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AbstractHistoryArchive Description
In the Tasmanian highlands, Ruby Rose lives with her husband Henry (a trapper) and their adopted son, Gem. Superstitious and anxious, Ruby paints the walls of her house white to keep away the darkness, but still wakes in terror each night. To learn the secret that keeps her terrified and trapped, she must venture down to the valley, to her father's house and her grandmother.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Pink Post-its and Blue Candles
2022
single work
essay
— Appears in: Meanjin , December vol. 81 no. 4 2022; (p. 5-9) Meanjin Online 2022;'We were just starting on our prawn crackers. There was John, a student friend, Ian, now my husband and then boyfriend, and me.' (Publication abstract)
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'Gothic Splendours'? : Recent Tasmanian Historical Fiction
2015
single work
criticism
— Appears in: Island , no. 142 2015; (p. 20-26) Peter Pierce investigates recent 'Gothic' historical fiction set in Tasmania. -
Rumblings from Australia's Deep South : Tasmanian Gothic On-Screen
2011
single work
criticism
— Appears in: Studies in Australasian Cinema , 6 April vol. 5 no. 1 2011; (p. 71-80) 'This article examines the current cinematic attention to Tasmania and its stories, with particular attention paid to the Gothic mode. 'Tasmanian Gothic' has become a by-word for the unsettling combination of Tasmania's colonial histories and its harsh landscapes in literature, but its cinematic counterpart has virtually been ignored. It is suggested that Tasmania is experiencing a renaissance on the big screen and it is the Gothic that appears to be the most dominant mode through which it is pictured. The article then charts a history of local Tasmanian Gothic cinematic production, a hybrid vision that tends towards a combination of stylistic, thematic, historical and geographic elements. Tasmanian Gothic cinema refers not simply to productions by Tasmanian film-makers, but to the broader on-screen representation of the island, its culture and histories by a range of local, interstate and international crews. As this article suggests, Gothic cinematic representations of Tasmania are yoked by a number of persistent concerns that act in dialogue with the unique cultural and geographic positioning of Australia's only island state.' (Author's abstract)
-
Rumblings from Australia's Deep South : Tasmanian Gothic On-Screen
2011
single work
criticism
— Appears in: Studies in Australasian Cinema , 6 April vol. 5 no. 1 2011; (p. 71-80) 'This article examines the current cinematic attention to Tasmania and its stories, with particular attention paid to the Gothic mode. 'Tasmanian Gothic' has become a by-word for the unsettling combination of Tasmania's colonial histories and its harsh landscapes in literature, but its cinematic counterpart has virtually been ignored. It is suggested that Tasmania is experiencing a renaissance on the big screen and it is the Gothic that appears to be the most dominant mode through which it is pictured. The article then charts a history of local Tasmanian Gothic cinematic production, a hybrid vision that tends towards a combination of stylistic, thematic, historical and geographic elements. Tasmanian Gothic cinema refers not simply to productions by Tasmanian film-makers, but to the broader on-screen representation of the island, its culture and histories by a range of local, interstate and international crews. As this article suggests, Gothic cinematic representations of Tasmania are yoked by a number of persistent concerns that act in dialogue with the unique cultural and geographic positioning of Australia's only island state.' (Author's abstract)
-
'Gothic Splendours'? : Recent Tasmanian Historical Fiction
2015
single work
criticism
— Appears in: Island , no. 142 2015; (p. 20-26) Peter Pierce investigates recent 'Gothic' historical fiction set in Tasmania. -
Pink Post-its and Blue Candles
2022
single work
essay
— Appears in: Meanjin , December vol. 81 no. 4 2022; (p. 5-9) Meanjin Online 2022;'We were just starting on our prawn crackers. There was John, a student friend, Ian, now my husband and then boyfriend, and me.' (Publication abstract)
Awards
- 1987 Best Original Music Score Australian Film Institute Awards
Last amended 29 Aug 2022 15:47:45
Settings:
- Tasmania,
- 1933
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