Hopalong Cassidy: A Horse Opera consists of the following three sections: Part One: Bang! Bang! Hopalong Cassidy Takes Darwin is a factual account of William Boyd’s event-packed two days in the Northern Territory capital in 1954; Part Two: Hopalepidopter Almost Takes Darwin is the libretto/storyboard created for Danius Kesminas in 2014; and Part Three: Invasion of the Puppets contains Lee McRae’s marvelous photographs of the Master of Architecture students’ amazing hand puppet-depictions of the opera’s characters.

Hopalong Cassidy: A Horse Opera

Arts & Photography

Groves, Derham

History & Criticism

Hog Press

A collection of projects by some University of Melbourne students involving dolls made up to look like victims and villains from Arthur Conan Doyle's books about Sherlock Holmes.

Victims & Villains: Barbie and Ken Meet Sherlock Holmes

Ramble House

From the Foreword by Clinton Greenwood, Graduate Architect, Exhibitions Designer Creativity is intelligence having funAlbert Einstein, German-born theoretical physicist who developed the theory of relativity Originality is simply a fresh pair of eyes Thomas W. Higginson, American Unitarian minister, author, abolitionist, and soldier As an icon of popular culture, The Monkees certainly tick all the boxes! Humour, action, unexpected twists and turns, along with the right combination of endearing personalities, fondly remembered for the trail of heart-throbbing girls left in their wake. Whilst a lot of fun, the apparent joyous spontaneity belies the careful orchestration of all aspects of production. Little wonder this memorable group of young kids from the 60s hasn’t escaped Derham Groves’ attention, nor is it surprising that the 50th anniversary of the band’s first Australian tour in 1968 has been celebrated with his signature ‘package of engagement’ culminating in this significant publication. As The Monkees prepare for their 2019 Australian tour, Groves is contemplating retirement from three decades of teaching architecture at universities in Melbourne. Groves is an extraordinary educator with the unlikely knack of merging popular culture, scorned by many as commonplace, with the arguably more esoteric dialogue of architectural theory. In engaging his audience, he also casts a broad net beyond the classroom to the community at large. Groves, the teacher, is also curator, constantly formulating narratives through surviving material fragments including magazines, photos, film clips, and general memorabilia. For this most recent project, almost two hundred Masters students were asked to craft hand puppets as portraits of the four Monkees, as part of their research assignment. Groves explains “…it’s one of my favourite exercises because it can liberate students from the conventions of architectural discourse which, far too often in my view, confuses good taste with good design”. Architects constantly sketch and construct models to explore or clarify form in space (and space within form) whilst prompting the intellect to interrogate concepts and broader possibilities. [...] believed portraiture to be central to his work stating: ‘I love people. I’m painting portraits with my buildings all the time. Take this Arts Centre, now. It’s a portrait of Melbourne of the time …. This is a rich, smug city. Pretty conservative ….’Expression within architecture has always been self-referential. For centuries, successive generations of architects have contributed to an ever-expanding dialogue through reimagining existing precedents. The Parthenon and Pantheon are but two of the icons underpinning much of the history of Western architecture. A building’s DNA might be blatantly obvious, or more subtly discernible through layering of influences from several sources. Architecture’s gene pool is continually enriched through theoretical constructs, often evolving from simple and common-place sources. The 19th-century architectural theorist Gottfried Semper foreshadowed the vision of the 20th-century skyscraper (characterised by its skeletal structural frame clad with non-load bearing ‘curtain’ walls) by hypothesizing the origin of architecture within the structure of the traditional Polynesian hut; a dwelling deemed as befitting the 18th-century humanist ideal of the uncorrupted noble savage. Whilst architectural theory frequently evolves from simple sources to more complex constructs, repetitive application does tend to lead to the consolidation of a succinct style.

Monkeemania in Australia: Celebrating the 50th Anniversary of The Monkees' Australian Tour in 1968

Feng Shui and Western Building Ceremonies

Religion & Spirituality

Occult & Paranormal

Heian Intl Pub Co

Homicide on Hydra: George Johnston's Crime Novels

Biographies & Memoirs

Arts & Literature

Every era has had the Sherlock Holmes it wanted or needed-except the 1970s. In that wild decade, all bets were off . . The popular image of Sherlock Holmes in any given period derives as much from the actors who portrayed the detective as it does from Sir Arthur Conan Doyle's original stories and Sidney Paget's famous illustrations. In earlier and subsequent decades this image was defined by a single stage or screen actor (from William Gillette and Basil Rathbone to Jeremy Brett and Robert Downey Jr.), but the nine Sherlock Holmes films made in the '70s re-imagine the detective in starkly divergent ways, from the boldly inventive to the flat-out irreverent. Holmes is variously portrayed as gay (Robert Stephens), crazy (George C. Scott), pompous (Stewart Granger), petulant (Gene Wilder), vulnerable (Nicol Williamson), camp (Roger Moore) wrong-headed (John Cleese), silly (Peter Cook), and socially conscious (Christopher Plummer). Yet all these films contribute in their own way to casting new light on the legend. In Sherlock in the Seventies, Derham Groves offers an entertaining and absorbing account of these films, packed with shrewd analysis and insights, background details, numerous illustrations, and behind-the-scenes anecdotes.

Sherlock in the Seventies: A Wild Decade of Sherlock Holmes Films

Humor & Entertainment

Movies

The Visible Spectrum

"Derham Groves has written this illuminating story of an exceptional but hitherto unsung Australian architect whose distinctive designs in China as well as his homeland may still be seen and enjoyed. In this book Groves has for the first time revealed some characteristic strands of Arthur Purnell's talents, whereby his subject's remarkable creativity is now clear for us to enjoy." -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Robert Irving, architecture historian and pupil of Arthur Purnell Arthur Purnell's 'Forgotten' Architecture: Canton and Cars focuses on two early phases in the career of the much overlooked and underrated Australian architect, Arthur Purnell (1878-1964). In 1903, Purnell teamed up with the American engineer, Charles Paget (1874-1933) in Canton, China. Between 1903 and 1910, Purnell and Paget designed many important and impressive buildings, including the Arnhold, Karberg & Co. building (1907), one of the first reinforced concrete buildings in Southern China, and the South China Cement Factory (1907), which would later become the headquarters of Dr. Sun Yatsen (1866-1925), the first president of the Republic of China. Not many architects can design a cement factory fit for a president's palace! When Purnell returned to Australia in 1910, he had to start again from scratch. As cars were taking over from horses in a big way, he saw that designing for cars would be the next big thing in architecture. The fledgling Australian car industry was full of colourful, larger-than-life characters like Col. Harley Tarrant (1860-1949), who built his first car in 1897 and Australia's first petrol-fuelled car in 1901, and Alec Barlow Sr. (1880-1937), the archetypal dodgy car salesman. Purnell wanted in, designing many buildings for both men, including early car factories and car showrooms. In this unique book, Groves asks: why isn't Arthur Purnell more famous?

Arthur Purnell’s ‘Forgotten’ Architecture: Canton and Cars

Architecture

Palgrave Pivot

Australian Western in the Fifties: Kangaroo, Hopalong Cassidy on Tour, and Whiplash&nbsp;looks at Australian Westerns from three points of view--film, personal appearance, and television at the beginning, middle, and end of the 1950s, the American Western's golden age. It looks at three significant but "forgotten" cases: (1)&nbsp;Kangaroo: The Australian Story, the first Technicolor film made in Australia, produced by the Hollywood movie studio 20th Century Fox, directed by the Academy Award-winning filmmaker Lewis Milestone, starring Maureen O'Hara, Peter Lawford, and Richard Boone. (2) The successful goodwill tour of Australia by the Hollywood actor William Boyd who played the film, radio, and television cowboy Hopalong Cassidy. (3) The British-American produced black-and-white TV series&nbsp;Whiplash, made in Australia and starring the Hollywood actor Peter Graves. The American filmmakers' ignorance of Australia meant they learned the hard waythere was more to Australian Westerns than simply replacing the prairie with the bush, bison with kangaroos, and Native Americans with Aboriginals. Indeed, the depiction of place and the presentation of Aboriginal culture are two of the most intriguing aspects of Australian Westerns. In retelling the filmmakers' stories, a unique picture of the Australian film and television industry and everyday life during the 1950s is revealed.&nbsp;&nbsp;

Australian Westerns in the Fifties: Kangaroo, Hopalong Cassidy on Tour, and Whiplash

PALGRAVE~MACMILLAN

Walt Disney’s Forgotten Australia: From Mickey’s Kangaroo to Outback At Ya!

Photography & Video

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