
further instruction for their films. I am currently implementing a
mentoring program where young filmmakers can observe the work of

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professionals in films representative of Sri Lankan themes. Further
support has consisted of public speaking and classes provided for Open
Channel, also on a pro bono basis. Further, I have uniformly promoted the
SAE at open days and assisted in promotional activities at choice games
forums and career expos annually. SAE and other institutions alike know
I am a reliable source of coaching and expertise.
Previous Employment: Holmesglen Institute (University of Canberra)
TEACHING:
Immediately preceding my employment with SAE Institute, I lectured for
Holmesglen Institute on a 0.5 contractual basis for two years from 2006 to
2008. Tertiary instruction for degree students at Holmesglen ranged from
practical to academic courses including: industry liaison; producing and
production management; financing models and budgeting; legal
considerations; editing software and principles of montage; pitching
feature films; casting and directing actors; as well as screenwriting and
cinema studies tuition. This constituted my dedicated work as an ongoing
part time lecturer.
ADMINISTRATION:
Bureaucratic and administrative duties included: filing; timely submission
of work charts; attention to delivery requirements; online and paper-based
marking, assessment and work sheets; as well as liaison with senior staff.
SUPERVISION:
Holmesglen aligned student production groups with professionally trained
practitioners as supervisors and I filled this capacity with keen attention
to facilitating student awareness of best practices in industry. Instruction
extended beyond the classroom to production-based pedagogy and
included my performing as mentor and even actor on student sets.

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RESEARCH:
Although not an official research position prior to my PhD, Holmesglen
engaged my services as researcher for tertiary course development and
nurtured my studies during the final years of my Master’s Degree, which
set me in good stead for my PhD candidature. Indeed the institution
actively promoted my exegetic film during its period of distribution and
exhibition, including critical insight from PhD established staff members.
COMMUNITY ENGAGEMENT:
Holmesglen supported my appearance at conferences and film festival
events including the Australian Writer’s Guild biennial seminar in
Adelaide 2007. Liaison and support continued for years after my
engagement including appearances at prize giving and screening events.
Previous Employment: Miscellaneous
A pedagogical position was accepted at VCA film school where I was
engaged immediately after graduation in 1999 to supervise student
shoots. I was consistently invited to lecture postgraduate and vocational
courses in directing actors and casting until 2003. The employment proved
efficacious in manifesting further casual tuition positions including Open
Channel, where I implemented new courses for mental health-affected
youth and indigenous classes. I subsequently taught disabled youth
classes at Grit Media and was invited to give classes in pitching film,
production, filmmaking and screenwriting for RMIT University,
Swinburne and Flinders University, Monash and Melbourne University
student unions. All courses involved my liaising with permanent staff and
delivering researched lecture material to specific budgets while delivering
academically sound assessment items and marking students accordingly.
This constituted the humble beginnings to my tertiary teaching career,
which subsequently superseded my artistic career as prime financial
support and included delivering the esteemed University of Melbourne
Gryphon lecture and enticing me toward permanent lectureship.

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WORK AS CREATIVE ARTIST
I have been directing, acting and producing for over 25 years: a journey
which began professionally back in 1988. Having completed two
undergraduate degrees as well as directing short film and acting in
student productions from 1984 to 1988, my artistic career began in earnest
at age 22 with my first industry casting: the lead role for Australian tour
of Ariette Taylor’s Space Demons (1989) with its premiere season at the
Adelaide Festival Centre. I went on to play many lead roles in my twenties
including The Heartbreak Kid (1990) and appearing in key productions at
the State Theatre Company of South Australia, including Jonah with
theatre-cum-film directors Neil Armfield and David Field.
Film and television employment was scant in South Australia during the
early 1990s so I relocated to Sydney where I spent five years touring
internationally with high profile musicals, the culmination of which was
taking over from Guy Pierce to play the lead in Grease (1995).
Taking my career to Melbourne, casting in such commercial television
shows as Underbelly, Rush, City Homicide, Blue Heelers, Stingers,
Martial Law, Guinevere Jones, Heartbreak High, Struck by Lightning,
Shadows of the Heart soon ensued.
Having established independent theatre company Zero Theatre
Productions in 1996, I moved my directing into the professional realm for
film and television, beginning with my placement at VCA film school. My
short films subsequently won directing awards internationally. Successful
funding applications through government and private investment alike
(including Screen Australia and Film Victoria) facilitated the writing of
screenplays as well as proficient training as director. Employment as a
television director followed in such productions as Neighbours and Blue
Heelers, which included my San Francisco International Film Festival
award winning series Wee Jimmy (2001) for SBSi. With financial

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assistance from angel and government investment and public universities
alike, I wrote a series of feature films with internationally acclaimed
editorial from Stephen Cleary. These included an adaptation of Rodney
Hall’s class selling novel Captivity Captive (1989) and current Hollywood
invested thriller Aquarium. One of these films, Crushed (2008), for which I
raised over $200,000.00 was screened at Cinema Nova to capacity
audiences. A review by Janet Watson Cruse commented on the film’s
merits:
Are all men bastards? Ian Dixon's profoundly character-driven
masterpiece never gives an easy answer to this question, but instead
takes us on an intimate journey into female friendship… The detail
of the work blew me away. The camera caught the actors tenderly in
very intimate close-ups, often moving in an almost musical way with
the conversation. It is obviously a film made with love. The
performances are so detailed and subtle, I found myself watching
really hard so I wouldn't miss a moment (Actors Australia, 2008).
In addition, I worked as assistant to the Artistic Director of the Australia
Korea Foundation for the Department of Foreign Affairs. I have also
written two novels now receiving publication interest both locally and
internationally. Annette Barlow, book publisher for Allen & Unwin, said of
my novel Loving the Amazon:
[Ian] has written some of the best sex scenes and a few of the most
beautiful sentences I’ve read for a long while… His sexual writing is
the best. It is there that the author seems to reach a direct, simple
honesty and really connects with what he is writing about.
Most importantly, my artistic career paid professional fees. Indeed,
professional theatre saw me travelling the world as a performer. In a
directorial position, I achieved world class production credits and made

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many successful grant applications for further training and development.
Following is a list of these:
Year Project Amount Funding Body
2012 H. Fine: Masterclass $350.00 SAE Institute
2011 R. McKee Masterclass $300.00 SAE Institute
2011 K. Dennis: Masterclass $100.00 SAE Institute
2011 ADG Membership $450.00 SAE Institute
2010 P. Margolis: Workshop $300.00 SAE Institute
2010 M. Hauge: Story Mastery $120.00 SAE Institute
2010 S. Kaplan: Romantic Com. $172.00 SAE Institute
2010 S. Cleary: Seminar $200.00 SAE Institute
2009 AWG Conference $1,000.00 SAE Institute
2009 GCAP Forum $340.00 SAE Institute
2008 ADG Conference $350.00 SAE Institute
2007 AWG Conference $3156.00 Holmesglen
2007 Crushed (production) $200,000.00 Private/Industry
2005 Captivity Captive (draft) $9,000.00 Film Victoria
2003 Blue Heelers (attachment) $1,400.00 Screen Australia
2001 Horace & Tina (attachment) $1,200.00 Film Victoria
2000 Neighbours (attachment) $1,200.00 Film Victoria
2000 Wee Jimmy (production) $310,000.00 SBSi
1999 Cork Film Fest (Ireland) $2,400.00 Ambridge Ltd.
1999 The Raptor Detail (draft) $10,000.00 Screen Australia

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PUBLICATIONS
As mentioned, my peer reviewed publication career is just beginning.
When not engaged in film projects or peer articles, I spend time writing
reviews for international academic journals and popular film magazines.
Following is an inventory so far:
Scholarly: PEER REVIEWED
Dixon, I. (2015). Aerial. Album Rescue Series. Dalton-Koss, 1(1), 33-38.
Dixon, I. (2015). Tin Machine II. Album Rescue Series. Dalton-Koss, 1(1),
74-79.
Dixon, I. (2015). Tonight. Album Rescue Series. Dalton-Koss, 1(1), 134-
142.
Dixon, I. (2015). Cassavetes Meets Chekhov: Improvisational Performance
Technique for Digital Camera. The International Journal of New
Media, Technology and the Arts, 11(1), 15-28.
Dixon, I. (2015). Deviance Under the Dome: Horror/Science-Fiction
Hybridity as Uncanny in feature film The Perimeter. Deviation-
Deletion, 9(April).
Dixon, I. (2015). MDU111 Storytelling for Contemporary Media.
Reframing Quality Assurance in Creative Disciplines: Evidence to
Practice, 1(9), 221-234.
Dixon, I. (2013). Return of the Thin White Repressed: Narcissism in The
Stars (Are Out Tonight). Celebrity Studies: Special Double Issue:
Celebrity Ecologies/The Unearthly David Bowie, 4(3), 397-400.
Dixon, I. (2013). Mise-en-scene and Kinaesthetically Charged Atmosphere
in John Cassavetes’ Faces. CEA Forum, 42(2), 157-168.
Dixon, I. (2013). The Actor’s Nature in Mise-en-scène: Chekhovian
Kinaesthesia and Cinematic Performance. CEA Critic, 75(3), 201-
211.

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CONFERENCE PAPERS
Dixon, I. (2015, November). Dangerous Reflections: Trauma, Eroticism
and the disguises of Imperialism in Loving the Amazon. Paper
presented at Flinders University, Victoria Square, Adelaide.
Dixon, I. (2015, July). Between Performance and Performativity: Bowie as
Actor/Bowie as Icon. Paper presented at ACMI, Deakin Edge, Deakin
University.
Dixon, I. (2014, June). Return of the Thin White Repressed: Narcissism in
The Stars (Are Out Tonight). Paper presented at Celebrity Studies:
Royal Holloway, University of London.
Dixon, I. (2014, July). Cassavetes Meets Chekhov: Improvisational
Performance Technique for Digital Camera. Paper presented at Arts
in Society: Sapienza University, Rome.
Dixon, I. (2013, April). The Actor’s Nature in Mise-en-scène: Chekhovian
Kinaesthesia and Cinematic Performance. Paper presented at
College English Association: Savannah, Georgia, USA.
Dixon, I. (2012, April). Borders of the Soul: Internal Metaphor in ‘The
Lonely Traveller by Night’. Paper presented at College English
Association: Richmond, Virginia, USA.
Dixon, I. (2011, September). Contemporary Legacies: the Films of John
Cassavetes and Theatre of Michael Chekhov. Paper presented at
World Cinema Now: Monash University, Victoria.
REVIEWS
Dixon, I. (2014). Review/The Ned Kelly Films: A Cultural History of Kelly
History. Metro Magazine, Australian Teachers of Media. Adolfo
Aranjuez (Ed). No. 181. August. pp. 118-121.
Dixon, I. (2013). Review/Hitchcock’s America. Rethinking Digital
Ethnography for Media International Australia. The University of
Queensland Press. Heather Horst, Larissa Hjorth and Jo Tacchi (Ed).
No. 151. June. pp. 207-208.

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Dixon, I. (2013). Review/Spike Lee’s America. Rethinking Digital
Ethnography for Media International Australia. The University of
Queensland Press. Heather Horst, Larissa Hjorth and Jo Tacchi (Ed).
No. 150. March. pp. 196-197.
Dixon, I. (2012). Review/International Journalism. Rethinking Digital
Ethnography for Media International Australia. The University of
Queensland Press. Heather Horst, Larissa Hjorth and Jo Tacchi (Ed).
No. 145. November. pp. 174-175.
ESSAYS
Dixon, I. (2013). The Trials and Tribulations of Taking Captivity Captive
from Book to Screen. SAE Magazine: The Magazine of SAE Institute
and SAE Alumni Association. September.
Dixon, I. (2012). The Art of Kinaesthetic. SAE Magazine: The Magazine of
SAE Institute and SAE Alumni Association. February. pp. 112/3.
Dixon, I. (2012). The Industry, New Opportunities and the Universal
Strength of Writing. Screen Hub. August. [Online]. Available at:
http://gndcc2012.blogspot.com.au/
Dixon, I. (2012). The Industry, New Opportunities and the Universal
Strength of Writing. Screen Hub. Cinema Nova, August. [Online].
Available at: http://gndcc2012.blogspot.com.au/2012/09/screenhub-
article-part-1.html#!/2012/09/screenhub-article-part-1.html
Dixon, I. (2011). John Cassavetes: Still Challenging the Modern
Filmmaker. SAE Magazine: The Magazine of SAE Institute and SAE
Alumni Association. August. pp. 108–110.

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Filmography: FILM & TV DIRECTING
2016 The Perimeter
Feature Film (Director/Producer) In Pre-production
2016 Birth Rites (Director/Writer) In Pre-production
2014 Interference
Short Film (Director/Producer/Writer) In Post-production
2009 Australian Industrial Systems Institute
Corporate Film
2008 When I Grow Up I Want to be White
(Director/Producer)
Written by Agatha Yim
2007 Crushed
Feature film (Director/Producer/Writer)
Cinema Nova
2005 Dark and Dark and Silent
Dance film with choreographer Delia Silvan
2004 Family Business
50 minute film
2002 Blue Heelers
(AFC funded Trainee Director with Steve Mann)
Directed significant portion of the episodes
2001 Neighbours
(Film Vic funded Trainee with Tony Osicka)
Directed full episodes
2000 Horace and Tina (Film Victoria funded attachment)
Jonathan M. Shiff Productions
2000 Wee Jimmy (26 min film drama for SBS)
Selected into 44th San Francisco Film Festival
Certificate of Merit Winner at Golden Gate Awards
Selected into 2001 St Kilda Film Festival
1999 The Raptor Detail
Awarded draft funding AFC

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Directed test scenes
1998 Cut (VCA major film – 16mm)
Selected 1999 Cork International Film Festival (Ireland)
Won Gold at 1999 Australian Cinematographers Society
His Dark Secret Love (VCA short film – 16mm)
Filmography: MAJOR ACTING ROLES
2013 Ted Whiting in Underbelly: Squizzy
2009 Sgt. William Carwin in In Her Eyes
2009 John Welsh in Rush (Southern Star Television)
2008 John Cassidy in City Homicide (Global TV)
2006 Various roles in Quilting the Armour
2005 Colin McReady in Blue Heelers (Channel Seven)
2004 Martin Salenger Cold (feature film)
2003 Matthew Lokan in Stingers (Simpson LeMesurier)
2002 De Flores in The Changeling (La Mama)
Gadowain regular role in Guinevere Jones
(Crawfords Australia/Ibis Films Canada)
1997 Caliban in The Tempest (Playbox Theatre Co.)
1996 Hyde in Cryptic (Zero Theatre Productions)
Twin in Peter Pan (Kerry Jewell & Associates)
Michael in My Blessings (Innersense Productions)
Puck in A Midsummer Night’s Dream (Up North)
1995 Danny (Lead) in Grease (Gordon Frost)
1994 Rod in Heartbreak High (Gannon Films)
Moose in West Side Story (Victorian State Opera)
1993 Chris (Lead) in Sir (Griffin Theatre Company)
Chang (Lead) in Fortune (Griffin Theatre)

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1991 Dorian Gray (Lead) in The Picture of Dorian Gray
Waxy in Jonah (State Theatre Company)
Hänschen in Spring Awakening (S.T.C. of S.A.)
1990 Birdman in Sabat Jesus (Playbox Theatre Company)
Stan Fargo in Shadows of the Heart (SA Film Corporation)
Andrew (Lead) in Space Demons (Patch Theatre Company)
1989 Downie in Struck by Lightning (SA Film Corporation)
Nicki (Lead) in The Heartbreak Kid (Theatre 62)
Filmography: SCREENWRITING
2011 Love Parade (feature)
(SAE research funding)
2008 Aquarium (feature)
(Melbourne Uni scholarship)
2006 Birth Rites (feature)
2005 Captivity Captive (feature)
Film Victoria draft funding – to third draft
2002 The Creeper (feature)
(Melbourne Uni scholarship)
2000 The Raptor Detail (50 mins short feature)
(AFC draft funding)

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REFEREES
Academic
Professor Sally Joy
Campus Manager, Dean of School
SAE Institute, Melbourne
Mob: 0409 809 742
s.joy@sae.edu
Assoc. Professor Leon Marvell
School of Communication and Creative Arts
Deakin University
Mob: 0403 939 207
Dr Elizabeth Presa
Head of Centre for Ideas,
Victorian College of the Arts
Tel: (03) 9035 9343
epresa@unimelb.edu.au
Dr Lisa Dethridge
Senior Lecturer,
Media and Communication
RMIT University
Mob: 0413 625 392
Tel: (03) 9925 9855
lisa.dethridge@rmit.edu.au
Industry
Mr Richard Jasek
Film/TV Director
Former Series Producer: Neighbours
Mob: 0412 186 033