Relevant bibliographies by topics / Performing arts Censorship Australia History

Academic literature on the topic 'Performing arts Censorship Australia History'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Performing arts Censorship Australia History"

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McKinnon, Scott. "Restricted to Adults Only: Homosexuality and Film Censorship Reform in 1970s Australia." Journal of Popular Film and Television 48, no. 3 (July 2, 2020): 134–44. http://dx.doi.org/10.1080/01956051.2020.1733465.

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Bourdon, Jérôme. "Censorship and television in France." Historical Journal of Film, Radio and Television 18, no. 2 (June 1998): 231–35. http://dx.doi.org/10.1080/01439689800260151.

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Lesch, Paul. "Film and politics in Luxembourg: censorship and controversy." Film History: An International Journal 16, no. 4 (December 2004): 437–46. http://dx.doi.org/10.2979/fil.2004.16.4.437.

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van Oort, Thunnis. "Film and Video Censorship in Modern Britain." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 351–52. http://dx.doi.org/10.1080/01439685.2013.793017.

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Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)." Journal of African Cinemas 13, no. 2 (December 1, 2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.

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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thus, it is with this gap that this study attempts to fill and make a useful contribution to Ghanaian film history. The colonial experience set the basis for cinematic houses, film production, censorship, distribution and ideological concerns in African cinema. This study is framed within the relationship between cinema and history, with a specific focus on Ghana. This article concludes that while film exhibition, censorship and licensing stimulated the growth of art, particularly cinema, they further inflated the colonial imperial agenda in the Gold Coast.
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du Quenoy, Paul. "“It Could Be A Lot Worse”: Imperial Russia’s Performing Arts Censorship in Comparative Perspective." Canadian-American Slavic Studies 46, no. 3 (January 1, 2012): 364–87. http://dx.doi.org/10.1163/221023912x641962.

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FOTHERINGHAM, RICHARD. "Alfred Dampier's ‘Shakespearean Fridays’." Theatre Research International 44, no. 02 (July 2019): 135–52. http://dx.doi.org/10.1017/s0307883319000026.

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Throughout the British Empire, visiting and immigrating professional actors ‘from the old country’ realized and reinforced for settler cultures a dominant imperial identity. In Australia, Alfred Dampier (1843–1908) and his company exploited the opportunities that this cultural milieu offered by staging austere, ‘reverential’, well-elocuted Shakespearean productions which raised their artistic status and asserted their respectability while enabling Dampier to offer as well, without censorship or public condemnation, dramatizations of sensational and controversial bushranger and convict narratives.
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Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.

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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).
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Short, K. R. M. "Chaplin's ‘The Great Dictator’ and British censorship, 1939." Historical Journal of Film, Radio and Television 5, no. 1 (March 1985): 85–108. http://dx.doi.org/10.1080/01439688500260071.

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Roeder, George H. "A note on U.S. photo censorship in WWII." Historical Journal of Film, Radio and Television 5, no. 2 (September 1985): 191–98. http://dx.doi.org/10.1080/01439688500260191.

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Dissertations / Theses on the topic "Performing arts Censorship Australia History"

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McPherson, Ailsa School of Theatre Film &amp Dance UNSW. "Diversions in a tented field : theatricality and the images and perceptions of warfare in Sydney entertainments 1879-1902." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 2001. http://handle.unsw.edu.au/1959.4/18264.

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This thesis examines the theatricality which accompanied the establishment, development and deployment of the colonial army in New South Wales during the last two decades of the nineteenth century. It investigates the transfer to the colony of the military ethos of the Imperial power, and explores the ways in which performances of military spectacle, in both theatrical and paratheatrical contexts, were interpreted by the colonists. The primary sources for the research are the Sydney press and the Mitchell `Australiana' collection of the State Library of New South Wales. The framework of the argument is presented in five chapters. The first, Displaying, investigates the relationship between civilians and the military forces at training camps, and then the performances of sham fights. The second, Committing, explores the attitudes of civilians and soldiers at the departures of New South Wales troops to the Soudan and Boer Wars. Informing, thirdly, investigates how the Imperial military ideology was conveyed through performance, and how this information was interpreted in the colony. Accommodating analyses songs and theatre performances which first reflected colonial anticipations at the commitment to conflict and then attempted to accommodate the actuality of the experience. Lastly, Desiring, explores the colonists' endeavours to invent traditions which satisfied the discrepancy between their hopes and their experiences of Imperial war. This thesis asserts that the colonial reinterpretation of military ideology was influenced by concepts both of service to the Imperial power and of national identity. The interplay between these influences led to the colonists' idealising the Imperial association. This ideal was not demonstrated in the practice of association. The result of this experience was a defining of the differences between colonial and Imperial perceptions, rather than a reinforcement of their similarities. Much of the exploration of thesis also prepares the ground for a fuller cultural understanding of the issues at play in the final emergence of the Anzac tradition at the engagement of colonial soldiers against Turkish troops at Gallipoli in April, 1915.
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.

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While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.
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Arrighi, Gillian Anne. "A circus and its context: the FitzGerald Brothers' Circus in Australia and New Zealand, 1888-1906." Thesis, 2007. http://hdl.handle.net/1959.13/1312413.

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Research Doctorate - Doctor of Philosophy (PhD)
Throughout the 1890s and early years of the twentieth century, the FitzGerald Brothers' Circus was the largest and most popular homegrown circus touring in Australasia. Their productions were at once fabulous and educational, parochial and cosmopolitan, political and sensual. The company's principals, Dan and Tom FitzGerald were astute showmen, sensitive to the shifting tastes of their public, and people of all ages and stations found something in their shows that appealed. Drawing on a diverse range of primary source material, this thesis examines the ways that a range of shows produced by the FitzGeralds articulated a variety of narratives, not all of which were congruent, concerning nation, identity, allegiance, and belonging, in Australasia at the turn of the twentieth century. As a history of a performance company, it traces the artisitic career of the circus from their emergence in 1888 to the company's dispersal in 1906. It brings forward and analyses many of the acts which the FitzGeralds promoted as their key attractions and in which they invested much of their identity. While the story of the FitzGeralds' Circus constitutes the primary narrative line of the thesis, a meta-narrative about events in the wider community, shifting political imperatives, and cultural change, also runs through the thesis as a strategy for annotating the circus shows and drawing out possible readings of them. This study investigates the dialogic relationship that developed between one particular circus and the contemporary society; it interrogates the extent to which that society, directly and indirectly, impacted on the cultural productions of the principal circus of the era and considers the meaning that were reflected back to the circus's public.
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Scott, Rob. "The History of Australian Haiku and the Emergence of a Local Accent." Thesis, 2014. https://vuir.vu.edu.au/25867/.

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Since haiku first crossed Australian borders more than one hundred years ago, it has undergone a process of translation, interpretation and transformation. This study examines aspects of haiku’s cultural transmission and evolution in Australia from a genre oriented to the early Japanese models, to one which is informed by a growing international haiku community and an emerging local sensibility. This study will examine the origins of Australian haiku by evaluating the contribution of some of its most important translators and educators and assess the legacy of Australia’s early haiku education on current haiku practices. Haiku is still best known as a three-line poem of seventeen syllables broken into lines of 5-7-5, however, contemporary haiku largely eschews this classicist approach and is characterised by a blend of emulation and experimentation. This study presents and discusses a variety of approaches to writing haiku that have emerged in Australia over the course of its development.
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Brooke, Sarah. "Giving flight to the Imagination : using portraiture to tell the story of Orff Schulwerk and a family music education setting." Thesis, 2016. https://vuir.vu.edu.au/35778/.

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The Orff Schulwerk approach to music and movement education actively seeks to provide flight to the imagination through a playful, inclusive, engaging, creative and artistic pedagogy. As an approach to classroom music education it focuses on participatory music making in groups encompassing the social and emotional needs of the student. Orff educators interpret the Schulwerk in different ways, and as a non-prescriptive approach to music and movement education, this is to be welcomed. However, this freedom in interpretation has led to a variety of beliefs and practices, some of which bear little resemblance to how the Schulwerk was envisaged by its creators, Carl Orff and Gunild Keetman. What seems to be lacking within much of the Orff community is a framework of philosophical understandings in which our practices can be placed. Reflecting on whether my own understandings of Orff Schulwerk lacked legitimacy prompted me to interrogate and consider my own practice, and investigate the philosophy of Orff Schulwerk. This investigation is presented in Part 1 of this thesis and I propose seven principles of Orff Schulwerk as a framework for understanding the overarching philosophy. I suggest that adopting such a framework allows for the creative freedom Orff educators enjoy whilst maintaining the integrity of the approach. In Part 2 of this thesis I tell the story of a research project I conducted with primary school children and their families. Volunteers participated in a project led by me as the teacher learning music together through the Orff Schulwerk approach. As the educator/researcher of this project, the methodology of portraiture is well suited as a frame(work) for my research. It promotes a narrative writing style and makes visible the personhood of the researcher and the humanness of the participants. Portraiture supports the significant reflective component. Findings from the research project demonstrate beneficial outcomes in families learning music together through the pedagogy of Orff Schulwerk. These families reported positive experiences from their involvement in the program: musically, socially and personally.
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Cervini, Erica. "Reading the Silence of My Great-Grandmother: The Role of Life-Writing in Locating the Hidden Life of a Jewish Woman." Thesis, 2019. https://vuir.vu.edu.au/40049/.

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Family history has become a significant cultural, academic and economic pursuit giving rise to television shows, university degrees and DNA testing. Family historians grapple with epistemological questions about the extent to which a life can ever be known to someone else – limited resources exacerbate the problem. This thesis, by creative project and exegesis, focuses on Rose Pearlman, my Great-Grandmother [1875 – 1956], and explores how the genre of life-writing contributes to our understanding of an ‘ordinary’ Jewish woman who migrated to Australia from England leaving no traditional sources such as diaries or memoirs. In so doing, this thesis makes contributions to academic and general scholarship about the extent to which knowledge resides in, and can be derived from the fragmentary, and how the researcher’s imagination - as distinct from the invention of episodes - illuminates the specificities of a Jewish woman’s life. Narrative threads in Rose Pearlman’s life are researched and developed using the genre of life-writing. This genre employs a ‘fossicking’ method which involves three actions: first, rummaging for wisps of information; second, selecting and curating an archive and third, threading together the fragments from the archive to produce narratives. Further, this thesis argues that life-writing, which has been used by biographers and some historians to tell the stories of the maginalised, can usefully be applied to family storytelling to offer important insights into lives that have previously been hidden from history. Holmes’ notion of ‘recreating the past’ has guided this approach. Within this context, this thesis contends that Rose Pearlman’s life provides important insights into the diversity of Jewish women’s lives generally, and challenges the trope of the ‘rags to riches’ Jew. In addition, it makes original contributions to the history of Jewish women in Australia during the late nineteenth and early twentieth centuries. Finally, it adds to emerging and ongoing discussions in the academy about the importance of family history in contributing evidence which may help to question and reshape established historical narratives. This thesis also has personal significance because Rose Pearlman is part of my family. Tanya Evans notes that each family’s history has the ‘potential to be part of local, national, global class and gender history’. Within this frame, Rose Pearlman’s life is afforded enduring meaning because it represents a moment in time that tells her descendants – and the wider public – about her connection to local communities and to national policies. Structurally, this thesis is divided into three parts. The first presents the preface and overall introduction to the creative project and exegesis. The second part, the creative component, is entitled ‘Yizkor for Rose: A Life Lost and Found’. The exegesis, ‘But She Didn’t Leave a Diary!’: Making Sense of Fragments of a life, forms the third and final part of this work.
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Cooper, Jayson. "Co-creating with, and in, a southern landscape." Thesis, 2015. https://vuir.vu.edu.au/30165/.

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As an artist and musician, ‘place’ has always been entwined in my creative work and thinking. This arts-based autoethnography (Manovski, 2014), and music-based research (Leavy, 2015) draws deep connections between being an artist, researcher and educator in relation to the conceptual and physical local landscapes I move through. Situated in local places this research explores the dynamic overlaps (Yunkaporta, 2009) found across cultures, places, time and space. In response to this sense of place this thesis presents an intertextual artistic and scholarly celebration of this Wurundjeri landscape—this southern place—while critically gazing at myself in relation to land, people, climates, skies, waterways, and animals as I co-create with, and in ‘the south’ (Connell, 2007b). A complex polyphonic layering and re-presentation is thus expressed through the arts-based knowledge and narratives created as part of this artful inquiry. In this way a multimodal engagement with place, autoethnography and arts-based narratives is established.
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Books on the topic "Performing arts Censorship Australia History"

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Jane, Arthurs, and Harindranath Ramaswami 1959-, eds. The Crash controversy: Censorship campaigns and film reception. London: Wallflower Press, 2001.

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The theatre of Antonio Buero Vallejo: Ideology, politics and censorship. Woodbridge, Suffolk, UK: Tamesis, 2005.

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Geoff, Mayer, and Beattie Keith 1954-, eds. The cinema of Australia and New Zealand. London: Wallflower Press, 2007.

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Randall, Halle, and Steingröver Reinhild, eds. After the avant-garde: Contemporary German and Austrian experimental film. Rochester, N.Y: Camden House, 2008.

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Silsbury, Elizabeth. State of opera: An intimate new history of the State Opera of South Australia, 1957-2000. Kent Town, S. Aust: Wakefield Press, 2001.

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Steven, Gration, and Peelgrane Nicky, eds. Commedia Oz: Playing Commedia in contemporary Australia. Strawberry Hills, NSW: Currency Press, 2008.

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Hough, David. A dream of passion: The centennial history of His Majesty's Theatre. Perth, W.A: His Majesty's Theatre Foundation, 2004.

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David, Slater, ed. See no evil: Banned films and video controversy. Manchester: Headpress, 2000.

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Nickelodeon city: Pittsburgh at the movies, 1905-1929. Pittsburgh, Pa: University of Pittsburgh Press, 2008.

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Sex and film: The erotic in British, American and world cinema. Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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