Thornley, J 2017, '‘Looking at Women’: an essay on 'Still Life', a short film, dirs. Jeni Thornley & Dasha Ross.', Peephole Journal, no. No.7.
This essay by Jeni Thornley examines the dynamics and subtexts of the male gaze and the female gaze in her short film 'Still Life', produced in the Women's Film Workshop, 1974. The film screened at the 2017 inaugural Melbourne Women in Film Festival.
Thornley, J 2013, ''Islands of possibility': Film-making, cultural practice, political action and the decolonization of Tasmanian history', Studies in Australasian Cinema, vol. 7, no. 2-3, pp. 123-136.View/Download from: Publisher's site
This article considers the potential of a decolonizing poetics, evident across Tasmanian Aboriginal arts and cultural works, to contribute to a distinctively Aboriginal film-making practice in Tasmania. The potency of this body of work, alongside the Aboriginal communitys vigorous political campaigns for cultural rights and land rights, has not translated into a distinctively Tasmanian Aboriginal film culture. Apart from several significant documentary films and photographic works that indicate the emergence of a powerful decolonizing poetics there are no fictional feature films by Tasmanian Aboriginal film-makers. Moreover recent feature films produced by non-Indigenous film-makers about Tasmania invoke the `Tasmanian Gothic trope, imagining an island without any Aboriginal presence. This article considers processes that contribute to decolonizing through the contemporary work of Tasmanian Aboriginal writers and artists, including Jim Everett, Julie Gough, Greg Lehman and photographer Ricky Maynard. I suggest their poetics are more than textual. They are grounded in country and community linked to another realm beyond the `shallow time of colonization. Their decolonizing poetics are shared with Maori film-maker Barry Barclays `Fourth Cinema, where the camera is firmly in Indigenous hands, based in community and cultural practices
Thornley, J 2019, '‘We are not dead’ – Decolonizing the Frame' in Knopf, K & Pearson, W (eds), First Takes, Fourth World: Global Indigenous Films, Transnational Indigenous Perspectives Series, Routledge (forthcoming), Routledge, UK.
Thornley, J 2014, '‘Island Home Country: on the possibility of praxis between ‘artefact’ and ‘writing’ in the creative arts doctorate’' in Paltridge, B, Starfield, S & Ravelli, S (eds), Doctoral Writing in the Creative and Performing Arts, Libri Pub Limited, Faringdon, United Kingdom.
Bringing together student, academic, and institutional perspectives, this book casts light on the unique and challenging form of the doctoral thesis in the creative and performing arts, where the written text is combined with a creative/performed text, to present a unique contribution to research. It provides insights into the nature of doctoral writing across a wide range of creative and performing arts disciplines and enhances understanding of student experiences of doctoral writing. Academic perspectives are provided: that of the examiners, the supervisors, and the institutions. The book also investigates the nature of successful research in these disciplines.
McMurchy, M, Nash, M, Oliver, M & Thornley, J, 'NFSA Restores 'For Love or Money' & Special Screening, ARC Cinema', ARC Cinema, Penguin Books.
For Love or Money, Dirs: McMurchy, Nash, Oliver, Thornley, Australia, 1983, 107mins. A unique and superbly crafted pictorial history of women and work in Australia. The film is just as relevant today as women continue to fight for equal pay, maternity leave and child care while still providing the majority of unpaid caring work in Australia. For Love or Money is part of NFSA Restores - a program to digitise, restore and preserve, at the highest archival standards, classic and cult Australian films so they can be seen in today’s digital cinemas. The film's editor Margot Nash supervised the digitising process with NFSA.
Thornley, J 2010, 'Island home country : subversive mourning : working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania. A cine-essay and exegesis.'.
In this doctorate, Island Home Country, a documentary film and exegesis, I reflect on growing up in a white settler-invader family in Tasmania in the late 1940s-1950s oblivious to any Tasmanian Aboriginal culture or history on the island. The working method of the film was initially based on Freud’s notion of ‘the work of mourning’ as a way of working through repressed history. However the project’s engagement in a six-year protocols process with Tasmanian Aboriginal community members influenced this research paradigm. It triggered a ‘meditation on discomfort’, involving a turn towards critical race and whiteness studies, decolonising methodologies and a consideration of white privilege and ways to challenge it. This exegesis seeks to articulate the film’s textual strategies alongside theoretical and political issues that surfaced while making the film, in particular the impact of protocols, the ethics and responsibilities they entail and their repercussions into the text of the film and the project’s research paradigm. The film is in the documentary essay mode. My aim has been to work in an affective and performative register with image, poetry, sound and music to try and penetrate amnesia and to think and see ‘beyond the colonial construct’. The process of making a film in consultation with Tasmanian Aboriginal community members, as well as my own family is examined, particularly the subject position of being a white person producing a work amidst the complex borderlines of 21st century colonial-post-colonising Tasmania. The six chapters of the exegesis - Amnesia, Possession, Memory, Mourning, Encounter and Reckoning follow the chapters of the film, opening out the ebb and flow of protocols process for discussion. This exegesis analyses the film’s attempt to ‘work through’ the historical trauma of colonisation at both an individual and community level, examining the film’s intention to reckon with the ghosts of history and how they may live on. I conclude that ...