DOCSLIB.ORG

Xavier Herbert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Xavier Herbert Figure 1: Xavier and Sadie Herbert at the launch of Poor Fellow My Country , 1975. Wendy K. Rogers 2/22 Daventry St West End, Q 4101 Film and Television Creative Industries Faculty Queensland University of Technology Masters of Arts (Research) 2010 ii KEY WORDS Documentary Script Writing Biographical Documentary Creative Practice Australian Documentary Industry Australian Broadcasting Corporation Screen Australia Xavier Herbert Percy Trezise ABSTRACT As a biographical documentary concept develops, its intention and its form are impacted and may be transformed by market demands. The documentary idea about the life of Xavier Herbert has been in development through a number of iterations within the shifting landscape of the Australian documentary industry from the mid- 1990s to 2009. This study is, on the one hand, an endeavour to find a workable way to express and practise the multi-layered complexity of creative work, a long-form documentary script on Herbert, an Australian literary icon. On the other hand, this thesis represents a cumulative research exercise, whereby my own experiences in the documentary industry in Queensland, Australia and overseas are analysed in an effort to enlighten the broader documentary community about such a complex, even labyrinthine, process. iii Table of Contents Illustrations v. Abbreviations vi Statement of Original Authorship vi Acknowledgements vii Chapter One Introduction: the creative challenge 1 Outline of Chapters 3 Methodology, Significance and Limitations of the study 4 Contextual Review 7 The Documentary Field 10 Conclusion 13 Timeline of the development of the documentary idea about Xavier Herbert 14 Chapter Two Taking on ‘Old Horrible’: the documentary in development 16 Background to the Current Study 17 Vérité and the Documentary Industry under stress 20 ABC Documentary History 22 The Herbert Story in Development 23 The Form of the Documentary 25 Case Studies 25 Case Study 1: Mike Rubbo’s “All About Olive” (Rubbo 2005) 26 The Travelogue 27 The Investigator and Interactional Moments 28 The Tragedy 29 A New Producer 30 Narrative Approach and Form 31 The Style of Reconstruction 32 Case Study 2: “The Legend of Fred Paterson” (Laughren and Dawson 1996) 33 Film Industry Merger: Screen Australia 34 iv Approaching the Commissioning Editor 36 Interpretive Interactionism: The Interview and Scriptwriting 38 Case Study 3: Unfolding Florence: The Many Lives of Florence Broadhurst (Armstrong 2006) 40 Chapter Three Creating the script for a new age of documentary production 44 Wrapping the Creative Practice Script 47 Future Challenges 50 References 53 Filmography/Broadcast Programs 60 Bibliography 61 Films, Television and Radio Programs 69 Creative Component: Script Xavier Herbert: My Own Road 71 References 127 Filmography/Broadcast Programs 129 Appendix A 131 Appendix B 143 v Illustrations 1. Xavier and Sadie Herbert at the launch of Poor Fellow My Country (Herbert, 1975), 1975. i 2. Red Bluff at Jowalbinna, N.Q. – taken from video by the author, 1997. 1 3. Xavier Herbert at Narrabeen NSW, 1940, Fryer Library. 16 4. Xavier Herbert at 21 and Sadie Norden, Fryer Library. 20 5. Mike Rubbo and Olive Riley during the production of All About Olive, http://www.roninfilms.com.au/feature/645.html 26 6. Xavier Herbert 1980 in Darwin for the Kungarakun land claim hearing in 1980, Northern Territory Library. 27 7. The Legend of Fred Paterson poster http://www.roninfilms.com.au/feature/682.html 33 8. Mark Twain poster http://www.pbs.org/marktwain/ 38 9. Unfolding Florence: The Many Lives of Florence Broadhurst (Armstrong 2006) poster http://www.filmaust.com.au/unfoldingflorence/default.asp 40 10. Xavier Herbert and Percy Trezise visiting cave paintings Nth Qld, freeze- frame from Xavier Herbert Profile , 4 Corners ABCTV, Dec 3 1978, Director P. Ross. 44 11. Percy Trezise at Jowalbinna, taken from video interview by Wendy Rogers, 1997. 48 vi Abbreviations ABC Australian Broadcasting Corporation FFC Film Finance Corporation SBS Special Broadcasting Service Statement of Original Authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. Signature Date vii Acknowledgements This MA (Research) was created with immense contributions from my supervisor, Associate Professor Geoffrey Portmann, and my associate supervisor, Helen Yeates. Associate Professor Geoffrey Portmann supervised the writing of the script, which is the practical component of this study. I am indebted to him for his professional yet light-hearted and supportive role during the process. His generosity added a broad, creative vision to the project. Helen Yeates has supervised the writing of the exegetical component of this study. Her approach to this task has always been receptive and warm and her valuable assistance crucial in the creation of a flowing document of quality and magnitude. From a practitioner’s point of view Helen added the much needed academic rigour to the exegetical component of the study. I am grateful for the assistance of my supervisors and for the opportunity to work within the walls of the Faculty of Creative Industries, QUT. It has truly been a transformative experience. This study is the culmination of my work on this particularly long-term documentary project on the life of Xavier Herbert. Since I commenced researching into Xavier Herbert in 1995, there have been many people who have offered support and assistance without which I may not have proceeded. My close friends, Carol Voigt and Michael Duffy, have long been greatly supportive in my shifting ideas and queries about Herbert’s life; have listened and given feedback. Kevin Guy, a great Herbert enthusiast, first came to me with the idea and collected key articles. As the idea of forming a documentary about Xavier Herbert progressed, many people working in film and television generously gave assistance and became involved. Dick Marks lent me his new digital camera for the interviews which I videoed in the mid-nineties. The former Film Queensland, now Screen Queensland, funded much of the early research and the interviews which are now so cherished. David Flatman has also contributed to the development of the Herbert documentary story, and, as executive producer, worked with me to present it as a documentary project idea to Film Australia in 1997. Gil Scrine, writer, was also a contributor to the 1997 attempt at raising broadcaster interest this documentary. I value and respect their professionalism. I would also like to thank my long-term friend and colleague, Mark viii Chapman, who presented this documentary idea to the ABC in 2006. Mark has been a leading light in the Queensland documentary production industry for many years and we would not be seeing the stories that we now do without his hard work and inspiration. Sue Clothier, then Head of TV Factual Production, Screenworld, and her colleague, executive producer, Mike Bluett, also saw the value of the Herbert story and became involved. This production team contributed their time and intellect to its development when presenting it to Film Australia in 2008. Mark Hamlyn of Film Australia became involved at this point, and took the project forward to the ABC. I appreciate the opportunity of having witnessed and drawn on the great abilities of this team. Robyn Pill, holder of the Herbert Estate, has also been a consistent support. Robyn has lent me many valuable materials over the years and has kindly permitted the use of copyright material for this study. Her professional approach has been mirrored by that of Fran Moore and Tim Curnow, literary agents with Curtis Brown (Aust), who have also been very helpful. It is a great responsibility to be the ‘keepers’ of such an important body of work and I appreciate their time and patience. The research that surrounds the documentary script in this study was possible through the co-operation of a number of key researchers who generously gave their time and information. I am particularly indebted to Dr Russell McDougall, for supplying me with integral information about Herbert. We have had numerous meetings, and Russell has always been open to sharing ideas especially during the first phase of research in the mid-1990s. Another eminent Herbert researcher (and friend of Xavier and Sadie Herbert), Professor Laurie Hergenhan, has been most forthcoming and has assisted this work through many conversations and a videoed interview. Professor Hergenhan’s great work in collecting and preserving materials belonging to Xavier and Sadie Herbert, and the numerous publications he has produced, represents the backbone of this great Australian writer’s heritage. Frances de Groen also kindly met with me to talk about her extensive research into the lives of Sadie and Xavier Herbert. Professor Harry Heseltine, whose work has also helped lay the foundation of our understanding of Xavier the man and artist, also took the time to speak with me about his personal memories of Xavier Herbert. I would also ix like to thank Eddie Acland for the copy of his unpublished article on Herbert’s family heritage. Many of the people who knew and loved Xavier and Sadie also contributed to this research project. The late Percy Trezise, welcomed me onto his fabled rural property, Jowalbinna , and kindly gave a long interview over the four days I was there. Percy’s son, Stephen, has also been interested in the project and has freely given information. John McHugh, long-term friend of the Herberts, also generously gave an interview, as did the late Joe McGinness. The opinions and recollections of other members of the McGinness family, particularly Mim Morley, have been integral in forming the portrait of Xavier Herbert, adding breath and life that only those present in his life could offer.
Recommended publications
  • Profile: Fred Paterson

    Profile: Fred Paterson

    Fred Paterson The Rhodes Scholar and theological student who became Australia's first Communist M.P. By TOM LARDNER Frederick Woolnough Paterson deserves more than the three lines he used to get in Who’s Who In Australia. As a Member of Parliament he had to be included but his listing could not have been more terse: PATERSON, Frederick Woolnough, M.L.A. for Bowen (Qld.) 1944-50; addreii Maston St., Mitchelton, Qld. Nothing like the average 20 lines given to most of those in Who’s Who, many with much less distinguished records. But then Fred Paterson had the disadvantage—or was it the distinction?—of being a Communist Member of Parliament— in fact, Australia’s first Communist M.P. His academic record alone should have earned him a more prominent listing, but this was never mentioned:— A graduate in Arts at the University of Queensland, Rhodes Scholar for Queensland, graduate in Arts at Oxford University, with honors in theology, and barrister-at-law. He was also variously, a school teacher in history, classics and mathematics; a Workers’ Educational Association organiser, a pig farmer, and for most o f the time from 1923 until this day an active member of the Communist Party of Australia, a doughty battler for the under-privileged. He also saw service in World War I. Page 50— AUSTRALIAN LBFT REVIEW, AUG.-SEPT., 1966. Fred Paterson was born in Gladstone, Central Queensland in 1897, of a big (five boys and four girls) and poor family. His father, who had emigrated from Scotland at the age of 16, had been a station manager and horse and bullock teamster in the pioneer days of Central Queensland; but for most of Fred’s boyhood, he tried to eke out a living as a horse and cart delivery man.
  • The Communist Party Dissolution Act 1950

    The Communist Party Dissolution Act 1950

    82 The Communist Party Dissolution Act 1950 After the Second World War ended with the defeat of Germany and Japan in 1945, a new global conflict between Communist and non-Communist blocs threatened world peace. The Cold War, as it was called, had substantial domestic repercussions in Australia. First, the spectre of Australians who were committed Communists perhaps operating as fifth columnists in support of Communist states abroad haunted many in the Labor, Liberal and Country parties. The Soviet Union had been an ally for most of the war, and was widely understood to have been crucial to the defeat of Nazism, but was now likely to be the main opponent if a new world war broke out. The Communist victory in China in 1949 added to these fears. Second, many on the left feared persecution, as anti-Communist feeling intensified around the world. Such fears were particularly fuelled by the activities of Senator Joe McCarthy in the United States of America. McCarthy’s allegations that Communists had infiltrated to the highest levels of American government gave him great power for a brief period, but he over-reached himself in a series of attacks on servicemen in the US Army in 1954, after which he was censured by the US Senate. Membership of the Communist Party of Australia peaked at around 20,000 during the Second World War, and in 1944 Fred Paterson won the Queensland state seat of Bowen for the party. Although party membership began to decline after the war, many Communists were prominent in trade unions, as well as cultural and literary circles.
  • Book History in Australia Since 1950 Katherine Bode Preprint: Chapter 1

    Book History in Australia Since 1950 Katherine Bode Preprint: Chapter 1

    Book History in Australia since 1950 Katherine Bode Preprint: Chapter 1, Oxford History of the Novel in English: The Novel in Australia, Canada, New Zealand and the South Pacific since 1950. Edited by Coral Howells, Paul Sharrad and Gerry Turcotte. Oxford: Oxford University Press, 2017. Publication of Australian novels and discussion of this phenomenon have long been sites for the expression of wider tensions between national identity and overseas influence characteristic of postcolonial societies. Australian novel publishing since 1950 can be roughly divided into three periods, characterized by the specific, and changing, relationship between national and non-national influences. In the first, the 1950s and 1960s, British companies dominated the publication of Australian novels, and publishing decisions were predominantly made overseas. Yet a local industry also emerged, driven by often contradictory impulses of national sentiment, and demand for American-style pulp fiction. In the second period, the 1970s and 1980s, cultural nationalist policies and broad social changes supported the growth of a vibrant local publishing industry. At the same time, the significant economic and logistical challenges of local publishing led to closures and mergers, and—along with the increasing globalization of publishing—enabled the entry of large, multinational enterprises into the market. This latter trend, and the processes of globalization and deregulation, continued in the final period, since the 1990s. Nevertheless, these decades have also witnessed the ongoing development and consolidation of local publishing of Australian novels— including in new forms of e-publishing and self-publishing—as well as continued government and social support for this activity, and for Australian literature more broadly.
  • A U D I O B O O

    A U D I O B O O

    A U D I O BOOKS new titles catalogue october 2011 to april 2012 open & special access AUDIO INFORMATION FOR PEOPLE WITH PRINT DISABILITIES qns.net.au quality prices mission statement Queensland Narrating Service is a non-profit community organisation that enables people with print disabilities to exercise their right to access desired information in audio formats enabling them to enrich their lives and participate in decisions that affect them. QNS operates in a fair and responsible manner in our dealings with volunteers, staff, funding providers, agencies representing people with print disabilities and the broader community. quality The Queensland Narrating Service employs stringent processes which ensure that the quality of QNS audio books continues to improve and meet the high standards expected by readers and librarians. Queensland Narrating Service’s Quality Management System is certified under AS/NZS ISO9001:2008. Feedback is encouraged and appreciated. Narrators are skilled and motivated people often with backgrounds in radio broadcasting and acting. qns audio - open access - special access Consumers’ special needs are an important consideration: • All audio formats are clearly identifiable by introductions, endings and tactile numbering • CDs are track marked at each chapter for easy navigation • All QNS audio books are complete and unabridged QNS offers both open access books (narrated for the general community) and special access books (narrated for people with print disabilities). For a definition of print disability see www.qns.net.au No unauthorised copying, broadcasting or public performance of these recordings is permitted. prices All prices quoted in this catalogue include GST and presentation folders with full colour cover insert.
  • Bicycle Art; Painting with Film

    Bicycle Art; Painting with Film

    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2017-02 The Documentary Art of Filmmaker Michael Rubbo Jones, D.B. University of Calgary Press http://hdl.handle.net/1880/51804 book http://creativecommons.org/licenses/by-nc-nd/4.0/ Attribution Non-Commercial No Derivatives 4.0 International Downloaded from PRISM: https://prism.ucalgary.ca THE DOCUMENTARY ART OF FILMMAKER MICHAEL RUBBO D. B. Jones ISBN 978-1-55238-871-6 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission.
  • Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA

    Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA

    arts Article Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA Marie Geissler Faculty of Law Humanities and the Arts, University of Wollongong, Wollongong, NSW 2522, Australia; [email protected] Received: 19 February 2019; Accepted: 28 April 2019; Published: 20 May 2019 Abstract: This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA. Keywords: Aboriginal art; bark painting; Smithsonian; Baldwin Spencer; Tony Tuckson; Charles Mountford; ANTA To post-war tourist audiences in the USA, the imagery of Australian Aboriginal culture and, within this, the Arnhem Land bark painting was a subtle but persistent current in tourism promotions, which established the identity and destination appeal of Australia. This paper investigates how the Australian Government attempted to increase American tourism in Australia during the post-war period, until the early 1970s, by drawing on the appeal of the Aboriginal art imagery. This is set against a background that explores the political agendas "of the nation, with regards to developing tourism policies and its geopolitical interests with regards to the region, and its alliance with the US. One thread of this paper will review how Aboriginal art was used in Australian tourist designs, which were applied to the items used to market Australia in the US. Another will explore the early history of developing an Aboriginal art industry, which was based on the Arnhem Land bark painting, and this will set a context for understanding the medium and its deep interconnectedness to the land.
  • Westminsterresearch the Artist Biopic

    Westminsterresearch the Artist Biopic

    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.

  • Brisbane Used to Be Called the Deep North

    Radical Media in the Deep North: The origins of 4ZZZ-FM by Alan Knight PhD Brisbane used to be called the Deep North. It spoke of a place where time passed slowly in the summer heat, where rednecks ran the parliament and the press, blacks died from beatings and the police thought themselves above the law. Even though Brisbane is situated in the bottom southeast quarter of the great northern state of Queensland, it's sobriquet represented a state of mind. Queensland was described as a cultural backwater lacking bookshops, political pubs, radio and television network headquarters and the publishing centres where Australian intellectuals could be seen and heard. It was fashionable, then as now, for many in Sydney and Melbourne to dismiss Queenslanders as naive, if not malignant conservatives. Yet in 1975, Brisbane created Australia's most radical politics and music station, 4ZZZ-FM. It broadcasts to this day. How did it come about and why? The Bitter Fight Queensland has a long, yet often forgotten history of conflict between conservatives and radicals. In a huge, decentralised state, the march to democracy has been signposted by demands for free speech expressed through a diversified media. ZZZ is an offspring of these battles, which were in part fought out in the state's mainstream and underground media. The bitter fight began in earnest in 1891, when Queensland shearers went on strike over work contracts. The strikers produced a flurry of cartoons, articles and satirical poems, which were passed around their camp fires. They joined armed encampments, which were broken up only after the government called in the military.
  • Representations of Sex in Australian Writing. Cambridge: Cambridge Scholars Publishing, 2009, 361Pp

    Representations of Sex in Australian Writing. Cambridge: Cambridge Scholars Publishing, 2009, 361Pp

    Xavier Pons. Messengers of Eros: Representations of Sex in Australian Writing. Cambridge: Cambridge Scholars Publishing, 2009, 361pp. AU$ 44.95 ISBN: 1 4438 0523 8 (pbk) From early convict narratives to contemporary literary fiction, Australian writers have consistently represented a diverse range of sexual behaviours, scenarios, desires and identities. Notwithstanding such an intriguing and bountiful array of sexual narratives and a rather sophisticated range of analytical approaches made available by psychoanalytic, postmodern, feminist, gay, lesbian, and queer scholarship, Australian literary critics have been relatively silent or perhaps even coy when it comes to thinking about sex. Back in 1998, Dean Kiley chastised ‘OzLitCriture’ for its reluctance to adequately address the queerness of Australian literature: Despite the gloriously disproportionate over-representation of queer writers and writing in whatever you might call an OzLit canon, the cybernetic industry of Australian Literature and its critical machinery (OzLitCriture for short) continues to occlude, defuse, diffuse, evade and domesticate queer issues. In the years since Kiley’s critique a body of work about Australian literature and sexuality has developed but book-length studies have failed to emerge. In this sense Xavier Pons’ Messengers of Eros can claim the title of being the first full length critical study of the representations of sex in Australian literature. Xavier Pons has been contributing to Australian literary studies, and been one of its chief proponents in Europe, since the late 1960s. Pons has published on an extensive range of Australian authors and themes and is perhaps best known for his critical study on the work of Henry Lawson, Out of Eden (1984).
  • Xavier Herbert: Forgotten Or Repressed? Vol

    Xavier Herbert: Forgotten Or Repressed? Vol

    Cultural Studies INTRODUCTION Review Xavier Herbert: Forgotten or Repressed? Vol. 23, No. 2 Liz Conor1, Ann McGrath2 2017 1 Department of Archaeology and History, La Trobe University, Bundoora VIC 3086, Australia 2 Australian Centre for Indigenous History, Australian National University, Acton ACT 2601, Australia Corresponding author: Liz Conor, Department of Archaeology and History, La Trobe University, Bundoora VIC 3086, Australia; [email protected] DOI: http://dx.doi.org/10.5130/csr.v23i2.5818 Article History: Received 9/4/2017; Revised 9/8/2017; Accepted 9/11/2017; Published 27/11/2017 Abstract © 2017 by the author(s). This is an Open Access article Xavier Herbert is one of Australia’s outstanding novelists and one of the more controversial. In distributed under the terms his time, he was also an outspoken public figure. Yet many young Australians today have not of the Creative Commons Attribution 4.0 International heard of the man or his novels. His key works Capricornia (1938) and Poor Fellow My Country (CC BY 4.0) License (https:// (1975) won major awards and were judged as highly significant on publication, yet there creativecommons.org/licenses/ has been relatively little analysis of their impact. Although providing much material for Baz by/4.0/), allowing third parties to copy and redistribute the Luhrmann’s blockbuster film Australia (2008), his works are rarely recommended as texts in material in any medium school curricula or in universities. Gough Whitlam took a particular interest in the final draft or format and to remix, of Poor Fellow My Country, describing it as a work of ‘national significance’ and ensuring the transform, and build upon the manuscript was sponsored to final publication.
  • Xavier Herbert, 'Inky' Stephensen and the Problems Of

    Xavier Herbert, 'Inky' Stephensen and the Problems Of

    Cultural Studies RESEARCH ARTICLE Review Encountering Indigeneity: Xavier Herbert, Vol. 23, No. 2 ‘Inky’ Stephensen and the Problems of Settler 2017 Nationalism Dan Tout Faculty of Education and Arts, Federation University, Churchill Campus, PO Box 3191 Gippsland Mail Centre VIC 3841, Australia Corresponding author: Dan Tout, Faculty of Education and Arts, Federation University, Churchill Campus, PO Box 3191 Gippsland Mail Centre VIC 3841, Australia; [email protected] DOI: http://dx.doi.org/10.5130/csr.v23i2.5823 © 2017 by the author(s). This Article History: Received 12/22/2017; Revised 8/21/2017; Accepted 8/10/2017; is an Open Access article Published 27/11/2017 distributed under the terms of the Creative Commons Attribution 4.0 International (CC BY 4.0) License (https:// Abstract creativecommons.org/licenses/ by/4.0/), allowing third parties The 1930s in Australia was a period marked by rising awareness of and attention to Australia’s to copy and redistribute the ‘half-caste problem’. Released and promoted in tandem with the 1938 sesquicentenary of material in any medium or format and to remix, Australia’s settler colonisation, Xavier Herbert’s novel Capricornia appeared as a searing transform, and build upon the protest against the exclusion of so-called ‘half-castes’ from white Australia. The novel itself material for any purpose, even was published by the Publicist Publishing Company, platform for rationalist and businessman commercially, provided the W.J. Miles and editor and polemicist P.R. ‘Inky’ Stephensen, both strict advocates of a racially original work is properly cited and states its license. pure white Australia.
  • The Red North

    The Red North

    The Red North Queensland’s History of Struggle Jim McIlroy 2 The Red North: Queensland’s History of Struggle Contents Introduction................................................................................................3 The Great Shearers’ Strikes of the 1890s ....................................5 Maritime Strike................................................................................................. 6 1891 battleground............................................................................................. 8 1894: the third round...................................................................................... 11 Lessons of the 1890s strikes........................................................................... 11 The Red Flag Riots, Brisbane 1919 ..............................................13 Background to the 1919 events...................................................................... 13 ‘Loyalist’ pogrom............................................................................................ 16 The Red North.........................................................................................19 Weil’s Disease................................................................................................. 20 Italian migrants............................................................................................... 21 Women........................................................................................................... 22 Party press.....................................................................................................