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The Art Lovers single work   drama  
Issue Details: First known date: 2018... 2018 The Art Lovers
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AbstractHistoryArchive Description

'The feature film script The Art Lovers is the story of the struggles and the triumphs for an early Australian female artist, the ‘girl sculptress’, as Daphne Mayo was known in the early twentieth century, at a time when very few women took on this physically demanding occupation. This excerpt is from that feature screenplay and highlights the challenges she faced especially as an Australian within a rigid British culture when she was the only woman studying sculpture at the Royal Academy in London. Daphne Mayo is engaged in these scenes in a daily prosaic acculturated event, that of a morning breakfast in a patriarchal London establishment in 1923. The excerpt is inspired by a story that Daphne herself penned as prose and which was discovered during research conducted over months in the Fryer Collection of the University of Queensland. The Fryer holds almost 100 boxes of ephemera, newspaper stories as well as correspondence to, and from, Daphne Mayo. The nuance of the voices of all three of the lead characters included in this dramatic recreation, that is to say, those of Lloyd Rees, Vida Lahey and Daphne, were discovered by listening to the 1960s interviews conducted by ABC journalist Hazel de Berg. These interviews are lodged in the Oral History Section of the National Library of Australia in Canberra.' (Publication abstract)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon TEXT Special Issue Website Series Screenplays as Research Artefacts no. 48 April Dallas J. Baker (editor), Craig Batty (editor), 2018 13995105 2018 periodical issue

    'Here the authors discuss the role of fiction in screenwriting practice research. The screenplays included in the ‘Screenplays as Research Artefacts’ special issue of TEXT present a range of stories, worlds, characters, visual scenarios and dialogue exchanges that function as vessels for theories and ideas. These eleven screenplays all use creative practice approaches to research across a wide variety of discourses. All of the works embrace fiction as an important method to convey their respective critical concerns, which, the authors argue, evidences an emerging hallmark of screenwriting (as) research when compared with associated forms in the creative writing and screen production disciplines: fiction as a staple of its storytelling, creative practice and research methodology. The authors suggest that the use of fiction to perform research and present findings illuminates the ways that knowledge can be affective, not merely textual or verbal, something that is exemplified in the selected screenplays.' ( Craig Batty and Dallas John Baker : introduction) 

Last amended 23 May 2018 13:03:43