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Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. -
Networked Knowledge Media Briefing Rupert Max Stuart Homepage This
Networked Knowledge Media Briefing Rupert Max Stuart Homepage This page setup by Dr Robert N Moles Black And White Review / Margaret Pomeranz and David Stratton Comments by Margaret Pomeranz In 1959 an aboriginal man Max Stuart was arrested for the rape and murder of a young girl on the beach at Ceduna South Australia. His trial and subsequent appeals became a cause celebre... it was never a case of black and white... When lawyer David O'Sullivan (Robert Carlyle) is assigned to defend Max Stuart (David Ngoombujarra), he has no idea that his involvement will lead him on a collision course with the police and with the justice system. He learns that Max's confession has been beaten out of him, that his confession is one he could not possibly have made, this with the help of Father Tom Dixon (Colin Friels). But the entrenched racism of the times makes Max's conviction a foregone conclusion, particularly with that bastion of the establishment, Crown Solicitor Roderic Chamberlain (Charles Dance) leading the case for the prosecution. O'Sullivan's refusal to accept the verdict, his desperate search for a basis for appeal will not only involve his law partner Helen Devaney (Kerry Fox) and the young Rupert Murdoch (Ben Mendelsohn) and Rohan Rivett (John Gregg), the editor of the Adelaide Advertiser, but will take him on a journey to the highest court in the system – the Privy Council in England. Black and White explores this fascinating and seminal piece of Australian history in a rather old-fashioned way. Dialogue is delivered in a declamatory style that just seems clunky, giving scenes a distinct lack of credibility. -
Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers. -
Critical and Creative Approaches Ed. Jan Shaw, Philippa Kelly, LE Semler
Published in Storytelling: Critical and Creative Approaches ed. Jan Shaw, Philippa Kelly, L. E. Semler (Basingstoke: Palgrave, 2013), pp. 83-113. Transnational Glamour, National Allure: Community, Change and Cliché in Baz Luhrmann’s Australia. Meaghan Morris What are the links between stories and the wider social world—the contextual conditions for stories to be told and for stories to be received? What brings people to give voice to a story at a particular historical moment? … and as the historical moment shifts, what stories may lose their significance and what stories may gain in tellability? (Plummer 25). The vantage points from which we customarily view the world are, as William James puts it, ‘fringed forever by a more’ that outstrips and outruns them (Jackson 23-24). Poetry from the future interrupts the habitual formation of bodies, and it is an index of a time to come in which what today exists potently—even if not (yet) effectively— but escapes us will find its time. (Keeling, ‘Looking for M—’ 567) 1 The first time I saw Baz Luhrmann’s Australia I laughed till I cried. To be exact, I cried laughing at dinner after watching the film with a group of old friends at an inner suburban cinema in Sydney. During the screening itself I laughed and I cried. As so often in the movies, our laughter was public and my tears were private, left to dry on my face lest the dabbing of a tissue or an audible gulp should give my emotion away. The theatre was packed that night with a raucously critical audience groaning at the dialogue, hooting at moments of high melodrama (especially Jack Thompson’s convulsive death by stampeding cattle) and cracking jokes at travesties of history perceived on screen. -
Love Affair Against the Odds: Ernie Dingo and Reconciliation
QUT Digital Repository: http://eprints.qut.edu.au/ McKee, Alan (1999) Love Affair Against the Odds: Ernie Dingo and Reconciliation. Australian Studies 14(1-2):pp. 189-208. © Copyright 1999 British Australian Studies Association Reconciliation (A Love Story Forged Against the Odds?) Alan McKee Department of Media Studies Edith Cowan University WA 6050 Australia Email: [email protected] Tel: +61 8 9370 6859 Fax: +61 8 9370 6668 Reconciliation page 2 Reconciliation (A Love Story Forged Against the Odds?) Heartland is a thirteen episode, fifteen hour miniseries starring Aboriginal actor Ernie Dingo. It was produced by and broadcast on the Australian Broadcasting Corporation in 1994. Ross Warneke in the daily Melbourne newspaper the Age, headlines his review of the series ‘Worthy “Heartland” must also be good television’. He goes on to worry that the program is likely to be too ‘worthy’ and informed by ‘political correctness’. ‘This is an important and worthy series. Not before time, it puts Aborigines and some elements of their culture at centre stage …’1. A similar approach is taken by Sue Turnbull and Rick Thompson in their review, where they suggest that they tried to force themselves to watch the program, but gave up and (guiltily) watched an American show on another channel2. Both of these articles place Heartland within a strong tradition of television programs and films representing indigeneity in Australia. Such texts are often seen to be worthy, serious, important; they demand spectatorship which is committed, socially aware and dutiful. They are not about entertainment or pleasure. Aboriginal representation in Australia – indeed, Aboriginality in the public sphere more generally – is often offered for consumption in such a way. -
South Australian Film-Makers' Perspectives on Policies
SOUTH AUSTRALIAN FILM-MAKERS’ PERSPECTIVES ON POLICIES: STATE AND FEDERAL FILM POLICIES AND THE REPRESENTATION OF CULTURAL DIVERSITY IN AUSTRALIAN FILMS BY LINH CHUNG Thesis submitted for the degree of Master of Philosophy Faculty of Arts in the Discipline of Media The University of Adelaide July 2019 Contents ABSTRACT ................................................................................................................ v DECLARATION .......................................................................................................... vi ACKNOWLEDGMENTS ............................................................................................ vii ACRONYMS ............................................................................................................ viii CHAPTER 1 INTRODUCTION.............................................................................. 9 1.1 South Australian film industry and South Australian film-makers ................ 10 1.2 Budget cuts to the screen industry and arts industry ................................... 11 1.3 Defining cultural diversity in Australia .......................................................... 11 1.4 Aims and objectives .................................................................................... 17 1.5 Approach ..................................................................................................... 17 1.6 Significance ................................................................................................. 18 1.7 Thesis outline ............................................................................................. -
'Whose City/Whose Fremantle?' Reconceptualising Space for an Open Politics of Place
Faculty of Humanities School of Social Sciences and Asian Languages ‘Whose City/Whose Fremantle?’ Reconceptualising Space for an Open Politics of Place Shaphan Leon Cox This thesis is presented for the Degree of Doctor of Philosophy of Curtin University October 2012 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... ii Abstract The notion of space being eroded by time underpins the dominant formulations of globalisation premised on time-space compression. The consequences have included the announcement of the ‘end of geography’. More recently, a spatial turn has repositioned the concept of space at the forefront of Human Geography. The aim of this thesis is to contribute to the ongoing theoretical reconceptualisation of space with an empirical study of the contested port city of Fremantle. Set within the broader metropolitan area of Western Australia’s capital city, Perth, Fremantle is simultaneously constructed by local and external actors as a ‘city under threat’ and as a ‘city in decline’. It is the dominant port city of Western Australia and differs in many ways, historically, physically, culturally and economically from its modern, suburban surrounds. Using the question ‘whose city’ in my interactions and observations within Fremantle, I began to see contestations for space emerging. This thesis explores four controversies pertinent to the ongoing battles to define (the meaning of spaces within) Fremantle. -
Filming Begins on Luhrmann's Epic 'Australia'
PRESS RELEASE: FOR IMMEDIATE RELEASE Friday 27 th April 2007 LIGHTS, CAMERA, ACTION: FILMING BEGINS ON LUHRMANN’S EPIC ‘AUSTRALIA’ After more than 2 years of research, writing and preparation, one of the most anticipated Australian films in recent history, Baz Luhrmann’s AUSTRALIA, officially commences filming Monday 30 April. Writer/producer/director Luhrmann is once again teamed with Academy Award® winner Nicole Kidman [MOULIN ROUGE!, THE HOURS, THE OTHERS] (with whom he last worked on the worldwide campaign for Chanel No. 5) and leading man Hugh Jackman [THE PRESTIGE, THE FOUNTAIN, X-MEN TRILOGY, KATE & LEOPOLD]. All three are thrilled to be back in their homeland and working with the world renowned cast and crew. Luhrmann said: “We are in a wonderful creative place in the Australian film industry where daring independent films like TEN CANOES can be made alongside groundbreaking digital animation like HAPPY FEET. And here we are about to embark on our epic AUSTRALIA, working with the best of world talent, in inspirational locations, in our own home country.” Joining Kidman and Jackman is a who’s who of Australian acting talent including legends Ray Barrett , Bryan Brown, Jack Thompson and Bill Hunter who will feature alongside David Wenham, Ben Mendelsohn, John Jarrett, Kerry Walker, Barry Otto, Matthew Whittet, Arthur Dignam, Bruce Spence, Tony Barry, Sean Hall, Essie Davis, Eddie Baroo, Nathin Butler, Jacek Koman, Sandy Gore, Yuen Wah [KUNG FU HUSTLE] from China and indigenous cast Lillian Crombie , Ursula Yovich [JINDABYNE], Angus Pilauki , Crusoe Kurrdal , Jamie Gulpilil, David Ngoombujarra [RABBIT PROOF FENCE, THE MISSING], David Gulpilil [TEN CANOES, THE TRACKER, RABBIT PROOF FENCE] and 11 year old Broome boy Brandon Walters, in his feature film debut. -
Academy of Motion Picture Arts and Sciences Reminder List of Eligible Releases for Distinguished Achievements During 2003
Academy of Motion Picture Arts and Sciences Reminder List of Eligible Releases for Distinguished Achievements during 2003 A AGENT CODY BANKS Frankie Muniz. Hilary Duff. Angie Harmon. Keith David. Cynthia Stevenson. Arnold Vosloo. Daniel Roebuck. Ian McShane. Darrell Hammond. Martin Donovan. Marc Shelton. Chris Gauthier. Harry Van Gorkum. Connor Widdows. Eliza Norbury. Justin Kalvari. Saul Kalvari. Andy Thompson. Andrew Johnston. Benjamin Ratner. Stephen E. Miller. Miriam Smith. Alexandra Purvis. Chad Krowchuk. Jeffrey Ballard. Shayn Solberg. Anthony Quao. Dee Jay Jackson. Peter New. Jared Van Snellenberg. Natalie Sellers. Noel Fisher. Andrew Francis. Branden Nadon. Jessica Harmon. Hayley Bouey. Chang Tseng. Michael Cromien. Dan Zukovic. Fiona Hogan. Eric Keenleyside. Scott Swanson. Terence Kelly. Gary Peterman. Dennis Caughlan. Xantha Radley. Prevail. Alex Diakun. Lisa Calder. Alan C. Peterson. ALEX & EMMA Kate Hudson. Luke Wilson. Sophie Marceau. David Paymer. Rob Reiner. Francois Giroday. Lobo Sebastian. Chino XL. Paul Wilson. Alexander Wauthier. Leili Kramer. Rip Taylor. Gigi Bermingham. Jordan Lund. Robert Costanzo. Cloris Leachman. Earl Carroll. Jordi Caballero. Michael Rappaport. Danica Sheridan. ALL THE REAL GIRLS Paul Schneider. Zooey Deschanel. Shea Whigham. Danny McBride. Maurice Compte. Heather McComb. Ben Mouton. John Kirkland. James Marshall Case. Patricia Clarkson. Maya Ling Pruitt. Eddie Rouse. Karey Williams. Matt Chapman. Amanda Chaney. Mary Beth Ayers. Summer Shelton. Bob Hardison. Bartow Church. AMERICAN SPLENDOR Paul Giamatti. Hope Davis. Judah Friedlander. James Urbaniak. Earl Billings. James McCaffrey. Maggie Moore. Vivienne Benesch. Chris Ambrose. Joey Krajcar. Josh Hutcherson. Cameron Carter. Daniel Tay. Mary Faktor. Harvey Pekar. Shari Springer Berman. Larry John Myers. Barbara Brown. Danny Hoch. Eli Ganias. Sylvia Kauders. Rebecca Borger. -
Reality and Race in Australian Film Reviewing Alan Mckee
Reality and race in AustralianAustralian Studies film in Journalismreviewing 8: 1999, pp.139-157 139 Accentuate the negative: reality and race in Australian film reviewing Alan McKee This article examines the ways in which Australian newspaper film reviewers interpret cinematic representations of Aboriginality. It points out that reviewers use the language of realism in order to insist that the reality of indigenous life in Australia is one of suffering and disempowerment, refusing alternative understandings of indigenous culture and survival. Alternative representations of indigenous reality are considered, and the importance of this question for indigenous/non-indigenous relations in Australia is addressed. he Fringe Dwellers (Bruce Beresford 1986) is an Australian film Twhich follows the fortunes of one Aboriginal family the Comeaways and in particular of their teenage daughter (Kristina Nehm). The film which is a mixture of comedy, social issues and moments of horror includes her unwanted pregnancy, and the death of her baby, before she finally leaves the community where she grew up. Evan Williams, reviewing The Fringe Dwellers, compares it unfavourably with an earlier film, Wrong Side of the Road (Ned Lander 1985). His dissatisfaction with the former comes from its failure to live up to the standards set by the latter. The earlier piece was, he states: . as rough as a smokers throat after an all-night party. It was a scruffy little piece, loosely scripted, acted mainly by amateurs and shot in black and white. But from first to last, it quivered with truth. It was full of raw anger and pain . [and] uncompromising realism. The Aboriginal characters 140 Australian Studies in Journalism were not the smiling, quaintly picturesque and happy-go-lucky folk we might prefer them to be, but miserable battlers, petty crims, boozers, unemployed drifters pathetic victims of a white mans society (Williams 1986). -
The Black List Is an Important Addition to Reference Material B
T h e Produced by Screen Australia’s Strategy & Research Unit, The Black List is an important addition to reference material B on Indigenous filmmaking in Australia, cataloguing the work l a of 257 Indigenous Australians with credits as producer, c director, writer or director of photography on a total of k 674 screen productions. L he i Listings go back as far as 1970 for feature films and telemovies, ! Film and TV to 1980 for documentaries and mini-series, and to 1988 for T shorts and series. projects since 1970 Titles are indexed by year and by filmmaker, and the book with also features a statistical summary and timeline of key titles and events. Indigenous Australians in key creative SCREEN A Black roles US TRALIA Li! he OVX:YD+1 T cf[TEChg gOYCEÐÖõÏ pOhM YDOLEY[jg jghf:VO:Yg OYUErCfE:hOoE Black f[VEg Li! ÛÛ #!1!1/ 0 .0 Yhf[DjChO[YÒ _nSKi@mnQKvxK@lm_JURK_apm~\^^@[KlmS@uKHla[K_nSlapRSna@ISUKuKHanSIlUnUI@\@_J Ia^^KlIU@\mpIIKmmvUnS-@ISK\*Kl[U_m¡3`O\?bS5OSn@[U_R^alKnS@_ Ý^U\\Ua_@nnSK Mf[Y[V[Lr[K pmnl@\U@_HawaQ~IK7@lvUI[0Sal_na_vU__U_RnSK @__Km @^Kl@J¡"lQalO[]\5SZWZOV YDOLEY[jgxVXò+1Ó @_J^p\nUi\K@v@lJmQalilaRl@^mmpIS@m7W`a2ba`OZWO\@_JDVS4W`QbWa DVS3ZOQY=WaIK\KHl@nKmnSKmKIa_nK^ial@lxmIlKK_mnalxnK\\Klm@_JnSamKnS@nS@uK Ergh:hOghOCgÐÑ Ra_KHKQalKilauUJU_RJKmIlUinUuK\UmnU_RmaQJl@^@@_JJaIp^K_n@lxnUn\KmvSKlK_JURK_apm pmnl@\U@_mS@uKHKK_IlKJUnKJU_nSK[KxIlK@nUuKla\KmaQilaJpIKlJUlKInalvlUnKlalJUlKInal +OhVEgBrrE:f aQiSanaRl@iSx¼ "*½ E:hjfEg ÐÔ 0SKI@n@\aRpK@U^mnaHK@mIa^ilKSK_mUuK@miammUH\KvUnSU_nSKnU^KiKlUaJmIauKlKJQal +1Df:X: ÐÔ K@ISQal^@n [CjXEYh:fOEg[YL -
Australian Studies in Journalism
Australian Studies in Journalism Australian Studies in Journalism ISSN 1038-6130 Published by the Department of Journalism, University of Queensland Number 8 1999 The changing role of a newspaper editor Jack Waterford 3 How newsroom failures limit readership gains Kerry Green 18 Chakravarti v Advertiser Newspapers: lessons for journalists Rhonda Breit 37 The corruption watchdog condemned the media criticised in letters to the editor Stephen Tanner 60 Corporations and collectives: an overview of Australian newspaper companies 1860-1920 Denis Cryle 83 The provincial press and politics: NSW, 1841-1930 Rod Kirkpatrick 96 Cosmetic surgery magazines: mass mediating the new face of medical practice Anne Ring 118 Accentuate the negative: reality and race in Australian film reviewing Alan McKee 139 Teaching journalism in the information age Stephen Quinn 158 Pacific newsrooms and the campus: some comparisons between Fiji and Papua New Guinea David Robie 176 News media chronicle: July 1998 to June 1999 Rod Kirkpatrick 197 Australian journalism research index Anna Day 239 Book Reviews 333 Number 8 1999 Australian Studies in Journalism Australian Studies in Journalism ISSN 1038-6130 Published annually by the Department of Journalism, University of Queensland. ASJ is an interdisciplinary journal dedicated to promoting research and scholarship on journalism and the news media in Australia. Editor John Henningham Professor of Journalism, University of Queensland Associate editor Rod Kirkpatrick Editorial Advisory Board Lawrence Apps, Curtin University;