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AbstractHistoryArchive Description
Set in a small coastal town against the turmoils of murder, mystery and romance, Heartland deals with the death of an Aboriginal girl and the doubts concerning the guilt of her boyfriend, who is arrested for her murder. Vincent Burunga, an Aboriginal police liaison officer working in the town, is an outsider to both the local Aboriginal people and the white justice system, and he finds himself constantly on the edge caught between two cultures trying to understand each other. It explores the developing relationship between Vincent and the newly arrived Elizabeth Ashton. Both are convinced of the young man's innocence but must endure hostility from both the white and black communities and get past the obstacles of their different backgrounds.
The narrative also follows the people from this seaside community and their battle to restructure their own way of life and their struggle to restore their belief in a positive future, despite the obstacles in their path.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Ethnic Diversity within Australian Homes : Has Television Caught up to Social Reality?
2014
single work
criticism
— Appears in: Journal of Intercultural Studies , vol. 35 no. 1 2014; (p. 34-52) 'Inter-ethnic intimacy is on the rise in Australia, bringing an unprecedented level of ethnic diversity into our homes. Yet analyses of media representations of ethnic diversity have concentrated on the community level, neglecting the intimate sphere of family life. This paper explores the possibilities and limits of love within and across ethnic boundaries on fictional Australian television programmes. The results of a nine-week content analysis reveal a mixed picture. Inter-ethnic intimacy was regularly portrayed; but committed, long-term relationships across ethnic boundaries (marriage and co-habitation) were scarce. And although Australian television producers did not shy away from portraying physical intimacy across ethnic boundaries, emotional intimacy was often absent. Overt stereotyping of ethnic minority characters involved in inter-ethnic relationships was rare – instead, ethnic differences were downplayed or erased. Storylines were underpinned by the assimilation of inter-ethnic couples – in all their diversity – into the (white) mainstream.' (Publication abstract) -
Coming from the Country in Heartland, Cunnamulla and Message from Moree
2004
single work
criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 94-111) 'The foucs of this chapter is on the ways that the films Heartland, Cunamulla and Message from Moree send a message to the viewer about what's going on in the country. The asssunption that life in the the country is shaped by what happened after the frontier wars is axiomatic for these programs. In the 1990s, reconciliation policies at the national level have influenced film narratives about the survival of Aboriginal communities and the various ways that settler and Indigenous Australians have intermingled in the country.' The authors argue that 'these narratives have found their way through the public film-funding bodies to ABC Television and can thus be construed as contributing to the national interest rather than to the sphere of entertainment.' Source : Australian Cinema after Mabo (2004). -
Get Ready for a Golden New Age in Aboriginal Film
1995
single work
column
— Appears in: Koori Mail , 23 August no. 108 1995; (p. 19)
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Coming from the Country in Heartland, Cunnamulla and Message from Moree
2004
single work
criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 94-111) 'The foucs of this chapter is on the ways that the films Heartland, Cunamulla and Message from Moree send a message to the viewer about what's going on in the country. The asssunption that life in the the country is shaped by what happened after the frontier wars is axiomatic for these programs. In the 1990s, reconciliation policies at the national level have influenced film narratives about the survival of Aboriginal communities and the various ways that settler and Indigenous Australians have intermingled in the country.' The authors argue that 'these narratives have found their way through the public film-funding bodies to ABC Television and can thus be construed as contributing to the national interest rather than to the sphere of entertainment.' Source : Australian Cinema after Mabo (2004). -
Get Ready for a Golden New Age in Aboriginal Film
1995
single work
column
— Appears in: Koori Mail , 23 August no. 108 1995; (p. 19) -
Ethnic Diversity within Australian Homes : Has Television Caught up to Social Reality?
2014
single work
criticism
— Appears in: Journal of Intercultural Studies , vol. 35 no. 1 2014; (p. 34-52) 'Inter-ethnic intimacy is on the rise in Australia, bringing an unprecedented level of ethnic diversity into our homes. Yet analyses of media representations of ethnic diversity have concentrated on the community level, neglecting the intimate sphere of family life. This paper explores the possibilities and limits of love within and across ethnic boundaries on fictional Australian television programmes. The results of a nine-week content analysis reveal a mixed picture. Inter-ethnic intimacy was regularly portrayed; but committed, long-term relationships across ethnic boundaries (marriage and co-habitation) were scarce. And although Australian television producers did not shy away from portraying physical intimacy across ethnic boundaries, emotional intimacy was often absent. Overt stereotyping of ethnic minority characters involved in inter-ethnic relationships was rare – instead, ethnic differences were downplayed or erased. Storylines were underpinned by the assimilation of inter-ethnic couples – in all their diversity – into the (white) mainstream.' (Publication abstract)
Last amended 23 Jan 2015 11:43:03
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