AustLit

'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)

'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)

'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)

'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)

'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)