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

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Schiff, Frederick. "Brazilian Film and Military Censorship: Cinema Novo, 1964–1974." Historical Journal of Film, Radio and Television 13, no. 4 (January 1993): 469–94. http://dx.doi.org/10.1080/01439689300260371.

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12

Hoover, Dwight W. "Censorship or bad judgement? An example from American public television." Historical Journal of Film, Radio and Television 7, no. 2 (January 1987): 161–74. http://dx.doi.org/10.1080/01439688700260201.

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13

Gontarski, S. E. "Tennessee Williams’s Creative Frisson, Censorship, and the Queering of Theatre." New Theatre Quarterly 37, no. 1 (February 2021): 82–99. http://dx.doi.org/10.1017/s0266464x20000810.

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The world around Tennessee Williams in the 1960s, 1970s, and into the 1980s was changing at an astonishing pace, the cultural revolution of the period rendering most of his themes of sexual closeting and repression almost inconsequential. At least the entrenched cultural taboos against which he wrote seem to have disappeared by the mid-1960s and 1970s. In the 1980s, Broadway productions of his work grew infrequent, while those mounted tended to have short runs. He told interviewers from Theatre Arts magazine: ‘I think my kind of literary or pseudo-literary style of writing for the theatre is on its way out.’ European productions of his work, on the other hand, seemed regenerative: Howard Davies’s Cat on a Hot Tin Roof (1989), in which the director used Williams’s original third act and not the version rewritten by Elia Kazan for the New York premiere; Peter Hall’s revival of Orpheus Descending (1989–91); Benedict Andrews’s A Streetcar Named Desire (2014), followed by his 2017 Cat on a Hot Tin Roof – a revival deemed ‘so courageous’; and in Italy, Elio De Capitani’s productions of Un tram che si chiama desiderio (1995) and Improvvisamente, l’estate scorsa (2011), both in fresh, new, up-to-date translations by Masolino D’Amico – all these have maintained an edge to Williams’s theatre lost in so many American productions. All seem to suggest the continued vitality of Williams’s work in Europe by directors willing to probe and rediscover Williams’s depths, who consider him ‘a playwright worthy of further artistic investigation’, as European audiences, correspondingly, seem less inclined to dismiss him as an artist whom history has overtaken. S. E. Gontarski is Robert O. Lawton Distinguished Professor of English at Florida State University. His critical, bilingual edition of Tennessee Williams’s A Streetcar Named Desire was published as Un tram che si chiama desiderio / A Streetcar Named Desire (Pisa: Editioni ETS, 2012). His Włodzimierz Staniewski and the Phenomenon of ‘Gardzienice’, co-edited with Tomasz Wiśniewski and Katarzyna Kręglewska, is forthcoming (Routledge).

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14

Dunnett, Jane. "Rome Scholarships: The censorship of foreign books under Fascism." Papers of the British School at Rome 73 (November 2005): 278–79. http://dx.doi.org/10.1017/s006824620000310x.

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15

Ohmer, Susan. "The Catholic Church and Hollywood: censorship and morality in 1930s cinema." Historical Journal of Film, Radio and Television 34, no. 1 (December 23, 2013): 166–67. http://dx.doi.org/10.1080/01439685.2013.872474.

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16

Ooten, Melissa. "Censorship In Black And White:The Burning Cross(1947),Band Of Angels(1957) And The Politics Of Film Censorship In The American South After World War II." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 77–98. http://dx.doi.org/10.1080/01439685.2013.764719.

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17

Clegg (book author), Cyndia Susan, and Tim Stretton (review author). "Press Censorship in Caroline England." Renaissance and Reformation 34, no. 1-2 (March 13, 2012): 257–59. http://dx.doi.org/10.33137/rr.v34i1-2.16178.

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18

Saro, Anneli. "Nõukogude tsensuuri mehhanismid, stateegiad ja tabuteemad Eesti teatris [Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 4 (September 9, 2019): 283–304. http://dx.doi.org/10.12697/aa.2018.4.02.

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Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre Since theatre in the Soviet Union had to be first of all a propaganda and educational institution, the activity, repertoire and every single production of the theatre was subject to certain ideological and artistic prescriptions. Theatre artists were not subject to any official regulations regarding forbidden topics or ways of representation, thus the nature of censorship manifested itself to them in practice. Lists of forbidden authors and works greatly affected politics related to repertoire until the mid-1950s but much less afterwards. Research on censorship is hampered by the fact that it was predominately oral, based on phone or face-to-face conversations, and corresponding documentation has been systematically destroyed. This article is primarily based on memoirs and research conducted by people who were active in the Soviet theatre system. It systematises the empirical material into four parts: 1) mechanisms of censorship, 2) forms and strategies, 3) counter-strategies against censorship and 4) taboo topics. Despite the attempt to map theatre censorship in Estonia after the Second World War (1945–1990), most of the material concerns the period from the mid-1960s to the mid-1980s. This can be explained by the age of the respondents, but it can also be related to the fact that the Soviet control system became more liberal or ambiguous after the Khrushchev thaw encouraged theatre artists and officials to test the limits of freedom. The mechanisms of theatre censorship were multifaceted. Ideological correctness and the artistic maturity of repertoire and single productions were officially controlled by the Arts Administration (1940–1975) and afterwards by the Theatre Administration (1975–1990) under the supervision of the Ministry of Culture. Performing rights for new texts were allocated by the Main Administration for Literary and Publishing Affairs (Glavlit): texts by foreign authors were approved by the central office in Moscow, and texts by local authors were approved by local offices. The third censorship agency was the artistic committee that operated in every single theatre. Nevertheless, the most powerful institution was the Department of Culture of the Central Committee of the Communist Party of Estonia, whose influence on artistic issues had to be kept confidential by the parties involved. On top of all this, there was the hidden power and omnipresent network of agents of the Committee for State Security (KGB). Some audience members also acted as self-appointed censors. The network and system of censorship made the control system almost total and permanent, also enforcing self-censorship. Forms of censorship can be divided into preventive and punitive censorship, and strategies into direct and indirect censorship. Soviet censorship institutions mostly applied preventive censorship to plays or parts of productions, but hardly any production was cancelled before its premiere because that would have had undesirable financial consequences. Punitive censorship after the premiere was meant for correcting mistakes when the political climate changed or if a censor had been too reckless/lenient/clever, or if actors/audiences had started emphasising implicit meanings. Preventive censorship was predominantly direct and punitive censorship indirect (compelling directors to change mise en scènes or prescribing the number of performances). Indirect censorship can be characterised by ambiguity and allusions. A distinction can be made between preventive and punitive censorship in the context of single productions, but when forbidden authors, works or topics were involved, these two forms often merged. The plurality of censorship institutions or mechanisms, and shared responsibility led to a playful situation where parties on both sides of the front line were constantly changing, enabling theatre artists to use different counter-strategies against censorship. Two main battlefields were the mass media and meetings of the artistic committees, where new productions were introduced. The most common counter-strategies were the empowerment of productions and directors with opinions from experts and public figures (used also as a tool of censorship), providing ideologically correct interpretations of productions, overstated/insincere self-criticism on the part of theatre artists, concealing dangerous information (names of authors, original titles of texts, etc.), establishing relationships based on mutual trust with representatives of censorship institutions for greater artistic freedom, applying for help from central institutions of the Soviet Union against local authorities, and delating on censors. At the same time, a censor could fight for freedom of expression or a critic could work ambivalently as support or protection. In addition to forbidden authors whose biography, world view or works were unacceptable to Soviet authorities, there was an implicit list of dangerous topics: criticism of the Soviet Union as a state and a representative of the socialist way of life, positive representations of capitalist countries and their lifestyles, national independence and symbols of the independent Republic of Estonia (incl. blue-black-white colour combinations), idealisation of the past and the bourgeoisie, derogation of the Russian language and nation, violence and harassment by Soviet authorities, pessimism and lack of positive character, religious propaganda, sexuality and intimacy. When comparing the list of forbidden topics with analogous ones in other countries, for example in the United Kingdom where censorship was abolished in 1968, it appears that at a general level the topics are quite similar, but priorities are reversed: Western censorship was dealing with moral issues while its Eastern counterpart was engaged with political issues. It can be concluded that all censorship systems are somehow similar, embracing both the areas of restrictions and the areas of freedom and role play, providing individuals on both sides of the front line with opportunities to interpret and embody their roles according their world view and ethics. Censorship of arts is still an issue nowadays, even when it is hidden or neglected.

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19

Iversen, Gunnar. "Cutting Bordello Scenes and Dances: Local Regulation and Film Censorship in Norway before 1913." Film History: An International Journal 17, no. 1 (2005): 106–12. http://dx.doi.org/10.1353/fih.2005.0007.

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20

Brasell, R. Bruce. "?A dangerous experiment to try?: film censorship during the twentieth century in Mobile, Alabama." Film History: An International Journal 15, no. 1 (March 2003): 81–102. http://dx.doi.org/10.2979/fil.2003.15.1.81.

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21

Iversen, Gunnar. "Cutting Bordello Scenes and Dances: Local Regulation and Film Censorship in Norway before 1913." Film History: An International Journal 17, no. 1 (March 2005): 106–12. http://dx.doi.org/10.2979/fil.2005.17.1.106.

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22

Barber, Sian. "Exploiting local controversy: regional British censorship of Last Tango in Paris (1972)." Historical Journal of Film, Radio and Television 36, no. 4 (January 5, 2016): 587–603. http://dx.doi.org/10.1080/01439685.2015.1119360.

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23

Wukasch, Charles. "Policing Cinema: Movies and Censorship in Early Twentieth Century America (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 96–97. http://dx.doi.org/10.1353/flm.2005.0059.

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24

Hučková, Jadwiga. "Jarmo Jääskeläinen – „imigrant z polską duszą”." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 47–58. http://dx.doi.org/10.14746/i.2017.29.3.

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Polish topics occupy an important place in the work of the Finnish filmmaker Jarmo Jääskeläinen. Since the 70s he made his films outside censorship, and his penetrating gaze on the Polish reality allowed glimpse its dimensions closely invisible or ignored. While maintaining fidelity to the facts, he talks about the most important problems, stages the phenomena of contemporary Polish history, society, culture.

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25

Peck, Robert E. "The Banning of Titanic: A study of British postwar film censorship in Germany." Historical Journal of Film, Radio and Television 20, no. 3 (August 2000): 427–44. http://dx.doi.org/10.1080/713669722.

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26

Willcox, Temple. "Soviet films, censorship and the British government: A matter of the public interest." Historical Journal of Film, Radio and Television 10, no. 3 (January 1990): 275–92. http://dx.doi.org/10.1080/01439689000260211.

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27

Miller, Kim. "All in the Family: Family Folklore, Objectivity and Self-Censorship." Western Folklore 56, no. 3/4 (1997): 331. http://dx.doi.org/10.2307/1500283.

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28

Hu, Jasmine. "Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 33–63. http://dx.doi.org/10.1215/02705346-9052788.

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Abstract The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal. This article examines Park Chan-wook's The Handmaiden (Ah-ga-ssi, South Korea, 2016), a period film set in 1930s Korea under Japanese rule, in relation to the two nations’ fraught but interconnected colonial and postcolonial histories. By analyzing the film's explicit sexual depiction through discourses of ethnicity, gender, and nation, it argues that the lesbian sex scenes encode and eroticize latent anxieties and tensions surrounding Japan-Korea relations, making explicit the ambivalent longing and lingering identification shared between the colonizers and the colonized. Furthermore, through intertextual reference to the intertwined and imitative relations between the national cinemas of Japan and Korea—relations mediated and elided by a long history of state censorship—Park's film repudiates an essentialist South Korean identity propped up by both nationalist narratives and market liberalization policies. Through palimpsestic projection of the colonial era onto South Korea's neoliberal present, the film invites parallels between colonialism's unresolved legacy and contemporary modes of cultural production. Simultaneously, the film offers a utopian vision of a national self that surfaces—rather than suppresses—the violence and pleasure incurred in confrontations with the colonial or transnational other.

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29

Leach, Andrew. "Review: Australia: Modern Architectures in History, by Harry Margalit." Journal of the Society of Architectural Historians 80, no. 1 (March 1, 2021): 118–19. http://dx.doi.org/10.1525/jsah.2021.80.1.118.

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30

MacKay, Robert. "Being Beastly to the Germans: Music, censorship and the BBC in World War II." Historical Journal of Film, Radio and Television 20, no. 4 (October 2000): 513–25. http://dx.doi.org/10.1080/713669737.

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31

Vipond, Mary. "Censorship in a Liberal State: Regulating Talk on Canadian Radio in the Early 1930s." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 75–94. http://dx.doi.org/10.1080/01439680903577284.

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32

Wittern-Keller, Laura. "You Can’t Air That: four cases of controversy and censorship in American television programming." Historical Journal of Film, Radio and Television 30, no. 2 (June 2010): 254–55. http://dx.doi.org/10.1080/01439681003779341.

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33

Johnson, Martin L. "Monitoring the Movies: The Fight Over Film Censorship in Early Twentieth-Century Urban America." Historical Journal of Film, Radio and Television 39, no. 2 (January 30, 2019): 412–14. http://dx.doi.org/10.1080/01439685.2018.1563389.

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34

Fernández-Vázquez, José-Santiago, and Roberto-Carlos Álvarez-Delgado. "Double Censorship: The Reception of Elia Kazan and Edward Dmytryk in SPAIN, 1946–77." Historical Journal of Film, Radio and Television 40, no. 2 (May 31, 2019): 257–74. http://dx.doi.org/10.1080/01439685.2019.1622283.

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35

Tegel, Susan. "The politics of censorship: Britain's ‘Jew Süss’ (1934) in London, New York and Vienna." Historical Journal of Film, Radio and Television 15, no. 2 (June 1995): 219–44. http://dx.doi.org/10.1080/01439689500260141.

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36

McEwan, Paul. "Lawyers, Bibliographies, and the Klan: Griffith's resources in the censorship battle overThe Birth of a Nationin Ohio." Film History: An International Journal 20, no. 3 (September 2008): 357–66. http://dx.doi.org/10.2979/fil.2008.20.3.357.

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37

Maras, Steven. "Screenwriting research in Australia: A truncated (pre)history." Journal of Screenwriting 12, no. 2 (June 1, 2021): 179–202. http://dx.doi.org/10.1386/josc_00059_1.

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Recent years have seen a growing interest in the history of fields of study and academic disciplines. While recognizing a number of limitations, this article explores the emergence of screenwriting research in Australia. It addresses the question of what were the cultural conditions that gave rise to contemporary screenwriting research in Australia. The article discusses three key factors: firstly, long-standing policy settings around cultural identity and content in film and television; secondly, active debates around ‘screen culture’ that have given discussions of the place of culture and story special prominence and contributed to awareness of questions of cultural ‘value’, and conventional separations of production and consumption; thirdly, the rise of film studies in the 1970s, which gave ferment to research into narrative and story forms. My goal is to capture some of the contextual features that are important to an understanding of screenwriting research in this period and geography, and to suggest that screenwriting research emerged as intellectual attitude and area of interest that eventually crystallized as part of a more formalized arena of study in the later 2000s.

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38

Lal, Ananda. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor, MI: University of Michigan Press, 2004; pp. vi + 206 pp. $49.50 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 311–13. http://dx.doi.org/10.1017/s0040557405210207.

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There are few dependable books in English on political theatre in India. Professor Bhatia's collection of essays, therefore, fills a long-felt need. She introduces the subject contextually, followed by four chapters chronologically examining key areas (British censorship of nationalistic drama, Indianizations of Shakespeare as an anticolonial statement, the Indian People's Theatre Association as a mass phenomenon in the mid-twentieth century, and Utpal Dutt's reinterpretation of Raj history in his play The Great Rebellion 1857), and concludes with a short epilogue on contemporary activist theatre by women. Most valuably for theatre historians, she places in the public domain many primary sources previously untapped in English, and unearths much secondary material that has escaped academic attention. Not least of all, she writes articulately and readably.

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39

Goad, Philip. "Inconvenient Truths: Framing an Architectural History for Cold War Australia." Fabrications 31, no. 2 (May 4, 2021): 260–78. http://dx.doi.org/10.1080/10331867.2021.1930751.

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40

Jacka, Liz. "Doing the history of television in Australia: problems and challenges." Continuum 18, no. 1 (March 2004): 27–41. http://dx.doi.org/10.1080/1030431032000180987.

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41

Guiralt. "Self-Censorship in Hollywood during the Silent Era: A Woman of Affairs (1928) by Clarence Brown." Film History 28, no. 2 (2016): 81. http://dx.doi.org/10.2979/filmhistory.28.2.04.

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42

Jiménez-Morales, Manel. "Networking commercial television in Australia." Historical Journal of Film, Radio and Television 36, no. 1 (January 2, 2016): 108–10. http://dx.doi.org/10.1080/01439685.2015.1131387.

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43

Rockett, Kevin. "Protecting the Family and the Nation: The official censorship of American cinema in Ireland, 1923‐1954." Historical Journal of Film, Radio and Television 20, no. 3 (August 2000): 283–300. http://dx.doi.org/10.1080/01629778900000151.

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44

Erickson. "“In the Interest of the Moral Life of our City”: The Beginning of Motion Picture Censorship in Portland, Oregon." Film History 22, no. 2 (2010): 148. http://dx.doi.org/10.2979/fil.2010.22.2.148.

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45

Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.

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46

Smith, Bernard. "The Preference for the Primitiveand on writing art history in Australia." Third Text 18, no. 5 (September 2004): 513–16. http://dx.doi.org/10.1080/0952882042000251697.

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Walsh, Francis R. "‘The Callahans and the Murphys' (MGM, 1927): a case study of Irish-American and Catholic Church censorship." Historical Journal of Film, Radio and Television 10, no. 1 (January 1990): 33–45. http://dx.doi.org/10.1080/01439689000260021.

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Anderson, Sean, and Jennifer Ferng. "The Detention-Industrial Complex in Australia." Journal of the Society of Architectural Historians 73, no. 4 (December 1, 2014): 469–74. http://dx.doi.org/10.1525/jsah.2014.73.4.469.

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C-Scott, Marc. "The prelude to television in Australia." Historical Journal of Film, Radio and Television 39, no. 1 (October 31, 2018): 132–46. http://dx.doi.org/10.1080/01439685.2018.1472836.

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Carter, Karen L. "Unfit for public display: female sexuality and the censorship of fin‐de‐siècle publicity posters." Early Popular Visual Culture 8, no. 2 (May 2010): 107–24. http://dx.doi.org/10.1080/17460651003688055.

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