'Helen Tremaine returns to a remote island in Australia's far north Torres Strait where she had previously worked as the Remote Area Nurse (aka RAN). Helen has a talent for breaking rules and taking on the bureaucracy. That, along with local politics, love affairs and a savage outbreak of Dengue Fever, RAN draws you into the world of a woman who yearns to belong, and a community who love her but want her gone.'
Source: Australian Television Information Archive. (Sighted: 12/6/2013)
One Ball
Australia
:
Chapman Pictures
,
2006
6043693
2006
single work
film/TV
'The island is rocked by a sudden and cruel death. Giddy, the son of the island's cop Mick (Belford Lui), drowns at sea while attempting to ferry contraband alcohol onto the island. Island Chairman Russ Gaibui (Charles Passi) goes on the warpath, enraged by the system that entices islanders to behave like furtive delinquents.
To ensure that Giddy's death was not in vain, he proposes to overturn the ban on alcohol and establish a wet canteen. Russ's daughter Nancy (Margaret Harvey), leads the opposition to the plan, claiming that it would spell disaster; a return to the bad old days. Russ woos Helen to his side, while an infuriated Nancy accuses Helen of being bought out by the promise of funds for a new clinic, and their long-term friendship feels the strain.
'But it is Russ's personal overtures towards Helen that are more unnerving. The moves he makes are subtle, refined, even flattering, but if Helen were to act on her feelings, it would destroy all the trust she has built up on the island, including that of the influential female elders. It would also be a betrayal of Russ's wife, Ina, whom Helen admires. And there's also a professional consideration; Helen has to guide Russ through a health crisis. It's all too impossible, however much Helen feels herself drawn towards this charismatic and powerful man.'
Source: Australian Television Information Archive. (Sighted: 12/6/2013)
Australia : Chapman Pictures , 2006
Blue Hawaii
Australia
:
Chapman Pictures
,
2006
Z1340178
2006
single work
film/TV
Australia
:
Chapman Pictures
,
2006
Finding Queensland in Australian Cinema : Poetics and Screen Geographies
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.
Finding Queensland in Australian Cinema : Poetics and Screen Geographies
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.
