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form y separately published work icon On Loan single work   film/TV   young adult  
Issue Details: First known date: 1985... 1985 On Loan
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AbstractHistoryArchive Description

Lindy believes she is a Vietnamese orphan, adopted by Marj and Geoff Baker when she was three years old. She lives happily with her adoptive family, only occasionally wondering about her past. This changes, however, when she receives a letter from her real father, Le. Having searched for many years, he is overjoyed to find her and tells her that he is coming to Australia to see her. The narrative explores the family's emotional turmoil as they wait for his arrival and their defensive attitude when he arrives. For Lindy, the meeting opens up a past she has never known as she is introduced to her Vietnamese family and culture. Le eventually tells Lindy that he wants her to return with him and she is subsequently torn between the two possible futures she is being given--one in Australia or one in Vietnam--and the two families she must choose between. She chooses to stay in Australia, but she makes it clear that she intends to visit and stay with her Vietnamese family when she is older. Although he is disappointed, Le has given Lindy a gift she never expected--a sense of identity she did not have before--and she tells him this in her letter to him. (Source: Australian Screen.)

Notes

  • Telemovie.
  • The trailer for this episode is available to view via YouTube: http://www.youtube.com/watch?v=zqrWg5jjCQo (Sighted: 7/9/2012)

Affiliation Notes

  • This work is affiliated with the AustLit subset Asian-Australian Children's Literature and Publishing because it contains Vietnamese characters.

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 1985
      1985 .
      person or book cover
      Screen cap from promotional trailer
      Link: U9376Three digital extracts from the original production. Australian Screen (Sighted 17/03/10)
      Extent: 48 min.p.
      Series: form y separately published work icon Winners Network Ten (publisher), Australia : Network Ten Australian Children's Television Foundation , 1985 Z1676442 1985 series - publisher film/TV children's

      Australian Screen says of Winners that it is 'an anthology series of eight telemovies for children aged between eight and fifteen. No one story is typical. Through comedy, science fiction, historical drama, adventure, fantasy and social realism, many issues are raised. Each of the Winners stories is about children, their families and friends. Common themes across the stories are family relationships, friendship, individuality, and the facing of difficult situations with courage, ingenuity and independence.'

      Of the origins of the series, Patricia Edgar says in her memoir Bloodbath: A Memoir of Australian Television (Melbourne: Melbourne UP, 2006):

      The series was initially dubbed Masterpiece Theatre, an ironic salute to Phillips Adams' comment at the very first board meeting that we must use popular formats and not look like Masterpiece Theatre. It would eventually air under the title Winners, a title that I selected from a list of ideas during scripting.

      I approached a number of experienced producers around the country to induce them to work on a children's program. With guidance from John Morris, I identified twenty of Australia's top writers--including John Duigan, Tom Hegarty, Sonia Borg, Anne Brooksbank, Tony Morphett, Morris Gleitzman, Bob Ellis and Cliff Green--and invited them to a briefing at the Sebel Townhouse in Sydney in February 1983. The way to get their involvement was to make the project high profile and competitivel the media would be involved throughout the process.

      Writing is a solitary experience. These selected writers had never been together for a briefing before. The proposal was for each writer to develop two ideas for the sum of $500. If their idea was selected they would go on to the next stage and write a treatment and draft, otherwise we would give their idea back to them. Without exception, the idea appealed. The writers were not instructed on specific program ideas, but I made it clear I did not want bland adventure or syrupy formulaic family shows. I wanted the kind of drama children had not seen before--contemporary, challenging, dealing with important, relevant issue. I wanted stories that would add some meaning to children's lives. If these writers--the cream of the crop--could not deliver, nobody else in Australia could. (pp.155-56)

      Edgar said of the series that 'Winners had been a baptism of fire--introducing me to a diverse range of producers, directors, styles of production and problems--as well as a wonderfully exciting introduction to the creation of drama, from an idea on paper to a powerful experience to be shared on screen' (pp.169-70).

Works about this Work

Ethnicity, Agency, and Cultural Identity : Nexus and Difference in Australian Youth Films Robyn McCallum , 1998 single work criticism
— Appears in: Papers : Explorations into Children's Literature , August vol. 8 no. 2 1998; (p. 40-47)
McCallum is interested in texts which deal with narratives of migration and cultural difference and representations of social and cultural diversity in children's literature, as '...attempts in film and literature to represent cultural diversity in Australian society are apt to proceed through quotation of iconic and stereo-typed images of difference...' (40). She analyses three Australian films, No Worries, Captain Johnno, and On Loan and argues that fundamentally the 'representations of social and cultural difference are ideologically shaped by an overarching metanarrative of subject formation which stresses the value of intersubjective relationships as a way of overcoming the alienation that occurs from cultural, social and physical displacement' (46).
Ethnicity, Agency, and Cultural Identity : Nexus and Difference in Australian Youth Films Robyn McCallum , 1998 single work criticism
— Appears in: Papers : Explorations into Children's Literature , August vol. 8 no. 2 1998; (p. 40-47)
McCallum is interested in texts which deal with narratives of migration and cultural difference and representations of social and cultural diversity in children's literature, as '...attempts in film and literature to represent cultural diversity in Australian society are apt to proceed through quotation of iconic and stereo-typed images of difference...' (40). She analyses three Australian films, No Worries, Captain Johnno, and On Loan and argues that fundamentally the 'representations of social and cultural difference are ideologically shaped by an overarching metanarrative of subject formation which stresses the value of intersubjective relationships as a way of overcoming the alienation that occurs from cultural, social and physical displacement' (46).
Last amended 11 Dec 2014 14:43:16
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