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Chapter 3 Good Mother, Bad Mother and the Changing Boundaries
1 chapter 3 good mother, bad mother and the changing boundaries The mothering of a child is not something that can be arranged by rota; it is a live human relationship which alters the characters of both partners.1 Traditionally, the good mother has been associated with self-sacrifice. An extract from a Catholic education course on marriage in 1958 illustrates the point: To successfully fulfil her vocation of motherhood, the woman should possess great qualities of heart. Her entire life should be devoted to procuring happiness for those around her…It is natural for her to be devoted.2 This view of motherhood assigns women to a subservient position. It does not take into account the changing structure of the family, and instead, creates an environment which reinforces the belief that the mother's place is within the home, and primarily concerned with raising the children. The restrictive maternal role is endorsed in part by images in films which have the capacity to both reflect and influence ways of thinking. This chapter considers the representation of the mother in Australian feature films to decipher the way in which the narrative characterises good and bad maternal behaviour. The introductory chapter of this research contained a broad overview of historical events which were significant for the maternal role. The present chapter, in its first section, deals in more detail with those aspects which relate directly to expectations of good mothering. The second section of the chapter examines the way the mother is depicted in films. The designation of her as either a good or bad mother can be determined by her demeanour, the attitude of others towards her and, perhaps, above all, by her treatment in the narrative in terms of penalties or benefits reaped by her behaviour. -
Biographical Information
BIOGRAPHICAL INFORMATION ADAMS, Glenda (1940- ) b Sydney, moved to New York to write and study 1964; 2 vols short fiction, 2 novels including Hottest Night of the Century (1979) and Dancing on Coral (1986); Miles Franklin Award 1988. ADAMSON, Robert (1943- ) spent several periods of youth in gaols; 8 vols poetry; leading figure in 'New Australian Poetry' movement, editor New Poetry in early 1970s. ANDERSON, Ethel (1883-1958) b England, educated Sydney, lived in India; 2 vols poetry, 2 essay collections, 3 vols short fiction, including At Parramatta (1956). ANDERSON, Jessica (1925- ) 5 novels, including Tirra Lirra by the River (1978), 2 vols short fiction, including Stories from the Warm Zone and Sydney Stories (1987); Miles Franklin Award 1978, 1980, NSW Premier's Award 1980. AsTLEY, Thea (1925- ) teacher, novelist, writer of short fiction, editor; 10 novels, including A Kindness Cup (1974), 2 vols short fiction, including It's Raining in Mango (1987); 3 times winner Miles Franklin Award, Steele Rudd Award 1988. ATKINSON, Caroline (1834-72) first Australian-born woman novelist; 2 novels, including Gertrude the Emigrant (1857). BAIL, Murray (1941- ) 1 vol. short fiction, 2 novels, Homesickness (1980) and Holden's Performance (1987); National Book Council Award, Age Book of the Year Award 1980, Victorian Premier's Award 1988. BANDLER, Faith (1918- ) b Murwillumbah, father a Vanuatuan; 2 semi autobiographical novels, Wacvie (1977) and Welou My Brother (1984); strongly identified with struggle for Aboriginal rights. BAYNTON, Barbara (1857-1929) b Scone, NSW; 1 vol. short fiction, Bush Studies (1902), 1 novel; after 1904 alternated residence between Australia and England. -
Dad Rudd, M.P. and the Making of a National Audience. Dad Rudd, M.P
Dad Rudd, M.P. and the making of a national audience. Dad Rudd, M.P. was the fourth and final film made by Ken G. Hall based on characters originally created by ‘Steele Rudd’ (Arthur Hoey Davis) in 1895. It. was also the first of four films to receive a £15,000 overdraft from the NSW government as part of an attempt to encourage local film production. It was released by Cinesound in Australia in June 1940. According to the Australasian’s film critic ‘The Chiel,’ when the film was shown in Melbourne, ‘a queue that was 100 yards long to the box office, a crowded theatre, and sustained applause indicated that the Australian people have no fault to find with “Dad Rudd, M.P.”’(Chiel 1940). Box office for the film was indeed remarkable in Australia and the film also gained popular acclaim in Britain, where it was screened more than 1400 times before mid-1941 (Pike 1980:45). The Rudd family texts are unique in Australian cultural history for the extent to which they have been adapted, and the degree of their popularity in a variety of media over time. Authors, producers, directors and publicists of these texts engendered a market defined by its recognition of Australian cultural commonplaces. In this respect the Rudd characters have been instrumental in the creation and characterization of a specifically ‘Australian’ audience that can be defined in relation to a set of national symbols. Dad Rudd, M.P., in particular, illustrates the way in which such national symbols can be a product of market imperatives, overseas influences and chance. -
The Adventures of Algy
THE ADVENTURES OF ALGY Year of release: 1925 • Scenario: Beaumont Smith A romantic comedy/drama starring English-born variety entertainer and self-proclaimed "professional idiot" Claude Dampier, The Adventures of Algy was the comedian's second film for director/producer Beaumont Smith1 and his first to be set in both Australia and New Zealand. Following a series of misadventures in both countries, the film reaches its climax with the opening of an extravagant new revue at a Sydney theatre. It is here that Algy is reunited with his sweetheart. Among the cast were several high profile variety entertainers, notably Lester Brown, Verna Bain, and Hilda Attenboro. Image sources: Above: Mediasphere, Ngā Taonga Sound and Vision. New Zealand. Left: Still from the film. The narrative follows Algernon Allison, a Londoner with a monocle and a mania for crossword puzzles,2 who travels to New Zealand with his cousin Murray to claim a their inheritance. The bequest involves two parcels of land left by a recently-deceased uncle who wills the better property to the first cousin to claim it. When Murray tricks him out of the better inheritance, a sheep station, Algy is left with a seemingly worthless piece of land. Competition between the two me increase when they both fall for the beautiful and beguiling Kiwi McGill, a Pākehā and the daughter of the farm station's manager. Thwarted by his social awkwardness and inability to "stake his claim," Algy gives up and sets off despondently to wander the New Zealand countryside. If things weren't already bad enough, Algy is also thwarted by a by a perplexing crossword, in which a word of four letters meaning a popular disease continues to baffle him. -
SCREENING MOTHERS: Representations of Motherhood in Australian Films from 1900 to 1988
SCREENING MOTHERS: Representations of motherhood in Australian films from 1900 to 1988 CAROLINE M. PASCOE B.A. (Honours) M.A. UNIVERSITY OF SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy September 1998 ii The work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text. The material has not been submitted, either in whole or in part, for a degree at this or any other university. CAROLINE MYRA PASCOE iii ABSTRACT Although the position of mothers has changed considerably since the beginning of the twentieth century, an idealised notion of motherhood persists. The cinema provides a source of information about attitudes towards mothering in Australian society which is not diminished by the fact that mothers are often marginal to the narrative. While the study recognises that cinematic images are not unconditionally authoritative, it rests on the belief that films have some capacity to reflect and influence society. The films are placed in an historical context with regard to social change in Australian society, so that the images can be understood within the context of the time of the making and viewing of the films. The depictions of the mother are scrutinised with regard to her appearance, her attitude, her relationship with others and the expectations, whether explicit or implicit, of her role. Of particular significance is what happens to her during the film and whether she is punished or rewarded for her behaviour. The conclusions reached after analysis are used to challenge those ideas which assume that portrayals of motherhood are unchangeable and timeless. -
Popular Songs and Instrumentals in 1930S Australian Feature Films
Screen Sound n4, 2013 POPULAR SONGS AND INSTRUMENTALS IN 1930S AUSTRALIAN FEATURE FILMS Michael Hannan Abstract Seven feature films produced in Australia in the 1930s are analysed to examine professional practices in the use of music. The focus is on the way songs and instrumentals are used diegetically in the films selected for the study, rather than the use of music for underscore. Judgments are made about how diegetic music is employed to enhance the entertainment value of the films, to exploit the versatile talents of the actors, and to reflect the cultural values of the characters. The way that music interacts with film narrative structure is also considered. Keywords 1930s Australian films, diegetic songs, instrumentals, underscore This study examines the songs and instrumentals of a selection of feature films made in the 1930s in Australia at the beginning of the sound film era. The songs are all performed diegetically (i.e. as part of the narrative action) on-screen (or occasionally off-screen) and the instrumentals are a mixture of diegetic music performed on-screen or off-screen or used as underscore for titles or action sequences without dialogue. The term ‘instrumentals’ is used here to indicate pieces of music that are usually in the European classical music standard repertoire and thus recognisable to many listeners, for example Sergei Rachmaninoff’s Prelude in C sharp minor for solo piano (1892) and Edward Elgar’s Pomp and Circumstance March No 1 for orchestra (1901), two works that appear in the films being studied. The term “underscore” refers to instrumental music specially composed or adapted which is intended to enhance the mood of the narrative but is not a realistic part of it. -
Screen Sound: a Tribute to Rebecca Coyle
SCREEN SOUND The Australasian Journal of Soundtrack Studies Screen Sound n4, 2013 Screen Sound: The Australasian Journal of Soundtrack Studies Number 4, 2013 Screen Sound is a peer-refereed research journal founded by the late A/Prof Rebecca Coyle (Southern Cross University, Australia). The team includes acting co- editors Sarah Keith, Natalie Lewandowski and Alex Mesker (Macquarie University, Sydney). Editorial Board: • Giorgio Biancorosso (University of Hong Kong) • Anne Cranny-Francis (University of Technology, Sydney, Australia) • Mark Evans (Macquarie University, Sydney, Australia) • Jon Fitzgerald (Southern Cross University, Australia) • Michael Hannan (Southern Cross University, Australia) • Roger Hillman (Australian National University, ACT) • Henry Johnson (University of Otago, Dunedin, NZ) • Kyoko Koizumi (Otsuma Women’s University, Tokyo, Japan) • Theo Van Leeuwen (University of Technology, Sydney, Australia) • James Wierzbicki (University of Sydney, Australia) • Nabeel Zuberi (University of Auckland, NZ) Industry Advisory Board: • Martin Armiger (AFTRS) • Matthew Davies (NFSA, ASRA) • Matthew Hancock (Screen Australia) • Dr Glenda Keam (Composers Association of NZ) • Jo Smith (AGSC) • Mark Ward ISSN 1838-3343 (Print) ISSN 1838-3351 (Online) e-correspondence address: [email protected] The opinions expressed in articles in this journal are those of the authors alone. Copyright for articles published in this journal is held jointly by the authors and Screen Sound and no reproduction of material is permitted without -
Australasiana
Australasiana Collectors’ List No. 174, 2014 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Johannes Janssonius (Dutch, 1588- JOSEF LEBOVIC GALLERY 1664). Indiae Orientalis, Nova Descriptio Established 1977 [Dutch Map Of The East Indies], 1630. 103a Anzac Parade, Kensington (Sydney) NSW Engraving, text including title in plate over- all, 42.7 x 56.7cm (paper). Soiling and minor Post: PO Box 93, Kensington NSW 2033, Australia rubbing overall, repaired tears, creases and missing portions. Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) $3,800 Text includes “Amstelodami. Ioannes Ianssonius Email: [email protected] • Web: joseflebovicgallery.com excudebat.” Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Original as issued. Important early map of Southeast Asia and the Philippines, and a land mark in the mapping Member of • Association of International Photography Art Dealers Inc. of Australia, first published by Jan Jansson in 1630. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. is also the only Dutch printed map showing the 1606 discoveries of Willem Jansz, who in the Duyfken is attributed as making the first recorded European discovery of Australia, mapping the Cape York Penin- COLLECTORS’ LIST No. 174, 2014 sula. Ref: NLA. 2. Johannes Janssonius (Dutch, 1588-1664). Mar Di India, 1650. Hand- Australasiana coloured engraving, text including title in plate overall, 43.8 x 55.9cm. Centre fold, slight foxing overall, minor cockling On exhibition from Wed., 16 October to Sat., 22 November.