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Jane Mills Jane Mills i(A114704 works by)
Gender: Female
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Works By

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1 Representations and Hybridizations in First Nation Cinema : Change and Newness by Fusion Jane Mills , 2018 single work criticism
— Appears in: American–Australian Cinema : Transnational Connections 2018; (p. 67-90) Explores the connections between Australian First Nation cinema and American cinema, particularly American genre cinema, through early representations of First Nations people by colonial film-makers; through bushranger films and their connection to westerns; and through the careers of Tracey Moffatt and Ivan Sen.
1 5 y separately published work icon Jedda Jane Mills , Strawberry Hills : Currency Press , 2012 Z1863986 2012 single work criticism 'Filmed in 1955 Jedda was the first Australian feature film to use Aboriginal actors in lead roles, the first to be filmed in colour and the first to be shown at the Cannes film festival. It tells the tragic story of a young Aboriginal girl of the Arunte tribe, adopted by a white woman, Sarah McCann, as a surrogate for her own baby who has died. She raises her as a white child, isolating her from Aboriginal contact. But when Marbuck, an Aboriginal man seeking work arrives on the station, Jedda is fascinated by him. Jedda was one of several popular melodramas of the post-World War II era that dealt with miscegenation. Mills explores these themes and the representation of the Australian Aborigine, while making comparisons to the Native American sub-genre of the Hollywood Western. Source: http://www.currency.com.au/ (Sighted 27/08/2012).
1 Mapping Australia : Cinematic Cartographies of (Dis)location Jane Mills , 2010 single work criticism
— Appears in: Senses of Cinema , no. 55 2010; 'Initially, movies and maps might appear to have little in common: films move while maps tend to be static; films belong to the realms of art and popular culture while maps relate to the world of science. Upon closer examination, however, they share much common ground. They both communicate visually to delineate and describe the space in which we live. They both refer their audiences and readers to political, historical and social contexts of their time. Maps, of course, are overtly symbolic in a way that film can obscure by a naturalistic portrayal of time and place but however realistic and accurate they aspire to be, each can only ever represent the reality of the world we live in. Importantly, both films and maps tell stories. Sometimes tall stories: Hic sunt dracones ('Here be dragons') claimed the legend on the early sixteenth-century Lenox Globe to denote unexplored territory. And unknown territory is precisely where many filmmakers aim to take their audiences. Enabling us to fix time and space for a short moment, films and maps both tell stories about the known world to reveal a new world. They are two ways humans have devised to chart the unknown territory of our imagination.' (Introduction)
1 Death or Betrayal? Jane Mills , 2010 extract criticism
— Appears in: Australian Perspectives Essays 2010; 'Historically, this was a moment when women became aware of being mocked, ignored, infantilised, marginalised and yes, hated in male-dominated society. Misogyny had the effect of making many women band together in a 'united we stand' stance against patriarchy and so they papered over their differences. Not to do so was seen as a betrayal, perhaps the worst word in the feminist lexicon.' (Introduction)
1 Lines in a Cemetery i "Once my I go to Singleton", Jane Mills , 2002 single work poetry
— Appears in: Bird Before Landing : A Poetry Anthology 2002; (p. 71)
1 1 Australian Screen Classics Jane Mills (editor), Currency Press (publisher), 2002 series - publisher
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