Special Dossier: Tasmania and the Cinema Adrian Danks December 2012 Tasmania and the Cinema Introduction: Tasmania and the Cinema Van Diemen’s Land (2009) Tasmania’s intermittent relationship with the cinema dates back before the first feature film made on its rugged West Coast in 1925, Louise ...
Seeing With Green Eyes: Tasmanian Landscape Cinema and the Ecological Gaze Jane Stadler November 2012 Tasmania and the Cinema As Tom O’ Regan states in his discussion of “Unities of Setting and Landscape” in Australian National Cinema, “It is a commonplace that landscape is central to Australian culture” (1). In order to explore the f...
Jewelled Nights: ‘Can Good Movies Be Made in Australia?’ (1) Jeannette Delamoir November 2012 Tasmania and the Cinema Introduction Photo: from the National Film and Sound Archive of Australia “Why shouldn’t we have the moving-picture industry in Tasmania?” asked Tasmanian author Marie Bjelke Petersen at the Hobart premi...
“What sort of spot is Port Arthur?”: For the Term of His Natural Life and the Tasmanian Gothic Stephen Gaunson November 2012 Tasmania and the Cinema … Tasmanian Gothic cinema… tends to be a response to its dark and wet landscapes, which register a paradoxical sense of beauty and menace. The dramatic inclines of Tasmania’s topography, its volatile climate, t...
Manganinnie – The First Tasmanian Feature Film John Honey November 2012 Tasmania and the Cinema Credit: G. Hansen, John Honey Collection *Indigenous Australians please be aware that this article contains the name of an Aboriginal man who is now dead. In late 1977 I was offered a producer contract w...
Van Diemen’s Land Jonathan auf der Heide November 2012 Tasmania and the Cinema I first heard the story of escaped convict Alexander Pearce when I was a teenager on the tour boat to Sarah Island in Macquarie Harbour. I’d been working with a theatre company in Strahan as an actor and it was...
Eating and Othering in Jonathan auf der Heide’s Van Diemen’s Land Guinevere Narraway November 2012 Tasmania and the Cinema “If colonialism can be said to have its own origin myths, none is more powerful than the suppression of the threatening ‘other’ – the disavowed animal rival, the cannibal gnawing at the human heart.” (1) ...
A Culture Cleft in Two – The Documentaries of Scott Millwood Dan Edwards November 2012 Tasmania and the Cinema “I want to talk about epic poetry.” I still remember the shock when Scott Millwood opened a documentary masterclass in the bowels of the Bondi Pavilion with these words back in 2004. I was covering the class fo...
Errol Flynn: A Life at Sea Robert de Young November 2012 Tasmania and the Cinema “The only real wives I have ever had have been my sailing ships. Up front, on the prow of the Zaca, there was painted, appropriately, a rooster, a crowing cock.” - Errol Flynn (1) This article attem...
“Change – why should I? I never pretended to be anything than I am”: The Films of Errol Flynn and Raoul Walsh (1) Adrian Danks November 2012 Tasmania and the Cinema “Flynn does not deal in depth, but he has a freshness, a galvanizing energy, a cheerful gaiety (in the old sense) made to inspire boys.” (2) “ never fights his material, playing directly into the staleness. He...
