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form y separately published work icon The Nightingale single work   film/TV   historical fiction  
Issue Details: First known date: 2018... 2018 The Nightingale
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AbstractHistoryArchive Description

'Set in 1825, Clare, a young Irish convict woman (Aisling Franciosi), chases a British officer (Sam Claflin) through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. On the way she enlists the services of an Aboriginal tracker named Billy (Baykali Ganambarr), who is also marked by trauma from his own violence-filled past.'

Source: Screen Australia.

Notes

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Convict/Aboriginal Partnerships and Ruptured Histories in The Nightingale James Findlay , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 1 2020; (p. 63-76)

'This article considers the convict/Aboriginal partnership at the heart of Jennifer Kent's The Nightingale. In doing so it locates Clare and Billy’s relationship within a broader representational history of convict/Aboriginal partnerships on screen. It explores how The Nightingale conforms to, or ruptures, the narrative patterns and tropes that have developed around such encounters. Furthermore, it considers the partnership’s revisionist potential and continuing limitations as a representational means to exploring the multi-layers of power, violence and colonisation on screen.' (Publication abstract)

‘Brutal’ and ‘Grisly ’: Exploring the (non-Indigenous) Critical Reception to Two Australian Postcolonial Films of the Frontier, The Nightingale (2018) and The Proposition (2005) Catriona Elder , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 1 2020; (p. 47-62)

'This article explores the marketing and non-Indigenous critical responses to the film The Nightingale (2018) by reading it alongside the reception and responses to a similar film, made over a decade earlier, a film that also studies the multi-layers of colonial violence. Using the film The Proposition (2005) as a foil this article considers the ways that violence figured by two non-Indigenous directors working in a postcolonial Australian context is interpreted by the critics reviewing films. The articles considers the different tropes, non-Indigenous critics offer viewers of the film. How do they suggest consumers interpret or experience the film? The argument is that the tropes, and cues can be understood both in terms of the immediate film experience, but also, for Australian viewers in terms of two ‘events’ – Reconciliation and the Uluru Statement – that help shape what national and counter histories of Australia have power at different times. The objectives of the article are therefore twofold. The first is to catalogue some of the ways each films’ marketing machine and then some key critics explained or described the plot and narrative of the two films, in particular how they explained the idea of colonial trauma in relation to the two events. The second objective is to examine how the reviewers/marketing material explained how each film deployed these ideas in order to challenge historically powerful understandings of history and belonging – in its multiple meanings – in Australia.' (Publication abstract)

Uncanny Parallels : Jennifer Kent’s the Nightingale, Violence, and the Vandemonian Past Kristyn Harman , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 1 2020; (p. 35-46)

'Set in mid-1820s Van Diemen’s Land, The Nightingale depicts a dark and disturbing Tasmanian past populated with redcoats, convicts, Aboriginal people, and a few free settlers. Controversial scenes include the repeated rape of a young female convict, the murders of her husband and infant, and the rape and murder of an Aboriginal woman. Uncanny parallels can be drawn between the on-screen experiences of the white female lead, and the violence visited on the bodies of Tasmanian colonial woman Elizabeth Tibbs, her husband, and infant in 1826. After situating the film within its historical context, this paper provides a mimetic reading through elaborating these parallels. It interrogates key points of divergence between these fictional and historical accounts of women’s lives to explore what they reveal about gender, class, race, violence, and justice in colonial Van Diemen’s Land and its depiction in twenty-first century Australia.' (Publication abstract)

‘I Can’t Stand the Noise of It’ : the Figure of the Child and the Critique of Colonialism in Jennifer Kent’s the Nightingale Joanne Faulkner , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 1 2020; (p. 23-34)

'The presence in Jennifer Kent’s The Nightingale of children, and of violence against them, has so far been little commented upon, as much commentary has focused on the film’s depiction of rape and colonial gender relations. Yet key plot points are articulated through violence against a child — and the exclamations at these points by the film’s antagonist, Lt. Hawkins, of “shut it up” and “I can’t stand the ... noise of it,” indicates a critical role played by representations of children that may be turned against colonial power. This article examines the-role of the child as a site of immanent critique of colonial violence in The Nightingale, in the context of the use of representations of childhood in settler-colonial film and culture more broadly.' (Publication abstract)

‘I Just Felt Sad and Angry All in One Thing’ : Jim Everett in Conversation with Rebe Taylor on Making the Nightingale Rebe Taylor (interviewer), 2020 single work interview
— Appears in: Studies in Australasian Cinema , vol. 14 no. 1 2020; (p. 15-22)

'The symposium ‘The Nightingale: Gender, Race and Troubled Histories on Screen’ opened with a discussion between Jim Everett, the film’s associate producer and Aboriginal consultant, and Associate Professor Rebe Taylor, Senior Research Fellow in the College of Arts, Law and Education at the University of Tasmania. Rebe and Jim have known each other since 1999, when they met at a history conference: as Rebe noted, ‘we’ve never really stopped talking since then.’ Jim is a Senior Indigenous scholar at the University of Tasmania and he is currently working on a Master’s thesis with Rebe. In this (edited) transcript of their conversation, Rebe and Jim discuss the way he came to be involved with the film, the casting and production process, and his reaction to the finished film.' (Publication abstract)

[Review] ‘The Nightingale’ Harry Windsor , 2019 single work review
— Appears in: The Monthly , October no. 160 2019; (p. 54)

— Review of The Nightingale Jennifer Kent , 2018 single work film/TV
Brutality in the Colony David Stratton , 2019 single work review
— Appears in: The Weekend Australian , 24 August 2019; (p. 15)

— Review of The Nightingale Jennifer Kent , 2018 single work film/TV

'Writer-director Jennifer Kent’s terrific first feature, The Babadook (2014), was a very superior horror movie set in Adelaide; her second, The Nightingale, which won two major prizes last year in Venice, is also a horror movie but, unlike its predecessor, the horror this time isn’t supernatural but all too real. Kent’s uncompromising approach to this story of colonial violence against women and Aborigines in Van Dieman’s Land in the early 19th century is pretty confronting at times. I’m sure she would argue that it had to be because, to tell this story — and it’s a story that demands to be told — there’s no hiding the fact that some terrible crimes were committed by the English colonisers.'(Introduction)

After The Babadook : Jennifer Kent's New Film Tackles Australia's Violent Colonial History Monica Tan , 2016 single work column
— Appears in: The Guardian Australia , 30 May 2016;
Silver Screen Coup for Tassie Tale Jessie Howard , 2016 single work column
— Appears in: The Mercury , 31 May 2016; (p. 9)
'Tasmania will be the setting of the follow-up film by Australian director Jennifer Kent after her debut success with The Babadook.The 2014 film, which starred Tasmanian Essie Davis, won critical ­acclaim. Nightingale will be the biggest feature film wholly shot in the state and is expected to earn more than ­$3.6 million.Arts Minister Vanessa Goodwin said the State Government would give $200,000 towards the project. ...'
The Making of The Babadook Erin Free , 2016 single work column
— Appears in: FilmInk , 30 October 2016;
Local Treasures : 2017's Most Anticipated Aussie Films Erin Free , 2016 single work column
— Appears in: FilmInk , 22 December 2016;
The Nightingale Goes to Venice Jillian Mundy , 2018 single work column
— Appears in: Koori Mail , 8 August no. 682 2018; (p. 5)

'Highly anticipated feature film, The Nightingale, which is likely to contain the most accurate depiction of Tasmanian Aborigines on the big screen to date, has been selected to premiere, in competition, at the prestigious Venice International Film Festival later this month.'

Last amended 16 Apr 2020 09:48:22
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