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form y separately published work icon Proof single work   film/TV  
Issue Details: First known date: 1991... 1991 Proof
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AbstractHistoryArchive Description

Blind since birth, Martin has never trusted anyone. He takes photographs as proof that the world he imagines is the same as that seen by sighted people. He relies on his young housekeeper, who is in love with him. But when he makes a new friend, the housekeeper's jealousy turns to vindictive rage.


  • The trailer for this film is available to view via YouTube: (Sighted: 14/9/2012)

Affiliation Notes

  • Writing Disability in Australia

    Type of disability Blindness.
    Type of character Primary.
    Point of view Third person.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Form: screenplay
    • St Lucia, Indooroopilly - St Lucia area, Brisbane - North West, Brisbane, Queensland,: University of Queensland Press , 1992 .
      Alternative title: Proof : The Screenplay
      Extent: xiii, 55p., [8]p. of platesp.
      Description: illus., ports
      • Writer/Director's Preface: Jocelyn Moorhouse, February 1992.

      • Moorhouse states in her preface, 'this screenplay is the shooting script.'

      • Introduction by Jonathan Dawson, then Head of the School of Film and Media Studies, Griffith University.

      • Also published in braille and sound recording formats.

      ISBN: 0702224065 (pbk.)
      Series: y separately published work icon UQP Screenplays University of Queensland Press (publisher), St Lucia : University of Queensland Press , 1991 12992140 1991 series - publisher This series format includes a preface by the scriptwriter and an introduction by an academic commentator.

Works about this Work

Director and Writer Jocelyn Moorhouse Kirsten Krauth , 2019 single work column
— Appears in: The Saturday Paper , 11-17 May 2019;

'A quiet chat with one of Australia’s most acclaimed directors about visual thinking, motherhood and her memoir, Unconditional Love.'  (Introduction)

Affectively Trapped, Fossilised and Fetishised : Early 1990s Melbourne through Stillness, Movement and Music in Proof (Jocelyn Moorhouse, 1991) Diana Sandars , 2017 single work essay
— Appears in: Senses of Cinema , December no. 85 2017;

In Proof (Jocelyn Moorhouse 1991), the photographs of blind central protagonist, Martin, construct multiple Melbournes. Martin’s compulsive photography is a product of a dysfunctional relationship with his mother and becomes his primary mechanism to document and regulate his world. Through this process, Martin’s Melbourne exists as a fossil; the preserved remains of his memories. In contrast, Martin’s burgeoning friendship with Andy introduces a Melbourne that exceeds the fossil image. This Melbourne is captured in shared photographs that reflect the promise of community abundance; a promise connected with 1990s Melbourne live music culture. The soundtrack by Melbourne band, Not Drowning, Waving, significantly contributes to this heterotopic representation of Melbourne, and their distinct musical style further evokes a lived Melbourne from this period. Proof’s soundtrack here combines with recognisable chronotopes of the inner city to re-fossilise this Melbourne for the present-day spectator for whom, like the film’s characters, Melbourne was their lived experience.

Rewind : The Making of the Aussie Classic, Proof Lynden Barber , 2016 single work column
— Appears in: FilmInk , 27 July 2016;
Set to screen at The Melbourne International Film Festival in its newly restored form, we look back at the making of the brilliant Aussie drama, Proof, starring Hugo Weaving, Russell Crowe, and Genevieve Picot.
The Films That Changed My Life : Matthew Saville Dov Kornits , 2016 single work column
— Appears in: FilmInk , 27 April 2016;
Great Australian Directorial Debuts Erin Free , 2016 single work column
— Appears in: FilmInk , 14 March 2016;
Untitled Toby Miller , 1993 single work review
— Appears in: Australasian Drama Studies , April no. 22 1993; (p. 138-140)

— Review of My Brilliant Career Eleanor Witcombe , 1979 single work film/TV ; Proof Jocelyn Moorhouse , 1991 single work film/TV
First-Timer Offers Glossy Local Drama Des Partridge , 1991 single work review
— Appears in: The Courier-Mail , 28 September 1991; (p. wkd 8)

— Review of Proof Jocelyn Moorhouse , 1991 single work film/TV
A Parable of Hope, Trust and Love Patricia Kelly , 1995 single work review
— Appears in: The Age , 18 September 1995; (p. 4)

— Review of Proof Jocelyn Moorhouse , 1991 single work film/TV
Seeing Isn't Believing Jo-Ann Stubbings , 1996 single work review
— Appears in: The Age , 19 March 1996; (p. 9)

— Review of Proof Jocelyn Moorhouse , 1991 single work film/TV
Proof Rewatched – An Enormously Compelling Character Study Luke Buckmaster , 2014 single work review
— Appears in: The Guardian Australia , 28 November 2014;

— Review of Proof Jocelyn Moorhouse , 1991 single work film/TV
Spielberg Gives Aussie Big Break Bob Thomas , 1995 single work column
— Appears in: The Mercury , 11 October 1995; (p. 28)
y separately published work icon Reel Meals, Set Meals : Food in Film and Theatre Gaye Poole , Sydney : Currency Press , 1991 Z1536510 1991 single work prose A study of the social and symbolic meaning of food that begins with an overview that demonstrates the use of food in plays throughout the ages and how filmmakers quickly learnt to exploit its potential.
Wedding Follows Up Wife's Success Neil Jillett , 1994 single work criticism
— Appears in: The Age , 12 May 1994; (p. 19)
Australia on the Crest of a New Wave Mary Colbert , 1994 single work criticism
— Appears in: The Sydney Morning Herald , 18 May 1994; (p. 29,30)
A Wedding to Celebrate in Cannes Evan Williams , 1994 single work criticism
— Appears in: The Australian , 20 May 1994; (p. 9)
Last amended 8 Feb 2019 09:30:06