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Adaptations
-
form
y
The Secret of the Purple Reef
( dir. William Witney
)
1960
Los Angeles
:
Associated Producers
,
1960
Z1688597
1960
single work
film/TV
When Robert Christopher and his ship mysteriously disappear in the Caribbean, his two brothers, Mark and Dean, travel to St. Kitts and begin their own investigation.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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'So Many Sparks of Fire' : Dorothy Cottrell, Modernism and Mobility
2016
single work
criticism
— Appears in: Queensland Review , vol. 23 no. 2 2016; (p. 164-177) 'The broad brush strokes of Dorothy Cottrell's paintings in the National Library of Australia mark her as a modernist artist, although not one who painted the burgeoning Sydney Harbour Bridge or bright still-life paintings of Australian flora. Rather, she captured the dun surrounds of Ularunda Station, the remote Queensland property to which she moved in 1920 after attending art school in Sydney. At Ularunda, Cottrell eloped with the bookkeeper to Dunk Island, where they stayed with nature writer E.J. Banfield, then relocated to Sydney. In 1924 they returned to Ularunda and Cottrell swapped her paintbrush for a pen, writing The Singing Gold. After advice from Mary Gilmore, whom her mother accosted in a pub, Cottrell send it to the Ladies Home Journal in America. It was snapped up immediately, optioned for a film and found a publisher in England, who described it as ‘a great Australian book, and a world book’. Gilmore added, ‘As an advertisement for Australia, it will go far — the Ladies Home Journal is read all over the world’. Cottrell herself also went far, emigrating to America, where she wrote The Silent Reefs, set in the Caribbean. Cottrell's creative, intellectual and physical peregrinations — all undertaken in a wheelchair after she contracted polio at age five — show how the local references the international, and vice versa. Through an analysis of the life and writing of this now little-known Queensland author, this essay reflects the regional and transnational elements of modernism as outlined in Neal Alexander and James Moran's Regional Modernisms, illuminating how a crack-shot with a rifle once took Queensland to the world.' (Publication abstract) -
'The Silent Reefs'
1954
single work
review
— Appears in: The Cairns Post , 29 May 1954; (p. 3)
— Review of The Silent Reefs 1952 single work novel
-
'The Silent Reefs'
1954
single work
review
— Appears in: The Cairns Post , 29 May 1954; (p. 3)
— Review of The Silent Reefs 1952 single work novel -
'So Many Sparks of Fire' : Dorothy Cottrell, Modernism and Mobility
2016
single work
criticism
— Appears in: Queensland Review , vol. 23 no. 2 2016; (p. 164-177) 'The broad brush strokes of Dorothy Cottrell's paintings in the National Library of Australia mark her as a modernist artist, although not one who painted the burgeoning Sydney Harbour Bridge or bright still-life paintings of Australian flora. Rather, she captured the dun surrounds of Ularunda Station, the remote Queensland property to which she moved in 1920 after attending art school in Sydney. At Ularunda, Cottrell eloped with the bookkeeper to Dunk Island, where they stayed with nature writer E.J. Banfield, then relocated to Sydney. In 1924 they returned to Ularunda and Cottrell swapped her paintbrush for a pen, writing The Singing Gold. After advice from Mary Gilmore, whom her mother accosted in a pub, Cottrell send it to the Ladies Home Journal in America. It was snapped up immediately, optioned for a film and found a publisher in England, who described it as ‘a great Australian book, and a world book’. Gilmore added, ‘As an advertisement for Australia, it will go far — the Ladies Home Journal is read all over the world’. Cottrell herself also went far, emigrating to America, where she wrote The Silent Reefs, set in the Caribbean. Cottrell's creative, intellectual and physical peregrinations — all undertaken in a wheelchair after she contracted polio at age five — show how the local references the international, and vice versa. Through an analysis of the life and writing of this now little-known Queensland author, this essay reflects the regional and transnational elements of modernism as outlined in Neal Alexander and James Moran's Regional Modernisms, illuminating how a crack-shot with a rifle once took Queensland to the world.' (Publication abstract)
Last amended 10 Jan 2012 12:06:52
