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Toni Risson Toni Risson i(A91790 works by)
Born: Established: 1955 Beenleigh, Bethania - Beenleigh - Eagleby area, Gold Coast - Northern Suburbs, Gold Coast, Queensland, ;
Gender: Female
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Works By

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1 Button and Bobbie Toni Risson , 2020 single work short story
— Appears in: Our Inside Voices : Reflections on COVID-19 2020; (p. 47-52)
1 Steak and Eggs at Nick's Cafe Toni Risson , 2018 single work short story
— Appears in: Within/Without These Walls 2018; (p. 111-120)
1 Morgue Porn: Writing a Female Gaze in Forensic Television Toni Risson , 2016 single work criticism
— Appears in: TEXT Special Issue Website Series , October no. 35 2016; 'Crime fiction enjoys lasting popularity but in recent decades writers across a range of media have turned their attention to the dark heart of crime fiction – forensic investigation. Advances in forensic technologies, clinical psychology, and computer generated imagery gave rise to new developments in the genre from the late 1990s that caused its popularity to escalate, particularly forensic television drama, where viewers are increasingly invited into the morgue to peer over the shoulder of the pathologist at the body on the slab. A survey of the new generation of forensic detective programmes that began with the debut of CSI (Crime Scene Investigation) in 2000 reveals that a disproportionate number of television pathologists are female. Writing these female pathologists contests the passivity of female characters in traditional crime drama and, crucially, accommodates a female gaze. While this appears to erode dominant representations of gender, in the case of CSI, the increased visibility of women in tandem with its quasi-educational style masks an even deeper level of objectification of women, and what might once have been viewed as R or even X-rated is presented on primetime television as edutainment. This analysis draws on film theory to situate CSI within the violent misogyny in some contemporary crime fiction writing more generally.' (Publication abstract)
1 A Pocket of Change in Post-War Australia : Confectionery and the End of Childhood Toni Risson , 2011 single work criticism essay
— Appears in: Pockets of Change : Adaptation and Cultural Transition 2011; (p. 208-229)

'...This chapter does not look specifically at textual adaptations, it uses two texts - Saturdee, a novel by Norman Lindsay published in 1934, and Anthony Kimmins's classic Australian film Smiley, released in 1956 - to examine shifts in children's status as consumers. Primarily, however, it concerns itself with the cultural transition that took place in Australia after World War Two.' (Source: Introduction, Toni Risson, 2011)
1 The Red Frog Prince : A Fairytale About the Shifting Social Status of Sugar Toni Risson , 2010 single work criticism
— Appears in: TEXT : Special Issue Website Series , October no. 9 2010; 'Once upon a time, sugar was a magical substance in an ordinary world. When it became cheap and readily available in the mid-nineteenth century, sugar and sugar confectionery became part of the ordinary diet, and have since fallen to the status of junk food, and, more recently, poison. But children relate to lollies at the level of imagination, so lollies are a vital part of the wonder of childhood and retain for children the magical cultural status once attributed to them. Allen’s red jelly frogs are banned from school tuckshops, but they play a noble role in opening doors for youth chaplains during the notorious Schoolies Week. Furthermore, the humble lolly descends from the elaborate sugarwork that once featured in royal banquets; it was noble all along. Lollies are no longer on the menu, and they do not even fit into food categories, but judgements based on food value alone fail to take into account the magical role they play in children’s lives and ignore the ways in which health authorities, artists, and advertisers use confectionery. Lollies have more in common with fairytales than food. The Frog Prince—a fairytale about a royal son who is turned into an ugly frog by a wicked enchantress and then rescued through his relationship with a child—is a metaphor for red frog lollies. This paper examines red frogs as sites of transformation, thereby repositioning sugar confectionery as magic and challenging dominant narratives that reduce the complexity of lollies and their cultural significance.' (Author's abstract)
1 1 y separately published work icon Batty Business Toni Risson , St Lucia : University of Queensland Press , 2008 Z1517313 2008 single work children's fiction children's 'Luke and Alex are on a new adventure down by the river. This time they are joined by Luke's classmate, Kevin who, to Alex's delight, is an excellent cook, having taken over this role in the absence of his father and with his sick mother. Forced to find themselves a new secret hideout, the boys relocate to a disused mineshaft, only to discover it already inhabited by a giant bat. But, after listening to tales from Kevin's mother and grandmother, they soon become convinced that this enormous foul-smelling animal is actually a harpy, sent from Ancient Greece to protect the elixir of life. The boys have to try to solve the mystery and keep both their hideout and the creature safe from prying eyes, especially those of Tugger, the school bully.' Source: Libraries Australia.
1 3 y separately published work icon Licking Lizards Toni Risson , St Lucia : University of Queensland Press , 2005 Z1227413 2005 single work children's fiction children's adventure When Luke and Alex discover a creepy man watching purple licking lizards from the river in the middle of the night, they think its a bit weird. But when the members of the football team begin mysteriously disappearing, they realise that there might just be more to this than meets the eye. - back cover
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