Pauline Marsh Pauline Marsh i(A151327 works by)
Gender: Female
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Works By

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1 Postcolonial Longing on the Australian Cinematic Frontier Pauline Marsh , 2016 single work criticism
— Appears in: Ilha Do Desterro : A Journal of English Language , vol. 69 no. 2 2016; 'The Tracker and Red Hill are cinematic re-interpretations of Australia’s colonial past, which they characterise by a sense of postcolonial longing and an expectation of intimacy. Both films are portals through which arguments about historical truth, subjective memory and contemporary realities are explored and tested. In this paper I argue that both these two films create the idea that the historical colonial space was a constant interplay of violence and beauty, and of hatred and friendship. As black and white characters negotiate their way in and around these seemingly polemical positions, viewers are also challenged to do the same.' (Publication abstract)
1 Family Tremors : Margot Nash’s 'Call Me Mum' Pauline Marsh , 2013 single work criticism essay
— Appears in: The Journal of the European Association for Studies of Australia , vol. 4 no. 1-2 2013; (p. 103-116)

'Call Me Mum adds to a growing collective of films that depict indigenous [sic] women, cross-cultural relations and family dynamics in interesting and complex ways. This article uses the idea of a “genderslide” (a misquotation of genocide by one of the main characters) to explain the influence that the three strong but deeply flawed lead female characters in this film have on their son/grandson, as well as the impact of Call Me Mumon viewers. It is the conceptual spaces that constitute the idea of family that I argue are re-shaped by this conflicted depiction of intimate black/white, mother/child relations in Australia.' (Source: abstract)
1 The Primitive, The Sacred and the Stoned in Richard J. Frankland's Ston Bros. Pauline Marsh , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 6 no. 1 2012; (p. 29-43) This article reads Richard J. Frankland's Stone Bros. (2009) as a critique of romanticized notions of primitive Aboriginal spirituality. Through the unlikely arena of popular cinema, this irreverent stoner comedy draws viewer attention to the persistence of notions of repressive authenticity, with particular reference to elements of Aboriginal spirituality. I examine the film's parodic treatment of two central motifs: the 'important' stones belonging to the two main characters - Aboriginal cousins Eddie (Luke Carroll) and Charlie (Leon Burchill) - and Eddie's light skin colour. Stone Bros. insists that anachronistic ideals of Aboriginality continue to hold currency for both indigenous and non-indigenous people in contemporary Australia. In raising potentially uncomfortable issues for black and white Australians through popular cinema Stone Bros. draws to viewers' attention the potentially negative impacts of misplaced romanticisms on the nation's reconciliation process.
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