form y separately published work icon The Irishman single work   film/TV  
Adaptation of The Irishman : A Novel of Northern Australia Elizabeth O'Conner , 1960 single work novel
Issue Details: First known date: 1978... 1978 The Irishman
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AbstractHistoryArchive Description

Adapted from the novel of the same name by Elizabeth O'Connor, The Irishman is set in North Queensland in the 1920s and tells the story of a family experiencing events that they cannot control. Paddy Doolan is a proud Irish-Australian teamster who refuses to give into the threat of motorised transport. At opposite ends are his two sons: Will, who opposes his father, and Michael, who vows to support his father to the end.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

y separately published work icon Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , London : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.

Heritage Enigmatic : The Silence of the Dubbed in Jedda and The Irishman Allison Craven , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 7 no. 1 2013; (p. 23-34)

'The dubbing of the voices of Aboriginal actors in The Irishman (Crombie, 1978) and Jedda (Chauvel, [1955] 2004) is discussed, first in a general context of the prevalence of post-sychronization of cinema sound in past and contemporary practices. The Irishman is thereafter considered through the spectacle of DVD packaging with commentary, a para-cinematic device that works – through a similar mechanism to dubbing – to influence the reception of the feature film; then Jedda is approached with reference to the various accounts that have emerged of the dubbed voices, none of which seem to conclusively indicate the grounds or status. Concluding reflections on these histories are drawn to wider institutional and industrial conditions, and also to contemporary films that address the voices and silences of Indigenous people.' (Author's abstract)

An Australasian Lens? Anthony Lambert , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 7 no. 1 2013; (p. 3-7)

'The uses and understandings of the category ‘Australasian’ seem to shift and vary within the multiple contexts of the term’s application. Each new

volume of Studies in Australasian Cinema, for example, not only negotiates the elasticity of screen culture, production, and scholarship as critical ‘objects’, but also speaks simultaneously (often in the broadest and even tangential senses) to regional experiences of, or responses to, all of these. ' (Author's introduction)

Period Features, Heritage Cinema : Region, Gender and Race in The Irishman Allison Craven , 2011 single work criticism
— Appears in: Studies in Australasian Cinema , 6 April vol. 5 no. 1 2011; (p. 31-42)
'The Irishman (Crombie 1978) has long been regarded as typical of the Australian period film genre of the late 1970s, which is said to collectively exhibit the Australian Film Commission's influences on national culture. In this article, The Irishman is seen as a 'heritage' film for the way locations and authentic sets and decor are featured, and for the nostalgic performances of gender and race. Regional influences on the genesis and production of The Irishman in North Queensland are also considered, and its adaptation from the novel, The Irishman : A Novel of Northern Australia (Elizabeth O'Conner 1960). Heritage, it is argued, can be seen as a cinematic mode in which regional and national elements of production are synthesized. Heritage also offers a framework through which to view other Australian period films, including Australia (Luhrmann 2008), which was also shot partly in North Queensland locations.' (Author's abstract)
form y separately published work icon Tony Buckley Bryon Quigley (interviewer), Sydney : Australian Film and Television School , 1979 Z1583157 1979 single work film/TV Australian film producer, director, and editor Tony Buckley is interviewed by Bryon Quigley. Among the films discussed are The Night the Prowler, Picture Show Man, Caddie, and The Irishman.
form y separately published work icon Tony Buckley Bryon Quigley (interviewer), Sydney : Australian Film and Television School , 1979 Z1583157 1979 single work film/TV Australian film producer, director, and editor Tony Buckley is interviewed by Bryon Quigley. Among the films discussed are The Night the Prowler, Picture Show Man, Caddie, and The Irishman.
Period Features, Heritage Cinema : Region, Gender and Race in The Irishman Allison Craven , 2011 single work criticism
— Appears in: Studies in Australasian Cinema , 6 April vol. 5 no. 1 2011; (p. 31-42)
'The Irishman (Crombie 1978) has long been regarded as typical of the Australian period film genre of the late 1970s, which is said to collectively exhibit the Australian Film Commission's influences on national culture. In this article, The Irishman is seen as a 'heritage' film for the way locations and authentic sets and decor are featured, and for the nostalgic performances of gender and race. Regional influences on the genesis and production of The Irishman in North Queensland are also considered, and its adaptation from the novel, The Irishman : A Novel of Northern Australia (Elizabeth O'Conner 1960). Heritage, it is argued, can be seen as a cinematic mode in which regional and national elements of production are synthesized. Heritage also offers a framework through which to view other Australian period films, including Australia (Luhrmann 2008), which was also shot partly in North Queensland locations.' (Author's abstract)
An Australasian Lens? Anthony Lambert , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 7 no. 1 2013; (p. 3-7)

'The uses and understandings of the category ‘Australasian’ seem to shift and vary within the multiple contexts of the term’s application. Each new

volume of Studies in Australasian Cinema, for example, not only negotiates the elasticity of screen culture, production, and scholarship as critical ‘objects’, but also speaks simultaneously (often in the broadest and even tangential senses) to regional experiences of, or responses to, all of these. ' (Author's introduction)

Heritage Enigmatic : The Silence of the Dubbed in Jedda and The Irishman Allison Craven , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 7 no. 1 2013; (p. 23-34)

'The dubbing of the voices of Aboriginal actors in The Irishman (Crombie, 1978) and Jedda (Chauvel, [1955] 2004) is discussed, first in a general context of the prevalence of post-sychronization of cinema sound in past and contemporary practices. The Irishman is thereafter considered through the spectacle of DVD packaging with commentary, a para-cinematic device that works – through a similar mechanism to dubbing – to influence the reception of the feature film; then Jedda is approached with reference to the various accounts that have emerged of the dubbed voices, none of which seem to conclusively indicate the grounds or status. Concluding reflections on these histories are drawn to wider institutional and industrial conditions, and also to contemporary films that address the voices and silences of Indigenous people.' (Author's abstract)

y separately published work icon Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , London : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.

Last amended 26 Aug 2013 13:52:11
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