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British women's amateur film practice contributes to the rapidly growing specialist field of amateur film studies and to broader cinematic trajectories and media history. Over almost 90 years women used evolving camera technologies—cine, video, and digital—to create visual stories about their lives and the world around them and to experiment with other genres, namely animation and fiction. Their visual practice intersects with wider societal changes and discloses how women negotiated aspects of changing lifestyles, attitudes, and opportunities. Their varied reasons for making and showing films, whether in imperial, postcolonial, or contemporary Britain, and during their years overseas, evidence self‐expression, creativity, and agency. Their informal perspectives differ from the dominant narratives of late imperialism which were mediated via documentary and newsreel productions. Women's amateur films depict interactions shaped by class, gender, and race and disclose subjectivities and perceptions that suggest their filmmakers' responses to changing circumstances, expectations, and notions of authority. Interrogating women's amateur films draws on cross‐archival research, identifies films from public and specialist collections and uses theoretical perspectives central to issues of identity, gender, race and status, national and (post‐)imperial history, visual politics, cinema history, and new media scholarship.
British women's amateur film practice contributes to the rapidly growing specialist field of amateur film studies and to broader cinematic trajectories and media history. Over almost 90 years women used evolving camera technologies—cine, video, and digital—to create visual stories about their lives and the world around them and to experiment with other genres, namely animation and fiction. Their visual practice intersects with wider societal changes and discloses how women negotiated aspects of changing lifestyles, attitudes, and opportunities. Their varied reasons for making and showing films, whether in imperial, postcolonial, or contemporary Britain, and during their years overseas, evidence self‐expression, creativity, and agency. Their informal perspectives differ from the dominant narratives of late imperialism which were mediated via documentary and newsreel productions. Women's amateur films depict interactions shaped by class, gender, and race and disclose subjectivities and perceptions that suggest their filmmakers' responses to changing circumstances, expectations, and notions of authority. Interrogating women's amateur films draws on cross‐archival research, identifies films from public and specialist collections and uses theoretical perspectives central to issues of identity, gender, race and status, national and (post‐)imperial history, visual politics, cinema history, and new media scholarship.
In October 1935, a touring party embarked on the inaugural tour of India by an Australian cricket team. To a great, and somewhat stereotypical, extent popular representations of Indian-Australian relations are viewed through the lens of cricket-the national game in both countries. This study about a significant, yet overlooked, chapter in sporting history examines the Australian cricketers' response to the social, racial and political hierarchies of late-colonial India. The experience of the touring party encouraged a re-imagining of ideological perspectives and this research has revealed a uniquely Australian subjectivity to the British colonization of India. The tour between the colony (India) and the dominion (Australia) can be interpreted as an anti-imperial gesture. Both countries were attempting to forge relationships that would be independent from Britain. The role of cricket, itself experiencing a renaissance during the 1930s as it transformed from a largely amateur pursuit to an increasingly professional occupation is interrogated. As part of this transformation international cricket positioned itself as an increasingly politicized global entity within the broader turbulence of the firsthalf of the twentieth century. All those involved in the tour are now dead. However a close historical analysis of previously lost, highly personalized, primary material (letters, manuscripts, photographs and cricket ephemera) enables an interpretation of the players' experience. This study argues that sporting events can be interpreted as cultural ciphers yet scholars and the wider sports-writing community have neglected the historical significance of the 1935/36 tour. The unofficial status of the tour and its highly professional emphasis alienated it from the amateur ideals of contemporary Australian cricket. This transnational, multidisciplinary approach addresses a lacunae in the professional trajectory of cricket. It also provides a new understanding and historical counter narrative of mid-twentieth century Indian-Australian sporting history and cultural exchange. In 2006, I was the fortunate recipient of an unanticipated box of historic cricket artefacts that had previously belonged to Thomas (Tom) William Leather (1910-1991). Tom, an enthusiastic yet largely unknown sportsman, was married to Doll, my grandfather's sister. My grandfather, William (Bill) Ponsford, an ex-Test and Victorian batsman, came to live with my family in Woodend, Victoria when I was 10, following the death of his wife. This
This article takes a personal journey through a home movie made by my immigrant grandfather. Constituting one of my grandfather’s most complex narratives, the film Confidentially Yours provides a fascinating glimpse into 1950s Melbourne. It also holds deep significance for research into language and accent on-screen. Featuring my mother as narrator, the film is at once deeply familiar, homely and utterly strange – with my mother’s voice almost unrecognizable due to her affected accent that harks back to a time when Britain’s cultural influence in Australia was far more marked than today, with British Received Pronunciation (RP) speech dominating screen and broadcast media. Through the strange sound of my mother’s voice-over in Confidentially Yours, this article reflects upon the significance of screen voice and accent more broadly in order to consider how tongue and tone address the viewer, perform the self and negotiate nation.
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