Chelsea Barnett
Biographic Data
| ID | 3766362 |
|---|---|
| NAME | Chelsea Barnett |
| GIVEN NAMES | Chelsea |
| FAMILY NAME | Barnett |
| SIGNATURE | BARNETT C |
| AFFILIATIONS | Macquarie University |
| ORCID | 0000-0002-1631-1503 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Masculinity, victimhood and national identity in 1970s Australian ocker cinema
Historians have long understood ocker cinema in terms of a more distinct and assertive national identity in Whitlam’s 1970s, yet only recently have begun to consider the context of the women’s liberation movement unfolding at the time. Adding to this emerging body of scholarship, this article reads the rise of ocker cinema both in the context of, and as a response to, second-wave feminism. Turning to the films Stork (1971), The Adventures of Barr…
Terror Nullius (2018)
That film can and does function in a nation-building capacity is not altogether surprising. It should follow, then, that film can also work to challenge, undermine or even undo the nationalist myth
The Transported Imagination
The Transported Imagination: Australian Interwar Magazines and the Geographical Imaginaries of Colonial Modernity." Australian Historical Studies, 51(2), pp. 233–234
It is Our Film’
The dominant narrative in Australian film historiography declares that the postwar period is unworthy of scholarly attention, particularly in contrast to the ‘renaissance’ of the 1970s. For historians working on twentieth-century Australian film production, the postwar years were a time in which very few Australian-authored films were made and released, and very few Australian people bothered to see them. This article intervenes into this narrati…
They don’t tame, only on the surface’
This article explores the representation of masculinity and race in the 1955 film Jedda. Popularly remembered as a ‘classic’ Australian film, Jedda is best known for its explicit critique of Indigenous affairs in the assimilation era. This article, however, contends that the film’s treatment of differing masculinities reveals its anti-assimilationist meanings, both through its affirmation of white, radical nationalist masculinity and its portraya…
Masculinity and Cultural Contestation in the Australian 1950s
Enduring popular narratives posit the 1950s as a time of gendered oppression and conservative stability. While previous historians have pointed to the social and political changes of the period, their work has understood culture as a passive reflector of these transformations. Through analysis of four Australian films, this article argues that the contemporary cultural landscape was a dynamic space that actively negotiated between competing ideal…
Men at work
In the aftermath of Second World War and in the beginning years of the Cold War, newly elected Prime Minister Robert Menzies reaffirmed the institutional relationship between masculinity and breadwinning that also spoke to a specific national ideal. In accordance with the 'national narrative of work', this article looks to historicise the relationship between historically specific understandings of gender and work, and how that relationship was r…
Man 's man
This article examines the representation of masculinity in Man, a men’s magazine, in post-war Australia. While the notion of the “sleepy 1950s” has implied a period of social conservatism and gender stability, the representation of (and commentary on) men’s social, cultural and familial worlds in Man tells a rather different story. In a period in which Menzies’s breadwinner masculinity idealised work and familial life as the source of men’s satis…
Masculinity and Cultural Contestation in the Australian 1950s
Enduring popular narratives posit the 1950s as a time of gendered oppression and conservative stability. While previous historians have pointed to the social and political changes of the period, their work has understood culture as a passive reflector of these transformations. Through analysis of four Australian films, this article argues that the contemporary cultural landscape was a dynamic space that actively negotiated between competing ideal…
Man 's man
This article examines the representation of masculinity in Man, a men’s magazine, in post-war Australia. While the notion of the “sleepy 1950s” has implied a period of social conservatism and gender stability, the representation of (and commentary on) men’s social, cultural and familial worlds in Man tells a rather different story. In a period in which Menzies’s breadwinner masculinity idealised work and familial life as the source of men’s satis…
Men at work
In the aftermath of Second World War and in the beginning years of the Cold War, newly elected Prime Minister Robert Menzies reaffirmed the institutional relationship between masculinity and breadwinning that also spoke to a specific national ideal. In accordance with the 'national narrative of work', this article looks to historicise the relationship between historically specific understandings of gender and work, and how that relationship was r…
They don’t tame, only on the surface’
This article explores the representation of masculinity and race in the 1955 film Jedda. Popularly remembered as a ‘classic’ Australian film, Jedda is best known for its explicit critique of Indigenous affairs in the assimilation era. This article, however, contends that the film’s treatment of differing masculinities reveals its anti-assimilationist meanings, both through its affirmation of white, radical nationalist masculinity and its portraya…
Masculinity and Cultural Contestation in the Australian 1950s
Enduring popular narratives posit the 1950s as a time of gendered oppression and conservative stability. While previous historians have pointed to the social and political changes of the period, their work has understood culture as a passive reflector of these transformations. Through analysis of four Australian films, this article argues that the contemporary cultural landscape was a dynamic space that actively negotiated between competing ideal…
Terror Nullius (2018)
That film can and does function in a nation-building capacity is not altogether surprising. It should follow, then, that film can also work to challenge, undermine or even undo the nationalist myth
The Transported Imagination
The Transported Imagination: Australian Interwar Magazines and the Geographical Imaginaries of Colonial Modernity." Australian Historical Studies, 51(2), pp. 233–234
It is Our Film’
The dominant narrative in Australian film historiography declares that the postwar period is unworthy of scholarly attention, particularly in contrast to the ‘renaissance’ of the 1970s. For historians working on twentieth-century Australian film production, the postwar years were a time in which very few Australian-authored films were made and released, and very few Australian people bothered to see them. This article intervenes into this narrati…
Masculinity, victimhood and national identity in 1970s Australian ocker cinema
Historians have long understood ocker cinema in terms of a more distinct and assertive national identity in Whitlam’s 1970s, yet only recently have begun to consider the context of the women’s liberation movement unfolding at the time. Adding to this emerging body of scholarship, this article reads the rise of ocker cinema both in the context of, and as a response to, second-wave feminism. Turning to the films Stork (1971), The Adventures of Barr…
Law (7 works) · Political science (7 works) · Sociology (6 works) · Australian History and Society (5 works) · Law (5 works) · Art (4 works) · Cinema and Media Studies (4 works) · Gender Studies (4 works) · History (4 works) · Masculinity (4 works)