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Creating Heritage in the Australian Historical Miniseries 1978–1995

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Creating Heritage in the Australian Historical Miniseries 1978–1995 Creating Heritage in the Australian Historical Miniseries 1978–1995 Peter Mark Schembri BA(Hons), (Grad)DipEd (Qld) BBus(Comm), MBus, GradDipCreativeInd(CommDesign) (QUT) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2013 School of English, Media Studies and Art History Abstract This thesis examines Australian historical miniseries considering them as heritage artefacts rather than as historical records. Historical miniseries are interrogated for the nature and significance of their interpretations of events from the nation’s past as being the heritage of all Australians. How and why miniseries imagine the past as heritage establishes heritage interpretation as being related to, but not the same as, historical interpretation. The argument is made that the makers of historical miniseries are best thought of as ‘heritage interpreters’ bringing a heritage imagination to their storytelling. These miniseries makers are shown to have much in common with professional heritage interpreters working in museums and other cultural venues, where heritage interpretation is designed to inform, educate, and entertain audiences, viewers, and visitors. Consequently, particular attention is given to the specific heritage rules and expectations discernible in a historical miniseries production that have parallels to the rules and expectations evident in the work of the heritage professional and practitioner. There has, to date, been no study that systematically considers the many parallels and intersections between Film and Television Studies and Heritage Studies and what these similarities and connections might mean when analysing the historical miniseries or film. This thesis is concerned with outlining and elaborating these parallels and intersections. It is particularly focused upon: firstly, those processes of imagining, interpreting, representing, and communicating a version of the past developed by historical miniseries producers and comparing these processes to those applied by heritage practitioners; second, examining the nature and scope of the historical worlds created for historical miniseries and those constructed within cultural heritage institutions; and third, outlining the intersections of approach and object between Film and Television Studies and Heritage Studies. The peak period of Australian miniseries production between 1978 and 1995 is examined to reveal how and why historical miniseries makers interpreted and represented aspects of Australia’s past as heritage. A number of key Australian historical miniseries are singled out as case studies. The miniseries examined are Bodyline (1984), The Cowra Breakout (1984), Anzacs (1985), The Dunera Boys (1985), Vietnam (1987), The Leaving of Liverpool (1992), and Bordertown (1995). These miniseries offered audiences challenging and innovative – and often provocative – heritage interpretations and representations of events from their nation’s past. They were made in a cultural and political environment dominated by official multiculturalism, the Australian Bicentennial, and Australia’s increasing engagement with Asia. ii Assessments are made of the heritage value and cultural significance of the stories and historical worlds visualised and actualized in the miniseries, and an evaluation is undertaken of the miniseries themselves to determine their value as heritage items with cultural significance. This assessment and evaluation process employs an interdisciplinary approach combining perspectives from Film and Television Studies and Heritage Studies, as well as from Cultural Studies and History. Andreas Huyssen’s notions of ‘monumentality’ and ‘public culture’, John T. Caldwell’s discussion of ‘televisuality’, and the Australian heritage sector’s significance assessment processes, will be combined and adapted to assess Australian historical miniseries. This thesis seeks to show how Film and Television Studies can productively engage with many of the principles, orientations, theories, and practices of Heritage as a disciplinary and institutional field. iii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the General Award Rules of The University of Queensland, immediately made available for research and study in accordance with the Copyright Act 1968. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. iv Publications during candidature No publications. Publications included in this thesis No publications included. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. v Acknowledgements Completing this thesis as a part-time graduate student at The University of Queensland while also teaching full-time at the Queensland University of Technology, has been a challenge. Over an extended period of time, I have encountered various intellectual and academic orientations in cultural, media, and screen studies. They are now part of my own intellectual and cultural heritage. In a shifting intellectual environment, my thesis was anchored once I encountered John Caldwell's work on televisuality, Andreas Huyssen’s writings on monumentality and public culture, and Tom O’Regan and Jason Jacobs's interest in television history and its relation to public culture. Understandings within the field of Heritage Studies of heritage value and cultural significance provided new ways into materials that had become stale, illuminating these materials and offering an opportunity to see them in a new light. The reputation of the miniseries changes: once the powerhouse and innovator of Australian television drama production, miniseries became rare events. Assessments of the miniseries form and of many earlier miniseries have now been revised and been brought back into the spotlight. At The University of Queensland, I completed this thesis under the direction of my initial advisor P. David Marshall, until his departure from the university. Tom O’Regan, on becoming my new thesis advisor, worked with my associate advisor Jason Jacobs to provide me with exemplary guidance. I thank previous associate advisors – Graeme Turner, Liz Ferrier, and Jane Stadler – for their advice. I would also like to thank Angela Tuohy, Cathy Squirrell, and the School of English, Media Studies and Art History for their forbearance. Special mention to James Cole, a fellow PhD traveller at UQ, although his work is in another field. At QUT, my encounters with Stuart Cunningham were helpful (particularly at the beginning of the project). Also from QUT I’d like to thank Sean Maher and Helen Yeates, as well as Philip Castle and Gary MacLennan. For tolerating the inevitable updates on my thesis progress and encouraging me along the way: Mary-Anne Mangano, Mitchell Hodges, and Ruari Elkington. Outside academia, Irene Tsamis and Fortuna Galea have provided much-needed grounding in the real world. And to my three canine companions along the journey: thank you for being there. vi Keywords Australia, historical miniseries, heritage imagination, interpretation, representation, actualization, multiculturalism, colligation Australian and New Zealand Standard Research Classifications (ANZSRC) 190204 Film and Television 60% 200212 Screen and Media Culture 40% Fields of Research (FoR) Classification 1902 Film, Television and Digital Media 60% 2002 Cultural Studies 40% vii Table of Contents PART A Chapter 1 : HERITAGE CREATION AND STORYTELLING Introduction 1 Miniseries as Monumental Public History and Heritage Imagination 8 The Australian Miniseries 13 Melodrama and Visual Style 18 Realism and Naturalism 21 Revising and Rewriting the Past 26 Thesis Approach, Scope, and Organisation 30 Chapter 2 : HERITAGE STUDIES AND HISTORICAL MINISERIES Introduction 35 The British ‘Heritage Film’ Debate 38 Heritage and History 43 The Heritage Imagination and the Historical Imagination 47 Heritage Practice as an Interpretive Art 51 Theorising Heritage 56 Making Productive Generalisations 60 Experiencing and Performing Heritage 63 Memory and Heritage Interpretation 66 Conclusion 69 Chapter 3 : HERITAGE VALUE AND CULTURAL SIGNIFICANCE Introduction 70 Determining Cultural Significance 72 Contextualization and Coherence 75 Assessing Significance: Primary Criteria 80 Assessing Significance: Comparative Criteria
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