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221:(1989) is a photographic series composed of six vibrant Cibachrome colour prints and three black-and-white prints. It is a now iconic series of photographs that built Moffatt's first widespread public attention, each of which borrows from film language to construct what is described as "an enigmatic narrative of a young woman looking for more out of life than the circumstances of her violent rural upbringing."
599:, Moffatt collates clips of black servants in Hollywood movies talking back to their 'bosses', attempting to expose the attitudes to race often found in mainstream cinema. Also, this film is written on two women, one white and one black. In this film, the story line shows the conflict between the white woman and the black woman who is her maid. It shows racial tensions.
299:. The story relies on a triangular mixed-race relationship. Of this work Moffatt stated: 'My work is full of emotion and drama, you can get to that drama by using a narrative, and my narratives are usually very simple, but I twist it ... there is a storyline, but ... there isn't a traditional beginning, middle and end.'
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is a collection of clips from movies and television programs that depict artists at work, at play and in the act of creation. By showing the particular bias of television and cinema to what the role of an artist apparently means to modern society, the film reflects the sometimes uninformed, sometimes
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Tracey
Moffatt is an iconic figure to both of us. She holds a mirror up to a social landscape that we all understand, exposing the dynamics of power that we consume and enact. The ways in which our works engage and respond to each other creates a multi-layered dialogue that always seems to come back
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employs the theme of race and violence, displaying a loose narrative set against the backdrop of a remote town, 'a place of ruin' and devastation populated by misfits and minor characters. It is one of
Moffatt's larger series of photographs and takes its visual ideas from Italian modernist cinema
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In the film, Moffatt reminds and displays history of the colonial past of
Aboriginal people. The film makes connections between Aboriginal people and their colonizers by touching on systems that were used by colonizers to harm and put Aboriginals at a disadvantage. In the film, there is a clear
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This is an exhibition of contemporary art, not in the sense that it was done recently, but in that it is cased in the mentality, technology and philosophy of radical art of the most recent times. No one, other than the
Aborigines of Australia, has succeeded in exhibiting such art at the
358:(2005) is a series 40 images in which the artist takes on the persona of famous women born – like the artist – under the zodiac sign of Scorpio. The series reiterates the artist's ongoing interests in celebrity, alternate personas and constructed realities. Moffatt's 2007 series
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also use sound mixes that reinforce the 'fakeness' of the settings and use well-worn experimental cinema devices such as audio field recordings and low tones to provide atmosphere. Her series of montage video works made in collaboration with Gary
Hillberg, including
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explores the idea of 'celebrity' among people in her immediate social circle – family members, fellow artists, her dealer – through 'glamorised' renderings of their faces using computer technology, repetitive framing and bright colours.
354:(2004) is Moffatt's most unabashed fantasy series using painted backdrops, costumes and models (including the artist herself) to enact a soap opera like drama of doctors, nurses and pilots in a tropical setting.
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tackles problems of colonialism and imperialism in
Australia and how it affects the Indigenous population. This biennial is the first time since 1997 that Australia has been represented by an Indigenous artist.
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In 2000, Moffatt's work was amongst those by eight individual or collaborative groups of
Indigenous Australian artists included in a major exhibition of Australian Indigenous art held in the prestigious
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In 1997 Moffatt held her "first substantial exhibition to date" which established her artistic reputation internationally, at Dia Art
Foundation in the United States, featuring numerous works including
522:. Moffatt also makes explicit references to Australian art history, drawing parallels between Indigenous history and the recording the landscape by non-Indigenous artists by quoting artists such as
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magazine accompanied by captions. While the words are compelling, they don't explain the images, indeed they tend to add to their enigmatic nature as though more information is a further dead end.
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280:" – Indigenous Australian children who were taken from their families and forcibly relocated under Government policy – was enacted and performed on location in Queensland's outback. Like
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st, Visit North
Terrace Adelaide SA 5000 Australia T. +61 8 8207 7000 E. infoartgallery sa gov au www agsa sa gov au AGSA Kaurna yartangka yuwanthi AGSA; l, s on Kaurna; Maps, Open in.
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Moffatt uses different aspects of colonization of
Aboriginal people to illustrate the damage and hurtful events that took place, reminding viewers of the past colonial history.
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coming fourth in their various competitions. Seeking to underline their outsider status, the images are treated so only the ignoble fourth place holder is highlighted.
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mother. At age three she was fostered out of her family, growing up as the eldest of three daughters in a white family and often left to look after her foster sisters.
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tension and mixed feelings between the characters, one being a white woman and the other an Aboriginal woman, who play adoptive mother and daughter, respectively.
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to ideas of perception and power. What dictates our perceptions of the world, how are we perceived and how do we participate in that equation with autonomy.
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Moffatt's work since 2000 has retreated from specific locales and subject matter and become more explicitly concerned with fame and celebrity. Her series
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In 2017 she represented Australia at the 57th Venice Biennale with her solo exhibition, "My Horizon". Her works are held in the collections of the
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Though she is best known for her photographic works, Moffatt has created numerous films, documentaries and videos. Her work often focuses on
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exploring mixed and sometimes obscure references to issues of sexuality, history, representation and race. Other series of images, notably
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Moffatt's work in film and video has included short films, experimental video and a feature film. The short films rely on the stylistic
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entertainment district looking for fun, presented in cut-away context with the historical oppression of Indigenous women by white men.
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reiterates many of Moffatt's visual motifs from her still photography – sets, non-acting, an evocative use of sound and music. In
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1254:"An interview with Tracey Moffatt, 'Tracey Moffatt', eds P Savage & L Strongman, City Gallery Wellington, Wellington p 34"
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Moffatt's attempts to draw ironic or romantic connotations in juxtaposition to the images and narratives, such as her use of
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methodology of taking images from pre-existing sources and re-editing them into ironic commentaries on the material.
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The Wizard of Oz, 1956, (1994), Scarred for Life by Tracey Moffatt – The Collection – Art Gallery of New South Wales
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2003 saw Moffatt named by Australian Art Collector magazine as one of the country's 50 most collectible artists.
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a landlord who evicts a family from a house. The images were partly inspired by memories from her early life.
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As her work progressed over the next decade, Moffatt began to explore narratives in more gothic settings. In
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1260:. Art Gallery of New South Wales Photography Collection Handbook (2007). Art Gallery of New South Wales
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114:(born 12 November 1960) is an Indigenous Australian artist who primarily uses photography and video.
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1205:"Tracey Moffatt interviewed by M Cathcart, 'Arts Today', ABC Radio National, Sydney, 31 Jul 2000"
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in Russia. The exhibition received a positive reception from Russian critics, one of whom wrote:
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is composed of three self-contained narratives with recurring visual motifs. In the first story
263:(1999) again tackled these themes but which referenced the photojournalism and photo essays of
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1280:"Tracey Moffatt: Free-falling | Exhibitions & Projects | Exhibitions | Dia"
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for example provides a commentary on the clichéd role of the artist in Hollywood cinema, and
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acted in this film, and also danced in and choreographed another of Moffatt's short films,
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225:(1989) is one of Moffatt's best-known films. Inspired by the 1955 classic Australian film
215:(1987). Commissioned by the Murray Art Museum Albury and shot in Link Studios in Wodonga,
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it tells the story of an Aboriginal woman forced to care for her ageing white mother.
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remixes a collection of scenes of destruction from disaster movies. Her feature film
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AGNSW collection record – Up in the sky 1, (1997), Up in the sky by Tracey Moffatt
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Senzani, Alessandra (2007). "Dreaming Back: Tracey Moffatt's Bedeviling Films".
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1493:"Lip and Love: subversive repetition in the pastiche films of Tracey Moffatt"
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1348:"Tracey Moffatt review – horrible histories from Australia's Venice envoy"
441:, which was first presented at Roslyn Oxley9 Gallery, Sydney, Australia.
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In 2024, Moffatt created the gothic photographic series of eight images,
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1374:"'Land Abounds': Considering the breadth and blind spots of art history"
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The Encyclopedia of Women and Leadership in Twentieth-Century Australia
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Grishin, Sasha (15 April 2000). "Aboriginal art makes it to the top".
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Moffatt uses the character of an American soldier, in the second part
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502:(1993) is a trio of narratives themed around spirits and hauntings.
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178:, graduating in 1982, and received an honorary doctorate in 2004.
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railway tracks connect a series of events and in the final part
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530:. The short film was selected for official competition at the
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Primarily concerned with a series of almost static vignettes,
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and the way they are understood in cultural and social terms.
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List of Indigenous Australian art movements and cooperatives
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for her solo exhibition "My Horizon", which was curated by
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In 2017 Moffatt was selected to represent Australia at the
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In 2020, Moffatt was awarded an Honorary Fellowship of the
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National Aboriginal & Torres Strait Islander Art Award
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Moffatt holds a degree in visual communications from the
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Commissioned for the 16th Biennale of Sydney in 2008.
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1106:"NIGHT CRIES - Ronin Films - Educational DVD Sales"
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906:Women Filmmakers of The African And Asian Diaspora
612:humorous view of society towards artists today.
1019:"Historyonics: Tracey Moffatt's Something More"
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420:as well as video works by Moffatt, runs at the
408:From 28 May until 24 July 2022, the exhibition
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876:"Tradition today: Indigenous art in Australia"
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341:(2001) used images of sportspeople from the
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1087:"University of the Sunshine Coast Gallery"
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824:"National Gallery - Search the Collection"
379:. The exhibition consisted of two videos,
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1427:"'Land Abounds' presented by Ngununggula"
847:AGSA - The Art Gallery of South Australia
428:(meaning "belonging". Abdul-Rahman said:
908:. United States of America. p. 144.
880:AGNSW collection record – Tracey Moffatt
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123:Museum of Contemporary Art, Los Angeles
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1805:21st-century Australian women artists
1800:20th-century Australian women artists
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1323:. January–March 2003. Archived from
934:"The secret lives of Tracey Moffatt"
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231:, and sharing similar aesthetics to
1372:Fitzgerald, Michael (2 June 2022).
1030:Australian Broadcasting Corporation
506:Night Cries: A Rural Tragedy (1989)
16:Australian photographer (born 1960)
1795:Officers of the Order of Australia
1750:Australian experimental filmmakers
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1453:Essays in Film and the Humanities
904:Foster, Gwendolyn Audrey (1997).
781:"Tracey Moffatt born 1960 | Tate"
412:, featuring the work of brothers
387:, and two series of photographs,
251:(1998) returned to the themes of
167:in 1960 to a white father and an
1825:21st-century women photographers
1820:20th-century women photographers
1775:Queensland College of Art alumni
1230:. Art Gallery of New South Wales
1185:. Art Gallery of New South Wales
1158:. Art Gallery of New South Wales
1131:. Art Gallery of New South Wales
882:. Art Gallery of New South Wales
1830:20th-century Australian artists
1810:21st-century Australian artists
1790:Australian contemporary artists
1765:Australian women film directors
1425:Francis, Kirsty (4 June 2022).
751:Scott Murray, "Tracey Moffat",
199:Moffatt's first short film was
195:Something More (Tracey Moffatt)
1785:Australian women photographers
1558:Art Gallery of New South Wales
1346:Searle, Adrian (10 May 2017).
828:searchthecollection.nga.gov.au
243:Moffatt's photographic series
144:and has previously resided in
135:Art Gallery of New South Wales
131:Art Gallery of South Australia
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1815:Women experimental filmmakers
1760:Australian Aboriginal artists
1467:"Festival de Cannes: Bedevil"
1313:"50 Most Collectible Artists"
998:University of New South Wales
127:National Gallery of Australia
766:"Australia Council Programs"
660:Night Cries: A Rural Tragedy
153:Australian Aboriginal people
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726:The White Ghosts Sailed In
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381:The White Ghosts Sailed In
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183:Royal Photographic Society
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557:1993 Cannes Film Festival
356:Under The Sign of Scorpio
343:2000 Summer Olympic Games
176:Queensland College of Art
72:Queensland College of Art
1770:Australian video artists
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1317:Australian Art Collector
1222:Moffatt, Tracey (1998).
1177:Moffatt, Tracey (1999).
1150:Moffatt, Tracey (1994).
1123:Moffatt, Tracey (1998).
534:Film Festival in 1990.
159:Early life and education
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1228:AGNSW collection record
1183:AGNSW collection record
1156:AGNSW collection record
1129:AGNSW collection record
1508:Cite journal requires
573:Lovin' the Spin I'm in
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422:NSW Southern Highlands
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1780:Artists from Brisbane
1491:SMITH, SARAH (2008).
1179:"Scarred for life II"
1110:www.roninfilms.com.au
993:Indigenous Law Centre
960:"Honorary Fellowship"
874:Fink, Hannah (2014).
418:Abdul-Rahman Abdullah
205:Sydney's King's Cross
163:Moffatt was born in
1471:festival-cannes.com
1054:(14 January 2004).
672:INXS: The Messenger
630:Nice Coloured Girls
569:Choo Choo Choo Choo
459:Nice Coloured Girls
455:experimental cinema
445:Film and video work
297:Pier Paolo Pasolini
261:Scarred for Life II
201:Nice Coloured Girls
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1152:"Scarred for Life"
524:Frederick McCubbin
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616:REVOLUTION (2008)
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257:Scarred for Life
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1401:"Land Abounds"
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1659:Richard Bell
1611:Institutions
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1714:Harry Wedge
1709:Judy Watson
1679:Fiona Foley
1547:Night Cries
1431:A Rich Life
1405:Ngununggula
1071:23 February
1036:23 February
1003:10 December
988:"Gail Mabo"
624:Filmography
528:The Pioneer
516:Night Cries
512:Night Cries
482:(2007) and
463:Night Cries
439:The Burning
426:Ngununggula
424:gallery of
307:(1997) and
259:(1994) and
247:(1991) and
223:Night Cries
189:Early works
82:Photography
60:Nationality
54:, Australia
1729:Categories
1125:"Laudanum"
790:27 October
739:References
708:REVOLUTION
607:Moffatt's
591:Lip (1999)
484:REVOLUTION
397:My Horizon
333:Hermitage.
295:(1961) by
169:Aboriginal
63:Australian
52:Queensland
37:1960-11-12
1476:22 August
914:cite book
636:Watch Out
360:Portraits
292:Accattone
245:Pet Thang
213:Watch Out
209:Gail Mabo
68:Education
1694:Lin Onus
1618:Boomalli
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969:13 April
855:cite web
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165:Brisbane
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1647:Artists
1556:at the
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1061:The Age
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1385:5 June
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734:(2017)
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714:Mother
710:(2008)
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702:DOOMED
698:(2003)
692:(1999)
686:(1999)
684:Artist
680:(1997)
678:Heaven
674:(1993)
668:(1993)
662:(1990)
656:(1989)
650:(1988)
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632:(1987)
609:Artist
585:Heaven
532:Cannes
496:DOOMED
492:Artist
488:cut up
480:DOOMED
472:Artist
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309:Heaven
142:Sydney
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720:Other
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315:2000s
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1535:IMDb
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