Useful Knowledge 35 Spring 2014
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Bruce Beresford's Breaker Morant Re-Viewed
FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam. -
A Study Guide by Robert Lewis
© ATOM 2014 A STUDY GUIDE BY ROBERT LEWIS http://www.metromagazine.com.au ISBN: 978-1-74295-450-9 http://www.theeducationshop.com.au OVERVIEW In 1902 two Australian soldiers were CURRICULUM arrested for killing prisoners, held in APPLICABILITY prison, allowed access to a lawyer to but his trial and hasty execution was Breaker Morant: The Retrial prepare their defence only one day a cover up for commanding officers is a resource that be used by before the trial started, denied access who issued orders to take no prison- middle and upper secondary to a key witness during the trial, found ers which they later denied. The high students in guilty, and sentenced to death. They command was imposing a program were executed one day after they were of murder and near genocide in a History: told they had been found guilty. campaign to subjugate the local Boer - The development of population in South Africa all for the Australian national identity Could this be a fair trial? purpose of controlling the newly dis- - Federation and the Early covered goldfields. Commonwealth Should an injustice be righted even - Australia and the Boer War after more than 100 years? This was the first war to be filmed by Legal Studies: the newly invented movie camera and - Law and Justice The two soldiers who were treated this the international telegraph meant that way were Lt Harry ‘Breaker’ Morant for the first time events across the Film Studies: and Lt Peter Handcock. world could be on the front page the - Documentary Film next day. The film Breaker Morant The Retrial (Gregory Miller And Nick Bleszynski, In this film fully dramatised scenes 2013, 2 x 52 minute episodes) expos- illustrate the complex story. -
The Gate of Eternal Memories: Architecture Art and Remembrance
CONTESTED TERRAINS SAHANZ PERTH 2006 JOHN STEPHENS THE GATE OF ETERNAL MEMORIES: ARCHITECTURE ART AND REMEMBRANCE. John Richard Stephens Faculty of Built Environment Art and Design, Curtin University of Technology, Perth Western Australia, Australia. ABSTRACT The Menin Gate is a large memorial in Belgium to British Empire troops killed and missing during the battles of the Ypres Salient during the First World War. Designed by the architect Reginald Blomfield in 1922 it commemorates the 56,000 soldiers whose bodies were never found including 6,160 Australians. Blomfield’s sobering memorial has symbolic architectural meaning, and signifi- cance and commemorative meaning to relatives of those whose names appeared on the sur- faces of the structure. In 1927 the Australian artist and soldier William Longstaff painted his alle- gorical painting “Menin gate at Midnight showing the Gate as an ethereal structure in a brood- ing landscape populated with countless ghostly soldiers. The painting was an instant success and was reverentially exhibited at all Australian capital cities. From the contested terrain of war re- membrance this paper will argue that both the Gate and its representation in “Menin Gate at Midnight” are linked through the commemorative associations that each employ and have in common. “Here was the world’s worst wound. And Imperial War Graves cemetery. As a product of here with pride particular political and ethical policies, the bodies ‘Their name liveth for evermore’ the of British Empire soldiers were not returned to their Gateway claims. countries but buried close to where they met their Was ever an immolation so belied As these intolerably nameless names? fate. -
An Infantry Officer in Court – a Review of Major James Francis Thomas As Defending Officer for Lieutenants Breaker Morant, Pe
An Infantry Officer In Court – A Review of Major James Francis Thomas as Defending Officer for Lieutenants Breaker Morant, Peter Handcock and George Witton – Boer War Commander James Unkles, RANR Introduction Four men from Australia who joined the Boer war were to be connected by destiny in events that still intrigue historians to this day. Harry ‘Breaker’ Morant, Peter Handcock, George Ramsdale Witton and James Francis Thomas were to meet in circumstances that saw Morant and Handcock executed and Witton sentenced to life imprisonment following military Courts Martial in 1902. This article attempts to review the experiences of Major Thomas, a mounted infantry officer from Tenterfield who joined British Forces as a volunteer and ended up defending six officers, including Breaker Morant on charges of shooting Boer prisoners History of the Boer Wars 1880 - 1902 The Boer War commenced on 11 October 1899, and was fought in three distinct phases. During the first phase the Boers were in the ascendancy. In their initial offensive moves, 20,000 Boers swept into British Natal and encircled the strategic rail junction at Ladysmith. In the following weeks, Boer troops besieged the townships of Mafeking and Kimberley. Phase 1 reached its climax in what has become known as ‘Black Week’ – 10 to15 December 1899. In this one week, three British armies, each seeking to relieve the besieged townships, suffered massive and humiliating defeats in the battles of Stormberg, Magersfontein and Colenso. These defeats shook the British Empire. In response, Britain despatched two regular divisions and replaced the ill-starred General Sir Redvers Buller, with the Empire’s most eminent soldier, Field Marshall Lord Roberts VC, as its commander in South Africa. -
THE ENDURING IMPACT of the FIRST WORLD WAR a Collection of Perspectives
THE ENDURING IMPACT OF THE FIRST WORLD WAR A collection of perspectives Edited by Gail Romano and Kingsley Baird ‘That Huge, Haunted Solitude’: 1917–1927 A Spectral Decade Paul Gough Arts University Bournemouth Abstract The scene that followed was the most remarkable that I have ever witnessed. At one moment there was an intense and nerve shattering struggle with death screaming through the air. Then, as if with the wave of a magic wand, all was changed; all over ‘No Man’s Land’ troops came out of the trenches, or rose from the ground where they had been lying.1 In 1917 the British government took the unprecedented decision to ban the depiction of the corpses of British and Allied troops in officially sponsored war art. A decade later, in 1927, Australian painter Will Longstaff exhibited Menin Gate at Midnight which shows a host of phantom soldiers emerging from the soil of the Flanders battlegrounds and marching towards Herbert Baker’s immense memorial arch. Longstaff could have seen the work of British artist and war veteran Stanley Spencer. His vast panorama of post-battle exhumation, The Resurrection of the Soldiers, begun also in 1927, was painted as vast tracts of despoiled land in France and Belgium were being recovered, repaired, and planted with thousands of gravestones and military cemeteries. As salvage parties recovered thousands of corpses, concentrating them into designated burial places, Spencer painted his powerful image of recovery and reconciliation. This article will locate this period of ‘re-membering’ in the context of such artists as Will Dyson, Otto Dix, French film-maker Abel Gance, and more recent depictions of conflict by the photographer Jeff Wall. -
The Influence of the Friendly Society Movement in Victoria 1835–1920
The Influence of the Friendly Society Movement in Victoria 1835–1920 Roland S. Wettenhall Post Grad. Dip. Arts A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy 24 June 2019 Faculty of Arts School of Historical and Philosophical Studies The University of Melbourne ABSTRACT Entrepreneurial individuals who migrated seeking adventure, wealth and opportunity initially stimulated friendly societies in Victoria. As seen through the development of friendly societies in Victoria, this thesis examines the migration of an English nineteenth-century culture of self-help. Friendly societies may be described as mutually operated, community-based, benefit societies that encouraged financial prudence and social conviviality within the umbrella of recognised institutions that lent social respectability to their members. The benefits initially obtained were sickness benefit payments, funeral benefits and ultimately medical benefits – all at a time when no State social security systems existed. Contemporaneously, they were social institutions wherein members attended regular meetings for social interaction and the friendship of like-minded individuals. Members were highly visible in community activities from the smallest bush community picnics to attendances at Royal visits. Membership provided a social caché and well as financial peace of mind, both important features of nineteenth-century Victorian society. This is the first scholarly work on the friendly society movement in Victoria, a significant location for the establishment of such societies in Australia. The thesis reveals for the first time that members came from all strata of occupations, from labourers to High Court Judges – a finding that challenges conventional wisdom about the class composition of friendly societies. -
Saturday 5Th August 2017 2:00Pm Commemorative Service for the Centenary of the Battle of Ypres Menin Road, Passchendaele, Zonn
Commemorative Service for the Centenary of the Battle of Ypres Menin Road, Passchendaele, Zonnebeke Painting: Menin Gate at Midnight by Will Longstaff who lived and taught art in Eltham prior to enlisting for World War 1. Longstaff who is listed on the Eltham Honor Roll in the church left for Egypt on the Transport Orsova 67 on 12 Novem- ber 1915 with 4 others from Eltham also listed on the Honor Roll: Capewell WJ, Knapman AE, Morris A & Morris H. The Westhoek signboard marking the area from where Australian troops successfully advanced in the battle of Menin Road. 20 September 1917. Saturday 5th AWM RELAWMOO605 August 2017 2:00pm 16 Welcome to our special visitors: Medals were given to soldiers from the Eltham district, posthumously for those killed and to those who survived the conflict. The design of the inscriptions is found in the minutes of the Committee meetings. Obviously Hon Jenny Macklin Federal Member for Jagajaga for those killed in the conflict an expression of sympathy was sent by the Vicki Ward MP State Member for Eltham Committee to the family. During November 1917 at a Welcome Home Mayor Cr Peter Clarke Nillumbik Shire Council Reception for several soldiers Geoffrey Grant’s father was presented with an engraved medal acknowledging his son’s supreme sacrifice. Cr Jane Ashton Nillumbik Shire Council Mr Andrew Mackenzie OAM Art Historian These medals survive within the Eltham community, the Orford family for instance. Reverend David Sullivan St Matthews Panton Hill Mr Bill McKenna Montmorency - Eltham RSL Sub Branch The Committee also ensured that the names of returned soldiers were Mr Terry Phillips Montmorency - Eltham RSL Sub Branch listed in the local press. -
A Photographic Documentary Exploring Post-Conflict Reconciliation
Journal of Conventional Weapons Destruction Volume 21 Issue 3 The Journal of Conventional Weapons Article 11 Destruction Issue 21.3 November 2017 Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation Ian Alderman Photographer Follow this and additional works at: https://commons.lib.jmu.edu/cisr-journal Part of the Other Public Affairs, Public Policy and Public Administration Commons, and the Peace and Conflict Studies Commons Recommended Citation Alderman, Ian (2017) "Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation," Journal of Conventional Weapons Destruction: Vol. 21 : Iss. 3 , Article 11. Available at: https://commons.lib.jmu.edu/cisr-journal/vol21/iss3/11 This Article is brought to you for free and open access by the Center for International Stabilization and Recovery at JMU Scholarly Commons. It has been accepted for inclusion in Journal of Conventional Weapons Destruction by an authorized editor of JMU Scholarly Commons. For more information, please contact [email protected]. Alderman: Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation Fi e ld N o te s Recovering The Past: A Photographic Documentary Exploring Post-Conflict Reconciliation by Ian Alderman DOVO-SEDEE personnel (on the right) wears a biochemical protection suit to handle and dismantle recovered toxic ordnance. Although the gas shells are a century old, their contents have lost none of their toxicity. The Australians in this image carry box respirators, essential for survival in trench warfare. Photo courtesy of the author. n 11 November 1918, the Armistice brought an end In 1920, in Flanders, Belgium, a Poelkapelle-based bomb to the First World War. -
Australian War Memorial Annual Report 2006–2007 Australian War Memorial Annual Report 2006–2007
AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 The Hon. John Howard MP, Prime Minister of Australia, in the Courtyard Gallery on Remembrance Day. Annual report for the year ended 30 June 2007, together with the financial statements and the report of the Auditor-General. Images produced courtesy of the Australian War Memorial, Canberra Cover: Children in the Vietnam environment in the Discovery Zone Child using the radar in the Cold War environment in the Discovery Zone Air show during the Australian War Memorial Open Day Firing demonstration during Australian War Memorial Open Day Children in the Vietnam environment in the Discovery Zone Big Things on Display, part of the Salute to Vietnam Veterans Weekend Back cover: Will Longstaff, Menin Gate at midnight,1927 (AWM ART09807) Stella Bowen, Bomber crew 1944 (AWM ART26265) Australian War Memorial Parade Ground William Dargie, Group of VADs, 1942 (AWM ART22349) Wallace Anderson and Louis McCubbin, Lone Pine, diorama, 1924–27 (AWM ART41017) Copyright © Australian War Memorial 2007 ISSN 1441 4198 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced, copied, scanned, stored in a retrieval system, recorded, or transmitted in any form or by any means without the prior written permission of the publisher. Australian War Memorial GPO Box 345 Canberra, ACT 2601 Australia www.awm.gov.au iii AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 iv AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 INTRODUCTION TO THE REPORT The Annual Report of the Australian War Memorial for the year ended 30 June 2007 follows the format for an Annual Report for a Commonwealth Authority in accordance with the Commonwealth Authorities and Companies (CAC) (Report of Operations) Orders 2005 under the CAC Act 1997. -
AUSTRALIAN VETERAN NEWS Article D2.Indd
War crimes and the sanctity of the rule of law: The trial of Lieutenants Morant, Handcock and Witton By James Unkles “It does no good to act without the fullest inquiry and strictly on legal lines. A hasty judgment creates a martyr and unless military law is strictly followed, a sense of injustice having been done is the result” [i] “They were treated monstrously. Certainly by today’s standards they were not given any of the human rights that international treaties require men facing the death penalty be given. But even by the standards of 1902 they were treated improperly, unlawfully’. [ii] Australians have genuine regard and respect for their defence forces and such allegations are confronting. However, an equal injustice and affront to Australia’s values enshrined in our democratic institutions and judicial independence is an abrogation of due legal process for political and other agendas. Leo D’Angelo Fisher’s insightful article on alleged ADF war crimes and its refl ection on the failure of leadership in the ADF presents [iii] an opportunity to balance the assessment of allegations war crimes with the signifi cance of the preservation and promotion of the rule of rule in ensuring those accused are given the presumption of innocence, proof beyond reasonable doubt and treated in accordance with common and statutory law. Nothing less is unacceptable in a civilised society. Leo D’Angelo Fisher rightly draws comment on the trial of Lieutenants Harry Breaker Morant, Peter Hancock and George Witton, three Australian volunteers arrested, trial and sentence for alleged war crimes during the Anglo Boer War of 1902. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Painting Anzac A history of Australia’s official war art scheme of the First World War Volume 2 Michael Scheib A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Art History and Film Studies Faculty of Arts and Social Sciences The University of Sydney 2015 1 Appendices ________________________________________________________________ -
Critical Methodology and Breaker Morant
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. Closing the Debate: Critical Methodology and Breaker Morant RICHARD HAINES This essay is an attempt to close a debate conducted in Vol 2 No 3, 1982, of CH.-Ltic.CLl kuti regarding the film B/teafee* Moiant. The issue contained criticisms by Peter Strauss and MM Carlin, of articles by Susan Gardner and Michael Vaughan in a Cnltlc.a.1 Ktiti monograph on the film, and the responses of Gardner and Vaughan to these critics. A subsequent letter by Carlin, appear- ing in this issue, restates his position and replies to Gardner and Vaughan's dismissal of his argument. Though Carlin and Strauss see themselves occupying conservative and left-wing positions respectively, both consider Gardner's analysis of the film, and Vaughan's discussion of Kit Denton's book The Bizakti, as exercises in sociological overkill and moral pedantry. They also feel that the film was more question- ing of imperialism than Gardner and Vaughan allow. For Strauss, George Witton plays a 'pivotal role' in the film, his disillusionment with British imperialism reflecting "the viewer's own supposed progress to a greater understanding of the brutal reality of imperialism"2. And, as Susan Gardner remarks, Strauss is right to insist that Witton be accorded more attention. Yet Witton's bewilderment at the arbitrariness of the British im- perial army and his disenchantment with 'Empire' (a more distant concept for him than the army) don't seem to me to vividly specify a sense of "the brutal reality of imperialism".