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Katherine works on an isolated farm run by Hester and Hester's father Francis. Unhappy because of her heavy workload, Katherine wants to leave. Hester doesn't want her to go, because she is attracted to her younger friend. She manages to convince Katherine to stay by promising to give her less work in the future. When old Francis dies, Hester sells the farm for cash, and she and Katherine move to a small cottage on the farm's edge, from where they plan a trip to Europe. A tragic accident and the theft of their money changes their plans.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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The 15 Greatest Australian Horror Films – Sorted
2022
single work
column
— Appears in: The Guardian Australia , 30 May 2022;'From a film made in Adelaide for less than $10,000 to gory and haunting classics, here are some flicks that will keep you up at night'
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More Than Just a Gay Pun : the Changing Nature of Australian Queer Film Criticism
2019
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 13 no. 2-3 2019; (p. 51-66)'This essay looks at the critical reception of Australian queer cinema demonstrating the difference in reviews of queer Australian films. The Adventures of Priscilla, Queen of the Desert (Elliot, Stephan. 1994. The Adventures of Priscilla, Queen of the Desert. Sydney: Roadshow Distribution) and The Sum of Us (Dowling, Kevin, and Geoff Burton. 1994. The Sum of Us. Sydney: Southern Star) will be compared to films that came later in the 1990s, notably Love and Other Catastrophes (Croghan, Emma-Kate. 1996. Love and Other Catastrophes. Sydney: Fox Searchlight), The Well (Lang, Samantha. 1997. The Well. Sydney: Southern Star) and Head On (Kokkinos, Ana. 1998. Head On. Melbourne: Umbrella Entertainment). These later films managed to generate buzz on the queer film festival circuit as well as at general international film festivals. Their queerness attracts international LGBTQ audiences while, secondly, genre-related elements have the potential to attract a wider cinephile audience. I will utilise paratextual elements, particularly reviews during their film festival and theatrical runs, to demonstrate how they cross-over to wider audiences. In investigating their framing and reception, these films increasingly engage audiences through their genre signifiers. This essay demonstrates that the discourse around Australian queer cinema has matured to offer multi-faceted perspectives.' (Publication abstract)
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"Ding Dong Bell, Who Is in the Well?" : The Film Version of Elizabeth Jolley's The Well
1999
single work
criticism
— Appears in: Antipodes , December vol. 13 no. 2 1999; (p. 101-105) -
A Tale of Death and Desire
1997
single work
review
— Appears in: The Age , 31 July 1997; (p. 5)
— Review of The Well 1997 single work film/TV -
Jolley Tale of an Odd Pair
1997
single work
review
— Appears in: The Sydney Morning Herald , 31 July 1997; (p. 12)
— Review of The Well 1997 single work film/TV
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Cop-Out Ending the Ultimate Flaw
1997
single work
review
— Appears in: The West Australian , 2 August 1997; (p. 62)
— Review of The Well 1997 single work film/TV -
Personal Thriller of Interior Lives
1997
single work
review
— Appears in: The Canberra Times , 31 July 1997; (p. 5)
— Review of The Well 1997 single work film/TV -
Jolley Tale of an Odd Pair
1997
single work
review
— Appears in: The Sydney Morning Herald , 31 July 1997; (p. 12)
— Review of The Well 1997 single work film/TV -
A Tale of Death and Desire
1997
single work
review
— Appears in: The Age , 31 July 1997; (p. 5)
— Review of The Well 1997 single work film/TV -
Cinema's Quest for the Write Stuff
1997
single work
column
— Appears in: The Australian , 6 August 1997; (p. 24) -
"Ding Dong Bell, Who Is in the Well?" : The Film Version of Elizabeth Jolley's The Well
1999
single work
criticism
— Appears in: Antipodes , December vol. 13 no. 2 1999; (p. 101-105) -
More Than Just a Gay Pun : the Changing Nature of Australian Queer Film Criticism
2019
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 13 no. 2-3 2019; (p. 51-66)'This essay looks at the critical reception of Australian queer cinema demonstrating the difference in reviews of queer Australian films. The Adventures of Priscilla, Queen of the Desert (Elliot, Stephan. 1994. The Adventures of Priscilla, Queen of the Desert. Sydney: Roadshow Distribution) and The Sum of Us (Dowling, Kevin, and Geoff Burton. 1994. The Sum of Us. Sydney: Southern Star) will be compared to films that came later in the 1990s, notably Love and Other Catastrophes (Croghan, Emma-Kate. 1996. Love and Other Catastrophes. Sydney: Fox Searchlight), The Well (Lang, Samantha. 1997. The Well. Sydney: Southern Star) and Head On (Kokkinos, Ana. 1998. Head On. Melbourne: Umbrella Entertainment). These later films managed to generate buzz on the queer film festival circuit as well as at general international film festivals. Their queerness attracts international LGBTQ audiences while, secondly, genre-related elements have the potential to attract a wider cinephile audience. I will utilise paratextual elements, particularly reviews during their film festival and theatrical runs, to demonstrate how they cross-over to wider audiences. In investigating their framing and reception, these films increasingly engage audiences through their genre signifiers. This essay demonstrates that the discourse around Australian queer cinema has matured to offer multi-faceted perspectives.' (Publication abstract)
-
The 15 Greatest Australian Horror Films – Sorted
2022
single work
column
— Appears in: The Guardian Australia , 30 May 2022;'From a film made in Adelaide for less than $10,000 to gory and haunting classics, here are some flicks that will keep you up at night'