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form y Radiance single work   film/TV  
Adaptation of Radiance Louis Nowra 1993 single work drama
Issue Details: First known date: 1998 1998
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AbstractHistoryArchive Description

Radiance tells the story of three women who reunite, after many years apart, for their mother's funeral.

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 1998

Works about this Work

Fabulous Finds 2016 single work column
— Appears in: AIATSIS News , May no. 19 2016;
'AIATSIS holds a collection of material from the film, including some of the props, and delightfully that includes the cowboy boots worn by Deborah Mailman in the film. ...'
Trio Taking to Belvoir Stage for Radiance 2015 single work review
— Appears in: Koori Mail , 28 January no. 593 2015; (p. 22)
Seriously Funny : History and Humour in The Sapphires and Other Indigenous Comedies Rose Capp , 2012 single work criticism
— Appears in: Senses of Cinema , July no. 63 2012;
'The Sapphires (Wayne Blair, 2012) opens in an idyllic rural setting. A group of young Aboriginal girls run home across the paddocks in the fading evening light to sing for a gathering of family and friends. But this benign atmosphere rapidly switches to terror as white Australian Government officials arrive on the scene and forcibly remove one of the girls from the Cummeraganja Mission community. It is the late 1960s, and State and Federal Government "child protection" policies allow the removal of so-called "half-caste" Aboriginal children from their families, leaving a devastating and traumatic legacy that the film goes on to address.' (Author's introduction)
Reconciliation and the History Wars in Australian Cinema Felicity Collins , 2011-2012 single work criticism
— Appears in: Exhuming Passions : The Pressure of the Past in Ireland and Australia 2012; (p. 207-222)
'When The Proposition ( a UK/Australia co-production, directed by John Hillcoat and scripted by Nick Cave) was released in 2005, film reviewers had no qualms about claiming this spectacular saga of colonial violence on the Queensland frontier as a 'history' film. A reviewer on BBC Radio 4 described The Proposition as 'a bushranger Western...set in violent 1880s Australian outback exposing the bitter racial tensions between English and Irish settlers. A Sunday Times review declared that 'Australia's brutal post-colonial history is stripped of all the lies in a bloody clash of cultures between the British police, the Irish bushrangers and the Aborigines.' Foregrounding the film's revisionist spectacle of colonial violence, an Australian reviewer predicted that, despite 'scenes of throat-cutting torture, rape and exploding heads...The Proposition could be the most accurate look at our national history yet'. (Author's introduction, 207)
Top 10 Indigenous Films Gillian Cumming , 2009 single work column
— Appears in: The Sunday Mail , 20 December 2009; (p. 12-13)
Film is the New Black Michaela Boland , 2009 single work criticism
— Appears in: The Australian Financial Review , 6-7 June 2009; (p. 28)
Tropical Gothic : 'Radiance' Revisited Allison Craven , 2008 single work criticism
— Appears in: Etropic : Electronic Journal of Studies in the Tropics , vol. 7 no. 2008;
'This essay does not attempt to investigate, much less solve the mystery [of where this narrative is set], but instead deepens it by considering aspects of location, setting and narration in the film, which was co-scripted by Perkins and Nowra, as well as the process of transposition from play to film.'
Rachel Perkins Australian Film Commission , 2007 single work non-fiction
— Appears in: Dreaming in Motion : Celebrating Australia's Indigenous Filmmakers 2007; (p. 51-53)
Contains Rachel Perkin's short film biography, her filmography, details on the film: Radiance and One Night the Moon, and a small commentary by Perkins on filmmaking.
Blak Screens and Cultural Citizenship Faye Ginsburg , 2006 single work criticism
— Appears in: Visual Anthropology Review , vol. 21 no. 1 & 2 2006; (p. 80-97)
Research into how the “media worlds” of Indigenous feature filmmaking came into being in Australia is part of the broader project of the burgeoning work in the ethnography of media, which turns the analytic lens of anthropology on the production, circulation and consumption of media in a variety of locales, in this case asking what role these media play in the discursive evolution of new ways of conceptualizing diversity, contributing to the expanding (if contested) understandings of Australia as a culturally diverse nation, something that activist filmmakers have long understood. Their films contribute to that process not only by offering alternative accountings that undermine the fictions presented by unified national narratives as they play on screen; their work (in both senses of the word) also demonstrates that a textual analysis is not sufficient if it does not also take into account the “off screen” cultural and political labor of Aboriginal activists whose interventions have made this possible. More broadly, I underscore the importance of media and those who make it as critical to understanding how contemporary states and their citizens negotiate diversity. - Author's abstract.
Arresting Metaphors : Anti-Colonial Females in Australian Cinema Anthony Lambert , 2005 single work criticism
— Appears in: Postcolonial Text , vol. 1 no. 2 2005;
'This paper attempts to advance new understandings of female cinematic agency by interrogating its connection to patterns of cultural colonialism in Australian film. The visual presence of female Aboriginality in contemporary Australian film undermines, in subtle and explicit ways, the possibility of a truly secure white identity tied to the Australian environment. It does so through the introduction of the complexities of Aboriginal difference, through the subversion of white cinematic narratives and mythologies, and through physical agency and action. In this way, the anti-colonial impulse in the cinema emerges, in films which effectively 'unearth' the continuing cinematic metaphors of colonial power. -- From the journal.
Coming from the City in the Castle, Vacant Possession, Strange Planet and Radiance Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 112-130)
In this chapter, Collins and Davis analyse how emergent themes within contemporary Australian cultural studies, repudiate 'the 19th century bush as the template for a British-derived national identity, turning instead to the cosmopolitan city , the multi-cultural suburbs, and the hedonistic holiday coast as templates for the a dynamic, post-national, post-multi-cultural identity in the 21st century.' The authors argue that 'the problem of belonging and of being at home in Australia is evident in the afterwardness of the history wars that followed the Mabo decision.' Source : Australian Cinema after Mabo (2004).
Cross-Cultural Alliances : Exploring Aboriginal Asian Literary and Cultural Production Peta Stephenson , 2003 single work criticism
— Appears in: Lost in the Whitewash : Aboriginal-Asian Encounters in Australia, 1901-2001 2003; (p. 143-162)
Peta Stephenson surveys Aboriginal-Asian cross-cultural production, considering representations of Aboriginal-Asian relations, influences on the construction of contemporary Aboriginality, and Aboriginal perceptions of Asian identity.
Scrubbers : The 'Great Unwashed' of Australian Cinema Terrie Waddell , 2003 single work criticism
— Appears in: Womenvision : Women and the Moving Image in Australia 2003; (p. 183-195)
Examines the function of a particular type of female character in Australian cinema.
Volatile Vehicles : When Women Take the Wheel : Domestic Journeying & Vehicular Moments in Contemporary Australian Cinema Catherine Simpson , 2003 single work criticism
— Appears in: Womenvision : Women and the Moving Image in Australia 2003; (p. 197-210)
An overview of road movies involving women film-makers and women protagonists.
Gender and Radiance Ceridwen Spark , 2001 single work criticism (taught in 1 units)
— Appears in: Hecate , vol. 27 no. 2 2001; (p. 38-49)
Women on the Mud Flats Louis Nowra , 2000 single work criticism
— Appears in: Radiance : The Play + The Screenplay 2000; (p. vii-xiv)
Perkins Collects French Film Award 1999 single work column
— Appears in: Koori Mail , 5 May no. 200 1999; (p. 20)

'Director Rachel Perkins has collected a $6000 prize for the film 'Radiance' at the 21st International Festival of Women's Films in Creteil, France...'

'Radiance' a Big Success Tania Evorall , 1998 single work review
— Appears in: Koori Mail , 18 November no. 189 1998; (p. 8)

— Review of Radiance Louis Nowra 1998 single work film/TV
'Rachel Perkin's debut direction of feature film 'Radiance' is dazzling, brilliant and as full of beauty as its title suggests...'
'Radiance' a Big Success Tania Evorall , 1998 single work review
— Appears in: Koori Mail , 18 November no. 189 1998; (p. 8)

— Review of Radiance Louis Nowra 1998 single work film/TV
'Rachel Perkin's debut direction of feature film 'Radiance' is dazzling, brilliant and as full of beauty as its title suggests...'
'Radiance' a Big Success Tania Evorall , 1998 single work review
— Appears in: Koori Mail , 18 November no. 189 1998; (p. 8)

— Review of Radiance Louis Nowra 1998 single work film/TV
'Rachel Perkin's debut direction of feature film 'Radiance' is dazzling, brilliant and as full of beauty as its title suggests...'
Cross-Cultural Alliances : Exploring Aboriginal Asian Literary and Cultural Production Peta Stephenson , 2003 single work criticism
— Appears in: Lost in the Whitewash : Aboriginal-Asian Encounters in Australia, 1901-2001 2003; (p. 143-162)
Peta Stephenson surveys Aboriginal-Asian cross-cultural production, considering representations of Aboriginal-Asian relations, influences on the construction of contemporary Aboriginality, and Aboriginal perceptions of Asian identity.
Arresting Metaphors : Anti-Colonial Females in Australian Cinema Anthony Lambert , 2005 single work criticism
— Appears in: Postcolonial Text , vol. 1 no. 2 2005;
'This paper attempts to advance new understandings of female cinematic agency by interrogating its connection to patterns of cultural colonialism in Australian film. The visual presence of female Aboriginality in contemporary Australian film undermines, in subtle and explicit ways, the possibility of a truly secure white identity tied to the Australian environment. It does so through the introduction of the complexities of Aboriginal difference, through the subversion of white cinematic narratives and mythologies, and through physical agency and action. In this way, the anti-colonial impulse in the cinema emerges, in films which effectively 'unearth' the continuing cinematic metaphors of colonial power. -- From the journal.
Rachel Perkins Australian Film Commission , 2007 single work non-fiction
— Appears in: Dreaming in Motion : Celebrating Australia's Indigenous Filmmakers 2007; (p. 51-53)
Contains Rachel Perkin's short film biography, her filmography, details on the film: Radiance and One Night the Moon, and a small commentary by Perkins on filmmaking.
Tropical Gothic : 'Radiance' Revisited Allison Craven , 2008 single work criticism
— Appears in: Etropic : Electronic Journal of Studies in the Tropics , vol. 7 no. 2008;
'This essay does not attempt to investigate, much less solve the mystery [of where this narrative is set], but instead deepens it by considering aspects of location, setting and narration in the film, which was co-scripted by Perkins and Nowra, as well as the process of transposition from play to film.'
Coming from the City in the Castle, Vacant Possession, Strange Planet and Radiance Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 112-130)
In this chapter, Collins and Davis analyse how emergent themes within contemporary Australian cultural studies, repudiate 'the 19th century bush as the template for a British-derived national identity, turning instead to the cosmopolitan city , the multi-cultural suburbs, and the hedonistic holiday coast as templates for the a dynamic, post-national, post-multi-cultural identity in the 21st century.' The authors argue that 'the problem of belonging and of being at home in Australia is evident in the afterwardness of the history wars that followed the Mabo decision.' Source : Australian Cinema after Mabo (2004).
Top 10 Indigenous Films Gillian Cumming , 2009 single work column
— Appears in: The Sunday Mail , 20 December 2009; (p. 12-13)
Film is the New Black Michaela Boland , 2009 single work criticism
— Appears in: The Australian Financial Review , 6-7 June 2009; (p. 28)
Blak Screens and Cultural Citizenship Faye Ginsburg , 2006 single work criticism
— Appears in: Visual Anthropology Review , vol. 21 no. 1 & 2 2006; (p. 80-97)
Research into how the “media worlds” of Indigenous feature filmmaking came into being in Australia is part of the broader project of the burgeoning work in the ethnography of media, which turns the analytic lens of anthropology on the production, circulation and consumption of media in a variety of locales, in this case asking what role these media play in the discursive evolution of new ways of conceptualizing diversity, contributing to the expanding (if contested) understandings of Australia as a culturally diverse nation, something that activist filmmakers have long understood. Their films contribute to that process not only by offering alternative accountings that undermine the fictions presented by unified national narratives as they play on screen; their work (in both senses of the word) also demonstrates that a textual analysis is not sufficient if it does not also take into account the “off screen” cultural and political labor of Aboriginal activists whose interventions have made this possible. More broadly, I underscore the importance of media and those who make it as critical to understanding how contemporary states and their citizens negotiate diversity. - Author's abstract.
Reconciliation and the History Wars in Australian Cinema Felicity Collins , 2011-2012 single work criticism
— Appears in: Exhuming Passions : The Pressure of the Past in Ireland and Australia 2012; (p. 207-222)
'When The Proposition ( a UK/Australia co-production, directed by John Hillcoat and scripted by Nick Cave) was released in 2005, film reviewers had no qualms about claiming this spectacular saga of colonial violence on the Queensland frontier as a 'history' film. A reviewer on BBC Radio 4 described The Proposition as 'a bushranger Western...set in violent 1880s Australian outback exposing the bitter racial tensions between English and Irish settlers. A Sunday Times review declared that 'Australia's brutal post-colonial history is stripped of all the lies in a bloody clash of cultures between the British police, the Irish bushrangers and the Aborigines.' Foregrounding the film's revisionist spectacle of colonial violence, an Australian reviewer predicted that, despite 'scenes of throat-cutting torture, rape and exploding heads...The Proposition could be the most accurate look at our national history yet'. (Author's introduction, 207)
Seriously Funny : History and Humour in The Sapphires and Other Indigenous Comedies Rose Capp , 2012 single work criticism
— Appears in: Senses of Cinema , July no. 63 2012;
'The Sapphires (Wayne Blair, 2012) opens in an idyllic rural setting. A group of young Aboriginal girls run home across the paddocks in the fading evening light to sing for a gathering of family and friends. But this benign atmosphere rapidly switches to terror as white Australian Government officials arrive on the scene and forcibly remove one of the girls from the Cummeraganja Mission community. It is the late 1960s, and State and Federal Government "child protection" policies allow the removal of so-called "half-caste" Aboriginal children from their families, leaving a devastating and traumatic legacy that the film goes on to address.' (Author's introduction)
Gender and Radiance Ceridwen Spark , 2001 single work criticism (taught in 1 units)
— Appears in: Hecate , vol. 27 no. 2 2001; (p. 38-49)
Women on the Mud Flats Louis Nowra , 2000 single work criticism
— Appears in: Radiance : The Play + The Screenplay 2000; (p. vii-xiv)
'Radiance' a Big Success Tania Evorall , 1998 single work review
— Appears in: Koori Mail , 18 November no. 189 1998; (p. 8)

— Review of Radiance Louis Nowra 1998 single work film/TV
'Rachel Perkin's debut direction of feature film 'Radiance' is dazzling, brilliant and as full of beauty as its title suggests...'
Perkins Collects French Film Award 1999 single work column
— Appears in: Koori Mail , 5 May no. 200 1999; (p. 20)

'Director Rachel Perkins has collected a $6000 prize for the film 'Radiance' at the 21st International Festival of Women's Films in Creteil, France...'

Trio Taking to Belvoir Stage for Radiance 2015 single work review
— Appears in: Koori Mail , 28 January no. 593 2015; (p. 22)
Scrubbers : The 'Great Unwashed' of Australian Cinema Terrie Waddell , 2003 single work criticism
— Appears in: Womenvision : Women and the Moving Image in Australia 2003; (p. 183-195)
Examines the function of a particular type of female character in Australian cinema.
Volatile Vehicles : When Women Take the Wheel : Domestic Journeying & Vehicular Moments in Contemporary Australian Cinema Catherine Simpson , 2003 single work criticism
— Appears in: Womenvision : Women and the Moving Image in Australia 2003; (p. 197-210)
An overview of road movies involving women film-makers and women protagonists.
Fabulous Finds 2016 single work column
— Appears in: AIATSIS News , May no. 19 2016;
'AIATSIS holds a collection of material from the film, including some of the props, and delightfully that includes the cowboy boots worn by Deborah Mailman in the film. ...'
Last amended 29 Oct 2014 13:33:19
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