Therese Davis
Dados Biográficos
| ID | 3815751 |
|---|---|
| NOME | Therese Davis |
| PRENOMES | Therese |
| SOBRENOME | Davis |
| ASSINATURA | DAVIS T |
| AFILIAÇÕES | University of Newcastle Australia |
| ORCID | 0000-0002-3075-5215 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAÇÕES | 5 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1992 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 1 |
Smartphone filmmaking and the Australian environment – a creative research collaboration
In 2023, the Australian Environments on Screen research project presented a collection of commissioned, non-fiction, smartphone films in collaboration with the Mobile Innovation Network and Association (MINA) – the longest-running film festival in the southern hemisphere dedicated to celebrating mobile and smartphone filmmaking. The project’s process-driven approach to smartphone film production and exhibition explored what it means to interact s…
Australian Indigenous Screen in the 2000s
Locating The Sapphires
This essay discusses transnational dimensions of the Indigenous musical film The Sapphires, based on the true story of an Aboriginal all-girls soul band that entertained American troops in the Vietnam War. It suggests that there are strong resonances between the film's story of four young Indigenous women who affirm their Indigenous identity while negotiating their way across national and cultural borders and contemporary Indigenous filmmakers op…
Offshore processes
Introduction
This introduction to the special issue titled “The Place of the Contemporary Female Director” outlines the genesis of the issue and aims of the editors. Building on a workshop that took place in Film and Television Studies at Monash University, Melbourne, in 2011, the essays in the issue explore the theme “between worlds.” In particular, the theme offers a cue for authors to consider how, given the mutable cultural terrain of the twenty-first cen…
Between Worlds
The article looks at the contributions of writer and director Darlene Johnson to an emerging Australian Indigenous cinema. It discusses the ways in which Johnson draws on her experience as a young, urban Indigenous woman and her knowledge of Aboriginal culture to explore the postcolonial subjectivity of being caught between two worlds in her documentary and short fiction films, including River of No Return (2008), Gulpilil: One Red Blood (2002), …
Indigenous Performance of History, Loss and Remembrance in Whispering in Our Hearts
This essay undertakes a cultural analysis that draws from the authors' different disciplinary and media backgrounds – Romaine Moreton in Indigenous philosophy, spoken-word performance and filmmaking and Therese Davis in film and cultural studies – to examine the Australian historical documentary film Whispering In Our Hearts: The Mowla Bluff Massacre (2001). Directed by Mitch Torres in collaboration with her community, the Nyikina, Mangala and Ka…
The spirit, the heart and the power’
The 'Stiff Gins' are
Beyond good/should/bad
In this article I want to consider the procedure whereby a film or television series is constructed as socially ‘good’, thus becoming something ‘worthy’, and how worthiness in turn leads to somethi
Remembering our ancestors
In 2000, maverick Australian director Rolf de Heer began a collaboration with Australian Aboriginal screen legend David Gulpilil to make a film set in Gulpilil's traditional lands in North Eastern Arnhem Land. The result of the collaboration is the new feature Ten Canoes (2006). For Gulpilil the project represented an opportunity to launch careers in film for members of his community, including his son Jamie Gulpilil (who plays the lead role). He…
Disputing history, remembering country in The Tracker and Rabbit‐Proof Fence
This essay takes issue with newspaper pundits, academic film critics and historians who seek in their respective professional ways to bar ‘history’ films from counting as ‘good cinema’ or who decry cinema's capacity for doing ‘real history’. Paying particular attention to the reappearance of the figures of the lost child and the black tracker in recent Australian cinema, we propose that history films be understood in terms of spectatorship rather…
Australian Cinema After Mabo
Australian Cinema after Mabo is a comprehensive 2005 study of Australian national cinema in the 1990s. Using the 1992 Mabo decision as a starting point, it looks at how the Mabo decision, where the founding doctrine of terra nullius was overruled, has destabilised the way Australians relate to the land. It asks how we think about Australian cinema in the post Mabo era, and what part it plays in the national process of reviewing our colonial past …
First Sight
First Sight: Blindness, Cinema and Unrequited Love Thérà ̈se Davis The true picture of the past flits by. The past can only be seized as an image which flashes up at the instant when it can be recognized and is never seen again. —Walter Benjamin1 Charlie Chaplin's romantic comedy City Lights (1931) is widely regarded as the most melancholy and most beautiful of his films.2 The story revolves around the little tramp's love for a blind flower girl,…
Presence
Disputing history, remembering country in The Tracker and Rabbit‐Proof Fence
This essay takes issue with newspaper pundits, academic film critics and historians who seek in their respective professional ways to bar ‘history’ films from counting as ‘good cinema’ or who decry cinema's capacity for doing ‘real history’. Paying particular attention to the reappearance of the figures of the lost child and the black tracker in recent Australian cinema, we propose that history films be understood in terms of spectatorship rather…
Locating The Sapphires
This essay discusses transnational dimensions of the Indigenous musical film The Sapphires, based on the true story of an Aboriginal all-girls soul band that entertained American troops in the Vietnam War. It suggests that there are strong resonances between the film's story of four young Indigenous women who affirm their Indigenous identity while negotiating their way across national and cultural borders and contemporary Indigenous filmmakers op…
Offshore processes
Between Worlds
The article looks at the contributions of writer and director Darlene Johnson to an emerging Australian Indigenous cinema. It discusses the ways in which Johnson draws on her experience as a young, urban Indigenous woman and her knowledge of Aboriginal culture to explore the postcolonial subjectivity of being caught between two worlds in her documentary and short fiction films, including River of No Return (2008), Gulpilil: One Red Blood (2002), …
Presence
First Sight
First Sight: Blindness, Cinema and Unrequited Love Thérà ̈se Davis The true picture of the past flits by. The past can only be seized as an image which flashes up at the instant when it can be recognized and is never seen again. —Walter Benjamin1 Charlie Chaplin's romantic comedy City Lights (1931) is widely regarded as the most melancholy and most beautiful of his films.2 The story revolves around the little tramp's love for a blind flower girl,…
Australian Cinema After Mabo
Australian Cinema after Mabo is a comprehensive 2005 study of Australian national cinema in the 1990s. Using the 1992 Mabo decision as a starting point, it looks at how the Mabo decision, where the founding doctrine of terra nullius was overruled, has destabilised the way Australians relate to the land. It asks how we think about Australian cinema in the post Mabo era, and what part it plays in the national process of reviewing our colonial past …
Disputing history, remembering country in The Tracker and Rabbit‐Proof Fence
This essay takes issue with newspaper pundits, academic film critics and historians who seek in their respective professional ways to bar ‘history’ films from counting as ‘good cinema’ or who decry cinema's capacity for doing ‘real history’. Paying particular attention to the reappearance of the figures of the lost child and the black tracker in recent Australian cinema, we propose that history films be understood in terms of spectatorship rather…
Remembering our ancestors
In 2000, maverick Australian director Rolf de Heer began a collaboration with Australian Aboriginal screen legend David Gulpilil to make a film set in Gulpilil's traditional lands in North Eastern Arnhem Land. The result of the collaboration is the new feature Ten Canoes (2006). For Gulpilil the project represented an opportunity to launch careers in film for members of his community, including his son Jamie Gulpilil (who plays the lead role). He…
Beyond good/should/bad
In this article I want to consider the procedure whereby a film or television series is constructed as socially ‘good’, thus becoming something ‘worthy’, and how worthiness in turn leads to somethi
The spirit, the heart and the power’
The 'Stiff Gins' are
Indigenous Performance of History, Loss and Remembrance in Whispering in Our Hearts
This essay undertakes a cultural analysis that draws from the authors' different disciplinary and media backgrounds – Romaine Moreton in Indigenous philosophy, spoken-word performance and filmmaking and Therese Davis in film and cultural studies – to examine the Australian historical documentary film Whispering In Our Hearts: The Mowla Bluff Massacre (2001). Directed by Mitch Torres in collaboration with her community, the Nyikina, Mangala and Ka…
Locating The Sapphires
This essay discusses transnational dimensions of the Indigenous musical film The Sapphires, based on the true story of an Aboriginal all-girls soul band that entertained American troops in the Vietnam War. It suggests that there are strong resonances between the film's story of four young Indigenous women who affirm their Indigenous identity while negotiating their way across national and cultural borders and contemporary Indigenous filmmakers op…
Offshore processes
Introduction
This introduction to the special issue titled “The Place of the Contemporary Female Director” outlines the genesis of the issue and aims of the editors. Building on a workshop that took place in Film and Television Studies at Monash University, Melbourne, in 2011, the essays in the issue explore the theme “between worlds.” In particular, the theme offers a cue for authors to consider how, given the mutable cultural terrain of the twenty-first cen…
Between Worlds
The article looks at the contributions of writer and director Darlene Johnson to an emerging Australian Indigenous cinema. It discusses the ways in which Johnson draws on her experience as a young, urban Indigenous woman and her knowledge of Aboriginal culture to explore the postcolonial subjectivity of being caught between two worlds in her documentary and short fiction films, including River of No Return (2008), Gulpilil: One Red Blood (2002), …
Australian Indigenous Screen in the 2000s
Smartphone filmmaking and the Australian environment – a creative research collaboration
In 2023, the Australian Environments on Screen research project presented a collection of commissioned, non-fiction, smartphone films in collaboration with the Mobile Innovation Network and Association (MINA) – the longest-running film festival in the southern hemisphere dedicated to celebrating mobile and smartphone filmmaking. The project’s process-driven approach to smartphone film production and exhibition explored what it means to interact s…
Sociology (12 obras) · Media studies (11 obras) · Art (10 obras) · Art history (7 obras) · Cinema and Media Studies (7 obras) · Visual arts (7 obras) · Aesthetics (6 obras) · History (6 obras) · Indigenous (6 obras) · Movie theater (6 obras)