part two of two
© ATOM 2015 A STUDY GUIDE BY ROBERT LEWIS
http://www.metromagazine.com.au
ISBN: 978-1-74295-576-6 http://www.theeducationshop.com.au CONTENTS 2 OVERVIEW
2 CURRICULUM APPLICABILITY
3 EXPLORING IDEAS AND ISSUES IN THE FILM 3 Summary of Part 2 4 Knowledge and understanding 6 The Characters 7 Issues 11 Film Study
13 Resources for further CONTENTS study of the Gallipoli campaign
14 Appendix 1
OVERVIEW CURRICULUM
Deadline Gallipoli ( 2 x c.105 minute episodes, 2015) is the APPLICABILITY powerful story of four war correspondents, Charles Bean, Ellis Ashmead-Bartlett, Phillip Schuler and Keith Murdoch, Gallipoli is suitable as a classroom resource for middle and whose job it was to report on the events that unfolded on upper secondary students, especially for: the shores of Gallipoli in 1915. Australian History Year 9 These were the first truly embedded war correspondents • Depth Study: World War 1 — The places where whose defiance ignited a change in the campaign’s course Australians fought and the nature of warfare during and whose commitment to the stories of the men turned World War I, including the Gallipoli campaign the war from a strategic failure into a triumph of the human spirit. English Year 9 and 10 • Analyse and evaluate how people, cultures, places, The series is an epic tale told through personal journey. events, objects and concepts are represented in texts, The journalists come to realise how much the war strategy including media texts, through language, structural has been mismanaged by those in command and how and/or visual choices. little information is being communicated back to the British and Australian governments about the true state of the Media Arts Year 9 and 10 campaign. • Evaluate how genre and media conventions and techni- cal and symbolic elements are manipulated to make As the atrocities, defeat and horror mount, the journalists representations and meaning. are subjected to tough and often bizarre levels of censor- • Evaluate how social, institutional and ethical issues ship. Unable to report the truth they nevertheless must influence the making and use of media artworks. witness it. Worse, their doctored articles home are used to entice young men to sign up to fight. Teachers are advised that Part 2 contains a sex scene and occasional strong language. As the war correspondents become entrenched in the bloody conflict, we become their intimates. They are SCREEN EDUCATION © ATOM 2015 flawed human beings, dedicated, at times arrogant, but each is profoundly affected by the bravery and wholesale slaughter. Though it is understood that truth may some- times be a necessary casualty in war, as the campaign drags on, some of the journalists take desperate action – they risk their jobs and their lives to break the rules. This act of disobedience will change history. 2 EXPLORING IDEAS AND ISSUES IN THE FILM
Summary of Part 2 disastrous nature of the Gallipoli campaign is publicly revealed. It is August 1915, and the generals are planning a last great offensive to break out of the beaches and immedi- Ashmead-Bartlett is expelled from Gallipoli, but starts a ate hills, seize the high ground, and advance to take the series of interviews and lectures that further reveal the in- Dardanelles and then Constantinople. competence of the planners, especially General Hamilton, who is withdrawn and replaced by general Monro. But the planning is typically poor, and the element of surprise lost. The fighting is brutal, thousands are slaugh- Monro soon realises the desperate condition of the men, tered, and nothing is gained. and agrees to undertake the terribly risky and dangerous gradual withdrawal of the troops. All expect huge casual- The correspondents are increasingly despondent and one, ties, but the withdrawal is so well planned that there are no Schuler, leaves to enlist — he is killed in action in 1917 on casualties, and the Turks do not realize the Allies have left the Western Front. until all have gone.
Another Australian journalist, Keith Murdoch, arrives, In 1919 Bean returns to Gallipoli, part of a mission to find SCREEN EDUCATION © ATOM 2015 and in a short visit realizes the disastrous nature of the and identify the dead, and bury them, and to collect infor- campaign, and the appalling conditions in which the mation about and objects from the campaign. men are living. He agrees to evade censorship by smug- gling a critical letter from Ashmead-Bartlett to the British We see the story of the death of one Turkish soldier, killed Prime Minister, Lord Asquith. The letter is intercepted, after playing a duduk (flute), reprised as Bean discovers but Murdoch writes his own version of it and delivers it the duduk, where it is housed today in the Australian War to the Australian Prime Minister. It is published and the Memorial. 3 5 What is Hamilton’s response to Ashmead-Bartlett’s iden- tifying weaknesses in the plan?
6 Several scenes show the nature of the fighting as part of this August offensive, including savage fighting in trenches (as at Lone Pine), and a suicidal charge against the enemy (as at The Nek). What are we shown about the nature of the fighting? Are there any aspects shown that surprise you, or that contradict the image you had of the Australian soldiers?
7 We see one of the journalists reading an account of the war by another journalist, Nevinson. What is the point being made about Nevinson’s account? How do the three correspondents who are seeing the reality — Bean, Schuler and Ashmead-Bartlett — react?
8 Schuler tells Hamilton that he is leaving to enlist. What does Hamilton admit about the effect the campaign is hav- ing on him?
9 The fourth journalist, Murdoch, arrives after Schuler has left. What does he realise about the campaign?
10 Why does he agree to take Ashmead-Bartlett’s letter, which will evade censorship?
Knowledge and 11 What happens to Ashmead-Bartlett’s letter? understanding 12 How does Murdoch overcome that problem?
1 The story is about five main characters – the journalists 13 How has Bean changed as a result of his experiences, CEW Bean, Ellis Ashmead-Bartlett, Phillip Schuler and and the censorship? Keith Murdoch, and the commander of the campaign on Gallipoli, General Sir Ian Hamilton. 14 Ashmead-Bartlett has been sent home. What has hap- pened to his career? As you watch this continue to make notes about the char- acter of the four journalists in this episode, including their 15 At the end of his lecture Lady Hamilton confronts him backgrounds, their role, their characters, their attitudes and says: ‘You will be pleased to know the Turks have towards the war, and their attitude towards their job of translated your Times article from last week and it was reporting the war.
Also do a character summary for General Hamilton, includ- ing such aspects as his effectiveness as a planner, his leadership, his character, and his attitudes towards his role, and of the journalists. See Table 1.
2 Part 2 opens with planning for the August Offensive (See Appendix 1), some of which involves British troops land- ing at Suvla. They will need water. What does Ashmead-
Bartlett discover about the amount of water being supplied SCREEN EDUCATION © ATOM 2015 for the campaign?
3 Bean explains the plan to his assistant, Bazley. What is Bazley’s comment about the plan?
4 How has the element of surprise about the plan been lost? 4 TABLE 1
CEW BEAN ELLIS ASHMEAD-BARTLETT
PHILLIP SCHULER KEITH MURDOCH
GENERAL HAMILTON SCREEN EDUCATION © ATOM 2015
5 greeted with resounding cheers. You’ve given the enemy The Characters hope and courage.’ Do you think there is any truth and fair- ness in this accusation? Explain your reasons. Look at the Study Guide for Part 1 to see a summary of how the writers of Deadline Gallipoli saw the characters. 16 What happens to Schuler? (Go to http://www.metromagazine.com.au/studyguides/ study.asp) 17 Bean is shown helping a soldier write a letter home. The writer wants to tell the truth. What does Bean per- 26 Describe or explain how the writer achieves or realises suade him to say? Why? these characters.
18 Hamilton is replaced, and General Monro takes his 27 Choose one character and compare it to your own place. How does Bean try to persuade him to authorise a impression. Discuss the similarities and differences of your withdrawal from Gallipoli? impression of the character compared to that of the writer.
19 Why is a withdrawal so dangerous? 28 Which of the characters does the film show as chang- ing the most over the course of the campaign? Justify your 20 We see the last days of the campaign. What is happen- view. ing to the soldiers, both physically and emotionally? 29 Here is a description of the four journalists taken from a 21 What strategies are used to disguise the soldiers’ newspaper article. Which character does the writer see as gradual withdrawal? the most significant of the four? Would you agree? Explain your reasons. 22 What mixed attitudes towards the enemy do we see? Four journalists were to play leading roles in forming the SCREEN EDUCATION © ATOM 2015 23 The final scenes show Bean back on Gallipoli in 1919 indelible legend of Gallipoli in the minds of Australians. Yet after the end of the war, recording and finding evidence of it was probably the one who remains least-known today the campaign. What happens to that evidence? – Phillip Schuler – whose role was the most immediately profound. 24 Bean says: Don’t let others tell the men’s story. They won’t get it right. What point is the film making about the Ellis Ashmead-Bartlett, the brash veteran correspondent Australian War Memorial and its objects? for London’s Daily Telegraph, was the first to extol the dash 6 and daring of the Anzac troops in his dispatches after 25 images from Egypt and Gallipoli remain our most precious April 1915. pictorial archive of the era.
Keith Murdoch, the later Australian newspaper proprie- http://insidestory.org.au/the-lack-of-men-the-lack-of-rein- tor and sire of a global media dynasty, stopped briefly at forcement-the-lack-of-munitions Gallipoli, never got around to filing a story from the front and tried to smuggle an explosive letter from Ashmead- Bartlett to the British cabinet accusing commanders of Issues blundering the campaign. (The original letter was con- fiscated by military police. Murdoch’s fabled “Gallipoli 30 A key issue in Deadline Gallipoli is the role of journalists Letter” was a rehash of Ashmead-Bartlett’s work, recklessly in war. Look at this exchange: embellished and riddled with errors.) SCHULER Charles Bean, the meticulous diarist who also came ashore They’re good men. With futures. Gone. For what? with the first troops on 25 April, stayed throughout the doomed campaign and went on to devote his life to writing HAMILTON the epic official history of the war. They give their lives so that we can achieve an objective. It is you, you and the other journalists, who give their death But it was Schuler’s evocative and compassionate dis- meaning, with the words and the pictures that you send patches from Gallipoli that most eloquently captured the home. horror and the heroism for Australian newspaper readers, and it was those dispatches that first revealed the scan- How would Ashmead-Bartlett respond to this? dalous neglect and mistreatment of wounded Australian soldiers during the early weeks. It was Schuler’s 1916 31 Ashmead-Bartlett is a ‘whiltleblower’. What happens book, Australia in Arms, that gave the first full account of to him as a result? Do you think that is fair? Most whistle- Australia’s role in the Dardanelles campaign. And it was blowers suffer because of their revelations. Why? Use the Schuler the amateur photographer whose hundreds of example of the forces at work against Ashmead-Bartlett to explain your ideas. SCREEN EDUCATION © ATOM 2015
7 the Australian Prime Minister, at: http://nla.gov.au/nla. ms-ms2823-2-1 32 A famous saying is the ‘The first casualty of war is truth’. Why? Do you think censorship and suppressing the 38 What image of war at Gallipoli does the film present? truth in war can ever be justified? Does this challenge your pre-existing idea of what hap- pened there, and what it was like? Explain your views. 33 Schuler wrote articles, but also took photographs. Go to the Australian War Memorial site and search for Schuler 39 The film shows the lives on Gallipoli of a small group of Gallipoli. This will take you to his photographs. Compare men from Ballarat. What is the image that the film gives of these photographs with comparable scenes and images in the Anzacs? What are their attitudes and values? How do the film. Discuss the similarities and differences. they behave? Does this challenge your view of mateship and the Anzac Spirit? Discuss your views. 34 Why would the Army censor images as well as words? Do you think such censorship can be justified in wartime? 40 Every account of history that you read or see is a Prepare and present a debate on this issue. representation of the event — that is, it is somebody’s version of what happened. The person who created the 35 Several times in Deadline Gallipoli we see reference to account chose what to include, and what to exclude, what the reporting of journalists being used to stimulate recruit- to emphasise, and what to play down. Every account is ing. Why is propaganda used in war? Do you think it is influenced by the creator’s own knowledge, understanding, justified? Explain your views. values, attitudes and the messages or meanings he or she wants to get across. 36 A major focus of this episode of Deadline Gallipoli is the letter written by Ashmead-Bartlett and carried by Deadline Gallipoli is a representation of history. This does Murdoch. The letter was seized, but a copy of it has not mean that it is wrong or biased, it just means that the survived. Read this version of the letter (Jump to letter). creator has presented this version, which might be differ- Divide it among the class by paragraphs, and report back ent from, but equally as valid as, somebody else’s account to the class on what each paragraph is saying about what or version. is happening with the Gallipoli campaign. Compare each paragraph with Deadline Gallipoli and comment on any But it does mean that to be a good and believable repre- similarities and differences you note. sentation of history the version must be fair and reasona- SCREEN EDUCATION © ATOM 2015 ble in what it chooses to include, leave out and emphasise. 37 Do you think Ashmead-Bartlett and Murdoch were do- ing the right thing by trying to get this letter to the British There are several historical inaccuracies in the film, Prime Minister? Explain your view. including:
This letter was seized. You can see the much longer • The accents of Generals Bridges and Birdwood — both letter that Murdoch wrote afterwards and delivered to were British 8 Letter written by Ashmead-Bartlett
To: The Rt. Hon. Prime Minister H.H. Asquith 10 Downing Street
I hope you will excuse the liberty I am taking in writing to you but I have the chance of sending this letter through by hand and I consider it absolutely necessary that you should know the true state of affairs out here. Our last great effort to achieve some definite success against the Turks was [a] most ghastly and costly fiasco . . . Personally I never thought the scheme decided on by Headquarters ever had the slightest chance of suc- ceeding and all efforts now to make out that it only just failed . . . bear no relation to the real truth. The operations did for a time make headway in an abso- lutely impossible country more than any general had a right to expect owing to the superlative gallantry of the Colonial Troops and the self-sacrificing manner in which they threw away their lives against positions which should never have been attacked. . . The main attack with the best things but in the interests of the country at the present troops was delivered against the side of the Turkish posi- crisis I feel they ought to be made known to you. . . tion which is a series of impossible mountains and valleys covered with dense scrub. The Staff seem to have carefully At the present time the army is incapable of a further offen- searched for the most difficult points and then threw away sive. The splendid Colonial Corps has been almost wiped thousands of lives in trying to take them by frontal attacks. out. . . Neither do I think even with enormous reinforce- . . The generals had but a vague idea of the nature of the ments, that any fresh offensive from our present positions ground in their front and no adequate steps were taken to has the smallest chance of success. . . I am only writing keep the troops supplied with water. In consequence many to give you a true picture of the state of the army and the of these unfortunate volunteers went three days in very hot problems with which we are faced in the future if we are weather on one bottle of water and were yet expected to left to fight the Turks alone. Already the weather shows advance carrying heavy loads and to storm strong posi- signs of breaking and by the end of this month we can- tions. The Turks having been given ample time to bring up not rely on any continuous spell of calm for the landing of strong reinforcements . . . where they entrenched them- large bodies of troops at some other point on the coast. In selves in up to their necks, were . . . assaulted in a direct fact the season will soon be too late for a fresh offensive frontal attack on August 21st. The movement never had the if another is contemplated. We have therefore to prepare slightest chance of succeeding and led to another bloody against the coming of the winter or to withdraw the army fiasco. . . As the result of all this fighting our casualties altogether. I am assuming it is considered desirable to since August 6th now total nearly fifty thousand killed avoid the latter contingency at all costs for political reasons wounded and missing. owing to the confession of final failure it would entail and the moral effect it might have in India and Egypt. I am con- The army is in fact in a deplorable condition. Its morale as a vinced the troops could be withdrawn under cover of the fighting force has suffered greatly and the officers and men warships without much loss far less in fact then we suffer in are thoroughly dispirited. The muddles and mismanage- any ordinary attack. . . ment beat anything that has ever occurred in our Military History. The fundamental evil at the present moment is the It is no use pretending that our prospects for the winter are absolute lack of confidence in all ranks in the Headquarters bright. The Navy seems to think it will be able to keep the SCREEN EDUCATION © ATOM 2015 staff. The confidence of the army will never be restored army supplied in spells of calm weather provided a suffi- until a really strong man is placed at its head. . . Except for cient reserve of food munitions and ammunition is con- the fact that the traditions of discipline still hold the force centrated while the weather holds at the various beaches. together you would imagine that the units were in an open The outlook for the unfortunate troops is deplorable. We do state of mutiny against Headquarters. The Commander in not hold a single commanding position on the Peninsula . Chief and his Staff are openly spoken of, and in fact only . . This means that throughout the winter all the beaches mentioned at all with derision. One hates to write of such and lines of communication to the front trenches will be 9 Colonial Corps high up on the spurs of the hills on which the Turks are perched cannot be considered secure. A sudden counter attack vigorously delivered would jeopardise the safety of our line and might lead to a seri- ous disaster. There will have to be a general reshuffling of the whole line and some of our advanced posts will have to be abandoned during the winter months.
I have only dealt with our own troubles and difficulties. The enemy of course has his. But to maintain as I saw stated in an official report that his losses in the recent fighting were far heavier than ours is a childish false- hood which deceives no one out here. He was acting almost the whole time on the defensive and probably lost about one third of our grand total.
You may think I am too pessimistic but my views are shared by the large majority of the army. The confidence of the troops can only be restored by an immediate change in the supreme command. Even if sufficient drafts are sent out to make good our losses we shall never succeed operating from our present positions. . . If we are to stay here for the winter let orders be given for the army to start its preparations without delay. If possible have the Colonial troops taken off the Peninsula altogether because they are under constant shell fire. . . As soon as they are absolutely miserably depressed since the last failure and with their ac- certain our offensive has shot its bolt, and that we are set- tive minds, and positions they occupy in civil life, a dreary tling down in our positions for the winter, the Turks will be winter in the trenches will have a deplorable effect on what free to concentrate their artillery at certain points and also is left of this once magnificent body of men, the finest any to bring up big guns from the forts and therefore we must Empire has ever produced. If we are obliged to keep this expect a far more severe artillery fire on the beaches during army locked up in Gallipoli this winter large reserves will be the winter months than we are exposed to at present. necessary to make good its losses in sickness. . .
A great many of the trenches which we hold at present will In Gallipoli we are dissipating a large portion of our fortune have to be abandoned altogether during the winter as they and have not yet gained a single acre of ground of any will be underwater . . . strategical value . . . In the near future this futile expendi- ture may ruin our prospects of bringing the war to a suc- Our troops will have to face the greatest hardships from cessful conclusion by gradually wearing down Germany’s cold wet trenches and constant artillery fire. I believe that colossal military power. at the present time the sick rate for the army is roughly 1000 per day. During the winter it is bound to rise to an I have taken the liberty of writing very fully because I have even higher figure. I know one general, whose judgement is no means of knowing how far the real truth of the situation usually sound who considers we shall lose during the win- is known in England and how much the Military Authorities ter in sickness alone the equivalent of the present strength disclose. I thought therefore that perhaps the opinions of of the army. This may be an exaggeration but in any case an independent observer might be of value to you at the our loss is bound to be very heavy. The whole army dreads present juncture. I am of course breaking the censorship beyond all else the prospect of wintering on this dreary and regulations by sending this letter through but I have not inhospitable coast. Amongst other troubles the autumn the slightest hesitation in doing so as I feel it is absolutely rains will once more bring to view hundred of our dead essential for you to know the truth. I have been requested who now lie under a light covering of soil. . . over and over again by officers of all ranks to go home and personally disclose the truth but it is difficult for me to I have laid before you some of the difficulties with which leave until the beginning of October. SCREEN EDUCATION © ATOM 2015 we are faced in order that they may be boldly met before it is too late. No one seems to know out here what we Hoping you will therefore excuse the liberty I have taken. are going to do in the future and I am so afraid we shall Believe me drag on in a state of uncertainty until the season is too far advanced for us to make proper preparations to face the Yours very truly coming winter in a certain measure of comfort and security. Ellis Ashmead-Bartlett At the present time some of our positions gained by the 10 GALLIPOLI CASUALTIES (not including illness)
Dead Wounded Missing and Total Prisoners
Ottoman Empire 56,643 107,007 11,178 174,828
United Kingdom 34,072 78,520 7,654 120,246
France 9,798 17,371 – 27,169
Australia 8,709 19,441 – 28,150
New Zealand 2,721 4,752 – 7,473
British India 1,358 3,421 – 4,779
Newfoundland 49 93 – 142
Total Allies 56,707 123,598 7,654 187,959
• Schuler’s death — he was killed in 1917 by an artillery this criticism, or do you think it is justified for a nation to shell during a battle, not while transporting wounded focus on its own history? Explain your views. along a forest road • There is no suggestion in reality that Ashmead-Bartlett 43 The film ends with the duduk on display in the ‘stole’ Bean’s ideas for his report of the landing at Australian War Memorial. The AWM was largely the crea- Anzac although he did question Bean on Anzac Cove tion of CEW Bean. We know the story that the film has told the night of 25 April and he did beat him to print us is behind this object. The story is fictional, but what is the point that the film is making about the meaning of ob- Do such inaccuracies matter? A television drama is not jects in displays? What point is it making about how Bean a documentary, so do they reduce the value of a film for had to deal with reality and image? understanding the main events that they depict? Is it ac- ceptable in a film to distort events for their dramatic value? 44 Look back at the introductory activity in the Study Discuss your view. Guide for Part 1 of Deadline Gallipoli. Would you now change any of your responses? 41 The film gives glimpses of the involvement of other nations at Gallipoli, but the emphasis is on the Australians. One estimate of the number of deaths for all nations is in Film Study the table above. http://en.wikipedia.org/wiki/Gallipoli_Campaign#Casualties The makers of the film want to create a work that informs,
entertains, engages, educates, creates empathy with and SCREEN EDUCATION © ATOM 2015 Does it surprise you to see that more British and French gets certain messages across about Gallipoli. How does it soldiers died than Australians? Why do Australians see do this? Gallipoli as special? 45 Look at each of the following aspects of film-making 42 Some historians today criticise this emphasis on and summarise in column B how the film uses each one. Australia, and believe that the international element should See Table 2. always be emphasized more in the story. Do you accept 11 TABLE 2
A. ASPECT B. THE DRAMA
How is Part 2 structured?
What aspects of the story of Gallipoli are emphasised?
How effective is the script and the dialogue between characters?
How is music used to create mood, tension, emotions and transitions?
How are images edited to create narrative, meaning and pace?
How is lighting used?
How is sound used (or in some cases suppressed) to help create mood and tension?
Comment on the cinematography — the use of a variety of shots, framing and focus.
How is computerised compositing used to create a sense of historical reality?
How are the terrain and environment used to enhance the story?
How are make up and special effects used to help create authenticity? SCREEN EDUCATION © ATOM 2015
Are there any other features that you notice
12 BOOKS — AUSTRALIA
David W Cameron, Shadows of Anzac. An Intimate History of Gallipoli, Big Sky Publishing, 2013 Hugh Dolan, 36 Days, The Untold Story Behind the Gallipoli Landings, Macmillan, 2011 Robin Prior, Gallipoli The End of the Myth, UNSW Press, 2009 Peter Williams, The Battle of Anzac Ridge, An Anzac Victory 25 April 1915, Australian Military History Publications, 2009 Philip J Haythornwaite, Gallipoli 1915 Frontal Assault on Turkey, Osprey Publishing, 2005 Chris Roberts, The Landing at Anzac 1915, Australian Army Campaign Series 12, Army History Unit, 2013 Resources for Les Carlyon, Gallipoli, Macmillan, 2001 Michael McKernan, Gallipoli. A Short History, Allen&Unwin, 2010 further study of the Peter Fitzsimons, Gallipoli, William Heinemann, 2014 Gallipoli campaign Harvey Broadbent, Gallipoli, The Fatal Shore, Viking, 2005 Jonathan King, Gallipoli Diaries. The Anzacs’ Own Story Day by Day, Kangaroo Press, 2006 THE CORRESPONDENTS David W Cameron, Our Friend The Enemy. A Detailed Account of Anzac From Both Sides of the Wire, Big Sky Publishing, Phillip Schuler, Australia in Arms, 1916, reprinted by Penguin 2014 in 2014 Kevin Fewster (ed), Bean’s Gallipoli, The Diaries of Australia’s BOOKS — NEW ZEALAND Official War Correspondent, Allen&Unwin, 2009 CEW Bean, Official History of Australia in the War of 1914- Christopher Pugsley, The Anzac Experience. New Zealand, 1918, Vol I and II, The Story of Anzac, Angus and Australia and the Empire in the First World War, Reed, 2004 Robertson 1921 and 1924 and available online at https://www.awm.gov.au/histories/first_world_war/ BOOKS — BRITAIN Ross Coulthart, Charles Bean, If People Really Knew: One Man’s Struggle to report the Great War and Tell the Truth, Peter Hart, Gallipoli, Profile Books, 2011 HarperCollins, 2014 Tim Travers, Gallipoli 1915, The History Press, 2009 Peter Rees, Bearing Witness, The Remarkable Life of Charles Bean, Australia’s Greatest War Correspondent, BOOKS — TURKEY Allen&Unwin, 2015 Fred and Elizabeth Brenchley, Myth Maker. The Englishman Kevin Fewster, Vecihi Basarin, Hatice Hurmuz Basarin, A Who Sparked Australia’s Gallipoli Legend, John Wiley and Turkish View of Gallipoli. Canakkale, Hodja, 1985 Sons, 2005 Tolga Örnek, Gallipoli. The Front Line Experience, Currency Phillip Knightley, The First Casualty, Harcourt Brace Press, 2006 Jovanovich, 1975 Edward J Erickson, Gallipoli. The Ottoman Campaign, Pen & Sword Military, 2014 FILMS AND WEBSITES Harvey Broadbent, Defending Gallipoli. The Turkish Story, Melbourne University Press, 2015 Gallipoli. The First Day. http://www.abc.net.au/innovation/ gallipoli/ Gallipoli and the Anzacs. http://www.anzacsite.gov.au Commemorating 100 Years of ANZAC http://www.anzacportal.dva.gov.au Gallipoli and the Anzacs secondary resource (2010) http://www.anzacportal.dva.gov.au/sites/default/files/publi- cation-attachments/Gallipoli_Anzacs_Complete_0.pdf Gallipoli from Above (Wain Fimeri, 2012) a 52-minute docu-
mentary about the use of intelligence information in the SCREEN EDUCATION © ATOM 2015 planning of the invasion Gallipoli TV series, 2015
GRAPHIC COMIC
Hugh Dolan and Mal Gardiner Gallipoli: The Landing – Non- fiction graphic novel (or comic), NewSouth Books, 2014 13 SCREEN EDUCATION © ATOM 2015 Appendix 1 Map showing the Plan for the August Offensive
Phillip J Haythornthwaite, Gallipoli 1915. Frontal Assault on Turkey, Osprey Publishing, 1991
14 DIRECTED BY MICHAEL RYMER WRITTEN BY JACQUELIN PERSKE, SHAUN GRANT, STUART BEATTIE AND CATE SHORTLAND PRODUCED BY PENNY CHAPMAN (MATCHBOX PICTURES), JACQUELIN PERSKE AND JOHN SCHWARZ (FULL CLIP) EXECUTIVE PRODUCERS SAM WORTHINGTON (FULL CLIP) PENNY WIN (FOXTEL’S HEAD OF DRAMA) MICHAEL MCMAHON (MATCHBOX PICTURES) FILMED IN SOUTH AUSTRALIA JUNE-AUGUST 2014 STARRING SAM WORTHINGTON, HUGH DANCY, RACHEL GRIFFITHS, BRYAN BROWN, EWEN LESLIE, JESSICA DE GOUW, ANNA TORV, JAMES FRASER, CHARLES DANCE AND INTRODUCING JOEL JACKSON
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