Papers and projects
Find out how researchers and performers have been inspired by films, sound, photographs, memorabilia and objects in the NFSA collection. Or read past issues of the NFSA Journal.
Ken Berryman, NFSA Curator of Oral History, examines the legacy of the Once Upon A Wireless Oral History Project. This paper was delivered at the Australasian Sound Recordings Association Conference in Sydney on 21 September 2012.
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The NFSA’s collection includes early coloured films, many of which are tinted. As these films deteriorate with age, their colours are lost. Steve Clark, Trevor Carter and Bruce Cowell from the NFSA’s Motion Picture Laboratory share their research about using traditional dyes and techniques to restore tinted films.
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Dr Gwenda Davey was resident at the NFSA as a SAR fellow in 2011. She is currently writing a book about girls’ childhood in Australia, with the working title of Girl Talk: One Hundred Years of Childhood in Australia. Dr Davey’s fellowship at the NFSA enabled her to research material from the national audiovisual collection for her book, as well as provide a valuable commentary on a neglected dimension of Australia’s social history.
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NFSA conservator Shingo Ishikawa and digitisation specialist Darren Weinert talk about cinema slides and their history, manufacture and preservation. Adopted widely by amateur and professional photographers, public speakers, variety performers and advertisers, glass slides were still in use in cinemas until the late 1970s.
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The NFSA’s Oral History Program Coordinator Chris Guster shares a personal perspective on the early days of remote Indigenous media groups, which in just 30 years have grown from small pirate stations into national and international media organisations.
Warning: This paper may contain names, images or voices of deceased Aboriginal and Torres Strait Islander people.
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The NFSA’s Chief Cinema Programmer Quentin Turnour challenges the myths surrounding the making of the film known as Home of the Blizzard (1911–1916), shedding light on the provenance of footage created to record and promote Douglas Mawson’s 1911–1914 Australasian Antarctic Expedition (AAE).
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In Part Two of his essay, the NFSA’s Chief Cinema Programmer Quentin Turnour investigates Frank Hurley’s association with the promotion of Douglas Mawson’s Australasian Antarctic Expedition (AAE) film. And the facts about the ownership and titling of the 1911–1916 film that came to be known as Home of the Blizzard are revealed.
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Films set in the outback have been central to a imagining of Australia for both Indigenous and non-Indigenous filmmakers. NFSA Historian Graham Shirley argues that the interpretation of the landscape and our relationship with it has defined Australian cinema.
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