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Felicity Collins Felicity Collins i(A90089 works by)
Gender: Female
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Works By

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1 [Review] Dispossession and the Making of Jedda Felicity Collins , 2020 single work review
— Appears in: Journal of Australian Studies , vol. 44 no. 4 2020; (p. 552-553)

— Review of Dispossession and the Making of Jedda (1955) : Hollywood in Ngunnawal Country Catherine Kevin , 2020 multi chapter work criticism

'In Dispossession and the Making of Jedda, Catherine Kevin offers a quietly compelling account of a paradox that defined settler colonialism in mid-20th century Australia: its fascination with Aboriginality at a distance—on screen and in the scenic centre and north of Australia—alongside its inability to see (let alone comprehend) the ongoing dispossession of Aboriginal people close to home. What prompted Kevin to explore this paradox was the casual revelation of a family connection to Charles and Elsa Chauvel, Sydney-based filmmakers who, in 1950, set up a production company with wealthy woolgrowers of the Yass Valley in southern New South Wales. The company would finance and shoot a Technicolor film in the Northern Territory, featuring “magnificent scenery and magnificent aborigine types” (59).' (Introduction)

1 Remembering the Child Migrant on Screen Felicity Collins , 2019 single work criticism
— Appears in: Remembering Migration : Oral Histories and Heritage in Australia 2019; (p. 301-315)
1 Rachel Perkins : Creating Change Through Blackfella Films Felicity Collins , 2013 single work criticism
— Appears in: Senses of Cinema , December no. 69 2013;
This essay is a detailed analysis of Rachel Perkins' film-making career.
1 Blackfella Films : Decolonizing Urban Aboriginality in Redfern Now Felicity Collins , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , October vol. 7 no. 2-3 2013; (p. 215-225)
'Redfern Now has been acclaimed as the first Indigenous television drama series to be produced in Australia. With the support of Indigenous executive producers, Sally Riley at ABC Television and Erica Glynn at Screen Australia, the anthology series was produced by Blackfella Films and featured Indigenous writers, directors and actors in leading roles. This article argues that the decolonizing lens of Redfern Now is evident not only in Indigenous creative control but also in the immersive aesthetic and ethical dilemmas that invite the viewer to experience Redfern from an Aboriginal vantage point. This hospitable invitation offers a mode of assimilative spectatorship that redresses the paradox of Aboriginal erasure/visibility in the settler colonial nation.' (Author's abstract)
1 Decolonizing Settler-Colonial and Pacific Screens Felicity Collins , Jane Landman , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , October vol. 7 no. 2-3 2013; (p. 95-100)

'While postcolonial critique has been a remarkably fertile field within the humanities, the concept of the postcolonial has been problematic when applied to the peculiar situation of settler-colonial nations. In such nations, the colonial period has been largely relegated to the past. Yet, unresolved issues of treaty, sovereignty, native title and reparation for discriminatory policies such as child removal provide clear evidence that the nation states that replaced colonial regimes have yet to be decolonized.' (From Authors introduction)

1 y separately published work icon Studies in Australasian Cinema Decolonizing Settler-Colonial and Pacific Screens vol. 7 no. 2-3 October Felicity Collins (editor), Jane Landman (editor), 2013 6666322 2013 periodical issue
1 Reconciliation and the History Wars in Australian Cinema Felicity Collins , 2012 single work criticism
— Appears in: Exhuming Passions : The Pressure of the Past in Ireland and Australia 2012; (p. 207-222)
'When The Proposition ( a UK/Australia co-production, directed by John Hillcoat and scripted by Nick Cave) was released in 2005, film reviewers had no qualms about claiming this spectacular saga of colonial violence on the Queensland frontier as a 'history' film. A reviewer on BBC Radio 4 described The Proposition as 'a bushranger Western...set in violent 1880s Australian outback exposing the bitter racial tensions between English and Irish settlers. A Sunday Times review declared that 'Australia's brutal post-colonial history is stripped of all the lies in a bloody clash of cultures between the British police, the Irish bushrangers and the Aborigines.' Foregrounding the film's revisionist spectacle of colonial violence, an Australian reviewer predicted that, despite 'scenes of throat-cutting torture, rape and exploding heads...The Proposition could be the most accurate look at our national history yet'. (Author's introduction, 207)
1 After the Apology : Reframing Violence and Suffering in First Australians, Australia, and Samson and Delilah Felicity Collins , 2010 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 24 no. 1 2010; (p. 65 - 77)
'This article explores the cinematic reframing of media images that normalize violence and suffering in remote Aboriginal communities. It proposes that, in the light of the 2007 Northern Territory Emergency Response and the 2008 apology to the Stolen Generations, the archival history series First Australians, the postmodern blockbuster Australia, and the arthouse drama Samson and Delilah contribute to an anti-colonial politics by creating cinematic spaces for affective and ethical response to issues of 'bare life' that tend to be exhausted, rather than worked through, in media temporality.' (Author's abstract)
1 Wogboy Comedies and the Australian National Type Felicity Collins , 2009 single work criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 73-82)

'Popular Australian film comedy since the early 1970s has been dominated by reinventions of the national type. These reinventions involve transformations of the urban larrikin and the bush battler, first established in silent film classics such as The Sentimental Bloke (Raymond Longford 1919) and in Cinesound Studio's Rudd family comedies of the 1930s, directed by Ken G. Hall. These comic types continue to surface in popular film and television as the larrikin, ocker or decent Aussie bloke, exemplified in the 1970s by Bazza McKenzie, in the 1980s by Crocodile Dundee, in the 1990s by Darryl Kerrigan in The Castle, and most recently by cable TV showman Steve Irwin until his untimely death in 2006. Yet despite decades of multiculturalism, little attention has been paid to the impact of post-war, non -British immigration on Australian comic types. This chapter examines three popular comedies which champion ethnically marked characters as either 'New Australians' (They're a Weird Mob, Michael Powell 1966), 'wogboys' (The Wog Boy, Alexsi Vellis 2000) or `chockos' (Fat Pizza, Paul Fenech 2003). It asks whether 'wogboys' and 'chockos' - as diasporic, multicultural or new world comic types - have trumped the larrikins and ockers of Australian screen comedy, or whether 'wogsploitation' films are popular with Australian film and television audiences precisely because they tap into a long. standing national type without disturbing its key characteristics.' (Publication abstract)

1 Larrikin Ockers and Decent Blokes : The National Type in Australian Film Comedy Felicity Collins , 2009 single work criticism
— Appears in: Creative Nation : Australian Cinema and Cultural Studies Reader 2009; (p. 154-165)
1 The Hedonistic Modernity of Sydney in They’re a Weird Mob Felicity Collins , 2006 single work criticism
— Appears in: Senses of Cinema , July - September no. 40 2006;
'This essay returns to a landmark British-Australian co-production in order to think about how cinema might be involved in the way we remember a city, in this case the antipodal, Alice-in-Wonderland city of Sydney. Much of this interest is prompted by the ongoing popularity and influence of They're a Weird Mob (Michael Powell, 1966).' (Introduction)
1 Disputing History : Remembering Country in the Tracker and Rabbit-Proof Fence Felicity Collins , Therese Davis , 2006 single work criticism
— Appears in: Australian Historical Studies , October vol. 37 no. 128 2006; (p. 35-54)
1 Sustaining Grief in Japanese Story and Dreaming in Motion Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 172-204)
The proposal presented by Collins and Davis throughout this book is 'that the post-Mabo era in Australian cinema can be read through the metaphor of backtracking. This intermittent activity of reviewing, mulling over and renewing icons, landscapes, characters and stories defines contemporary Australian national cinema.' The conclusion that the authors draw from their analysis of Australian cinema is that 'in the post-Mabo context, this brooding passion for raking the national repetoire of icons serves as a vernacular mode of collective mourning, a process involving both grief-work and testimony.' Source : Australian Cinema after Mabo (2004).
1 Escaping History and Shame in Looking for Alibrandi, Head On and Beneath the Clouds Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 152-171)
In this chapter Collins and Davis analyse how the films, Looking for Alibrandi, Head On and Beneath the Clouds 'invites us to consider the relation between the past and the present .' The authors argue that the stories these films tell, regarding 'coming of age, reveal a picture of young Australians as the inheritors of a nation divided on issues of race relations, land politics, national security, and how best to deal with the shameful episodes from our colonial past.' Although these films differ in style and content they express a common 'form of teen mobility fuelled by the desire to 'escape history' ... that is symptomatic of the specific difficulties of coming of age in post-Mabo Australia.' Source : Australian Cinema after Mabo (2004).
1 Lost stolen and Found in Rabbit-Proof Fence Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 133-151)
In this chapter Collins and Davis argue that in bringing the story of enforced child removal to life, the film Rabbit-Proof Fence is a vehicle for retracing, reworking and recovering 'stolen histories.' According to the authors the films 'rhetorical elements of testimony and witnessing are best understood in terms of international screen studies debates about memory, history and trauma.' Source : Australian Cinema after Mabo (2004).
1 Coming from the City in the Castle, Vacant Possession, Strange Planet and Radiance Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 112-130)
In this chapter, Collins and Davis analyse how emergent themes within contemporary Australian cultural studies, repudiate 'the 19th century bush as the template for a British-derived national identity, turning instead to the cosmopolitan city , the multi-cultural suburbs, and the hedonistic holiday coast as templates for the a dynamic, post-national, post-multi-cultural identity in the 21st century.' The authors argue that 'the problem of belonging and of being at home in Australia is evident in the afterwardness of the history wars that followed the Mabo decision.' Source : Australian Cinema after Mabo (2004).
1 Coming from the Country in Heartland, Cunnamulla and Message from Moree Felicity Collins , Therese Davis , 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).
1 Aftershock and the Desert Landscape in Heaven's Burning, The Last Days of Chez Nous, Holy Smoke, Serenades, Yolgnu Boy and The Missing Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 75-93)
In this chapter Collins and Davis 'are intersted in how a familiar icon of Australian cinema, the landscape (in particular the desert landscape, the outback), is suddenly made strange (unbearable even) by a historic event and how this raises questions to do with historical amnesia, shock and memory in a national cinema. In order to sneak up on on this post-Mabo experience of aftershock, we want to place these films in relation to threee critical categories which have been important in making sense of the ad hoc diversity of Australian films.' Source : Australian Cinema After Mabo (2004)
1 Mediating Memory in Mabo - Life of an Island Man Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 59-72)
In this chapter Collins and Davis analyse how the documentary Mabo : Life of an Island Man mediates 'public recognition of both the Mabo decision and Mabo 'the man'.' The authors also explore how the film 'has become a popular history of Mabo and what this success tells us about shifts in documentary filmmaking in the 1990s and the forms of spectatorship they can enable.' Source : Australian Cinema After Mabo (2004).
1 Elites and Battlers in Australian Rules and Walking on Water Felicity Collins , Therese Davis , 2004 single work criticism
— Appears in: Australian Cinema after Mabo 2004; (p. 41-58)
In this chapter Davis and Collins examine how the national 'imaginary' is shaped by new conditions involving the politics of identity 'informed by the tension between the claims of history and social mobility in the new economy.' The authors imply that the 'contemporary experiences of dislocated identities' underpinned by particular cultural notions regarding 'nation, class, race, ethnicity or gender' also involve the politics of memory based on a 'whitewashed version of British heritage.' Source : Australian Cinema After Mabo (2004).
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