Cirrus@Austlit

Witcombe details her research into the life of Daisy Bates. Witcombe was invited by Sir Robert Helpmann, on behalf of Katherine Hepburn, to investigate Bates' life with a view to developing a filmscript. (Hepburn intended to star in the film production.)

Witcombe uncovered previously unknown aspects of Bates' life that threw doubt on popularly held images of the iconic figure.

Adapted from Ruth Park's novel of the same name, The Harp in the South is a six-part mini-series that follows the lives of an impoverished Irish-Australian family during the late 1940s. The Darcy family have moved from the bush to a housing-commission enclave in inner-city Sydney: a world of sly grog shops, prostitutes, pimps, and boarding houses. The father, Hughie, was a shearer's cook who lost his job through alcoholism. Although he is now able to hold down a job, his pay is often docked because he's recovering from a hangover. The family is held together by Mumma Darcy, a kindly but uneducated woman who still cannot get over the loss of her son, who disappeared as a child many years ago. The Darcys' two remaining children are Dolour (who is still at school) and Rowena (who works in a local factory). In order to make ends meet, the family take in boarders, some of whom are quite strange.

A young boy living on the streets at the turn of the twentieth century decides to make something of his life. The Australian Women's Weekly describes the program as 'detailing the rise of a hunchbacked 1900s larrikin gang leader from the gutter to the respectability of owning a shoe emporium' (Wed. 24 June 1981, p.118S).

For a detailed, episode-by-episode synopsis, see Film Details.

The story of a group of people whose lives are entwined through time and circumstances in several ways, from love to murder.

For detailed, episode-by-episode synopses, see Film Details.

Based on the book by Miles Franklin, this feature film tells the story of an Australian country girl who, at the end of the nineteenth century, wants to make her own way in the outside world.

Rejecting an offer of marriage from a wealthy suitor (who is also her childhood friend), she instead finds herself obligated to work off her father's debt to a neighbouring family, for whom she works as governess and housekeeper. Returning home, she again rejects her suitor's proposal, this time in favour of writing a novel based on her experiences.

In the early 1900s, the spirited and talented Laura Tweedle Ramsbotham arrives at an exclusive Melbourne ladies' college, only to be greeted with jeers and treated as a country bumpkin. Although she is defiant towards her peers, the pressure almost defeats her. She soon learns, however, to be as ruthless as the other girls. Caught out after inventing an illicit liaison with the handsome new minister, she becomes a pariah until she is taken under the wing of an older girl, the elegant and kindly Evelyn Suitor. Laura subsequently falls in love with Evelyn, causing the latter to leave the school in order to escape Laura's attentions. Laura eventually completes her schooling, winning a two-year music scholarship to study piano.

Source: Australian Screen.

A co-production between the ABC and the BBC, 'in association with 20th Century Fox', Ben Hall was a thirteen-part historical drama series about bushranger Ben Hall (1837–1865). Famous as a bushranger who never killed anyone but was nevertheless shot dead by police under the Felons Apprehension Act 1865, Hall was the ideal candidate for a drama series in an era in which Australian television was becoming increasingly fascinated with the dramatic possibilities of its colonial past.

Quoted in 1974, Andrew Osborn (BBC's Head of Drama series) summed up the possibilities as followed:

'The thing that makes Hall so interesting is, he tried to make a go of the land. He married a local landowner's daughter and settled down. But through persistent police persecution, beginning when he was falsely arrested for highway robbery, he was forced into a life of crime. He was a very handsome man, had many sympathisers in the districts where he operated, and was a magnificent horseman. What better story could you have? It's wonderful.' (Australian Women's Weekly, Wed. 27 February 1974, p.10).

The full-page advertisements with which the program was marketed also summed up this approach to the narrative, reading:

'This gang is going to capture a dozen or more police, rob 10 mail coaches and raid 21 towns and homesteads. BEN HALL: From law abiding cattleman of the Weddin Mountains to embittered outlaw. This is the saga of Ben Hall. Tough. Colourful. A desperate period of Australian History.' (See, for example, Australian Women's Weekly, 10 September 1975, p.8).

For a detailed, episode-by-episode synopses, see Film Details.

A ten-part television mini-series adapted from the 1894 novel Seven Little Australians by Ethel Turner (q.v.). Set in Sydney in the 1890s, the stories concern Captain Woolcot, an English widower with seven children, who has recently married again. The family lives in their large home 'Misrule,' which lies along the banks of the Parramatta River. As an officer in the New South Wales Regiment, Woolcot attempts to implement regimental discipline but is constantly harassed and embarrassed by the antics of his seven mischievous children: Meg, Pip, Judy, Nell, Bunty, Baby, and 'The General.' Since he is unable to control them, it is his new wife who invariably takes on all the trials of bringing up the children, with the most difficult child being the ring-leader Helen, commonly known as Judy.

A highly successful soap opera, Number 96's permissive and adult tone emerged, in Moran's terms, from 'the atmosphere of censorship liberalisation that had occurred in Australia in the early 1970s, and the intention to screen the serial in a late evening timeslot'. As such, the programme interspersed the domestic and romantic storylines that usually drive soap operas with plots exploring rape, drug abuse, and homosexuality. For example, the long-running character Don Finlayson (played by Joe Hasham) was an openly gay character whose relationships attracted neither censure nor any unusual degree of attention from his neighbours, showing him as unusually (for the time) integrated into a mainstream community.

According to Moran, 'Number 96 moved the Australian television soap opera completely away from its radio predecessor by organising a series of simultaneous storylines with various characters moving in and out of these, the storylines lasting only two to six weeks on air.' Long-running storylines included the 'Knicker Snipper' (a msyterious figure stealing the residents' underwear) and the Pantyhose Murderer (a serial killer).

As the show's ratings began dropping in 1975, various attempts were made to revitalise interest in the series, including killing (or otherwise writing out) long-running characters, increasing the amount of location shooting, and publicising the increased amount of nudity in the show (including both female and--briefly--male full-frontal nudity). Despite this, ratings continued to drop to the point where the show was cancelled in July 1977.

Nineteen-year-old Robert Piper has spent all his life in the country. He now starts a new life at university in the city.

A coming-of-age story about Rhyll Mereweather, a teenage girl who, after her father dies, believes that she now has no family. Soon afterwards, however, she is informed that she has inherited a run-down northern NSW banana plantation. When she travels from her home in Melbourne to see the property, she discovers a crusty old grandfather and some other surprising relatives she didn't know about.

As with the book, the screenplay deals with many issues, including the irresponsible property development ruining the pristine coastline of northern NSW. It also, in a witty and hopeful way, deals with some of the most unsavoury aspects of Australian culture: its casual racism, its ingrained sexism, and the pressures put upon young people to conform to expectations. The film was arguably the first Australian television series to address racism in any meaningful way. Although the series was made at a time when Australia was still pursuing a white-only immigration program and when discrimination against Aboriginal peoples was endemic, the subject matter was handled with some care by the producers.