File spoon-archives/bhaskar.archive/bhaskar_2000/bhaskar.0002, message 17


Date: Wed, 16 Feb 2000 16:27:22 +1000
Subject: Re: BHA: Re: My Thesis



Hi Mervyn the disc is about to go into the post.  Here are the title pages 
including the abstract.

l&a

garyAt 09:38  15/02/00 +0000, you wrote:
>Dear Gary,
>
>Yes please (disk copy of your thesis)! And if there is such, send me a copy
>of the abstract and I will publish it in the April Alethia. Best, Mervyn
>
>Mervyn Hartwig
>Rachel Sharp
>13 Spenser Road
>Herne Hill
>London, SE 24 ONS
>Phone and fax: 0044(0)1717372892; email:rssharp-AT-btinternet.com
>
>mh-AT-jaspere.demon.co.uk
>
>
>
>
>      --- from list bhaskar-AT-lists.village.virginia.edu ---


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{\title Left Wing Documentary Film In Australia}{\author maclennan}{\operator Desktop Support Services}{\creatim\yr2000\mo2\dy15\hr16\min47}{\revtim\yr2000\mo2\dy15\hr16\min47}{\printim\yr1999\mo6\dy24\hr17\min54}{\version2}{\edmins0}{\nofpages2}
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\par 
\par 
\par }\pard\plain \s15\qc\widctlpar\adjustright \fs40\cgrid {\b From the Actual to the Real: \line Left Wing Documentary Film \line in Australia 1946-1996
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\b\fs40\lang1033 
\par 
\par 
\par }\pard\plain \s2\qc\keepn\widctlpar\outlinelevel1\adjustright \fs40\cgrid {\b Gary MacLennan
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\lang1033 
\par 
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\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {
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\par 
\par }{\b\fs40 PhD Thesis, June 1999
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\lang1033 
\par 
\par 
\par }{\b\fs40\lang1033 Centre for Media Policy and Practice
\par Queensland University of Technology}{\b\lang1033  }{\lang1033 
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\page }{\b ABSTRACT
\par }{
\par 
\par }{\b Key Words
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs28 
\par Documentary Film
\par Film Theory
\par Working class
\par Critical Realism
\par Bhaskar
\par Dialectics
\par Marxism
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {
\par 
\par 
\par 
\par }{\b From the Actual to the Real:
\par Left Wing Documentary Film In Australia 1946-1996
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs28\lang1033 
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {Gary MacLennan
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs28\lang1033 B.A., Dip.Ed. M.A.
\par 
\par This thesis constructs and develops a critique of the traditio
n of left wing documentary film in Australia.  The critique is from the perspective of the Critical Realist paradigm developed by Roy Bhaskar and others. The thesis is both an attempt to critique a tradition and to provide a new basis for documentary theo
r
y and criticism. On the theoretical level the thesis engages the work of the leading documentary film theorists including Noel Carroll, Bill Nichols, Paula Rabinowitz, Michael Renov and Trinh T. Minh-ha.  These theorists take up positions, which range fro
m New Realist to Poststructuralist.  It is the contention of this thesis that, because they lack a notion of a stratified ontology, they are unable to sustain either a critique of or a coherent account of documentary practice.
\par The definition of left wing that underpins the selection of the films is a narrow one, namely, coming from or influenced by the Marxist tradtion. The criticism of the films begins with Joris Ivens }{\i\fs28\lang1033 Indonesia Calling}{\fs28\lang1033 
 (1946) and concludes with Tom Zubrycki\rquote s }{\i\fs28\lang1033 Billal}{\fs28\lang1033  (1996).
\par 
\par 
\par 
\par 
\par 
\par \page }{\b\fs28\lang1033 CONTENTS
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\fs24 
\par }\pard \s1\sl480\slmult1\keepn\widctlpar\tx7740\outlinelevel0\adjustright {\fs24 
\par }\pard \s1\keepn\widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\outlinelevel0\adjustright {\fs24 Abstract \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab (ii)\line 
\par Certification}{\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab (viii)
\par }\pard\plain \widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\adjustright \fs20\lang3081\cgrid {\fs24 
\par Acknowledgements \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab (ix)
\par }{\b\fs24 
\par PART ONE:  THEORY}{\fs24 \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 1
\par 
\par }{\b\fs24 Introduction ~ From the Actual to the Real:
\par Left Wing Documentary Film In Australia}{\fs24 \tab .\tab .\tab .\tab .\tab 2
\par 
\par }\pard\plain \s4\li720\keepn\widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\outlinelevel3\adjustright \lang3081\cgrid {Dialectical Critical Realism\tab .\tab .\tab .\tab .\tab .\tab .\tab 3
\par }\pard\plain \li720\widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\adjustright \fs20\lang3081\cgrid {\fs24 Critics, Criticism and Critique\tab .\tab .\tab .\tab .\tab .\tab 5
\par A Methodological Overview\tab .\tab .\tab .\tab .\tab .\tab .\tab 7
\par The Necessity and Importance of Theory\tab .\tab .\tab .\tab .\tab 8
\par Thesis Overview\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 8
\par 
\par 
\par }\pard \widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\adjustright {\b\fs24 Chapter 1 ~ Documentary Philosophy:
\par Of Reality, Truth, Ideology, Power, Aesthetics and Realism}{\fs24 \tab .\tab .\tab 11
\par 
\par }\pard\plain \s4\li720\keepn\widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\outlinelevel3\adjustright \lang3081\cgrid {Reality: The Return of Ontology\tab .\tab .\tab .\tab .\tab .\tab 12
\par }\pard\plain \li720\widctlpar\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7740\adjustright \fs20\lang3081\cgrid {\fs24 The Critical Realist Account of Reality\tab .\tab .\tab .\tab .\tab 13
\par Epsitemic Relativism, Yes: Judgemental Relativism, No\tab .\tab .\tab 14
\par The Subject Matter of the Social Sciences\tab .\tab .\tab .\tab .\tab 15
\par Critical Realism as an Emancipatory Philosphy\tab .\tab .\tab .\tab 17
\par Ideology and Truth within the Critical Realist Paradigm:
\par \tab Remembering the Dole in Richard Lowenstein\rquote s }{\i\fs24 Evictions}{\fs24 \tab .\tab 18
\par Of the Dialectic and the Development of Dialectical 
\par \tab Critical Realism\tab .\tab .\tab .\tab .\tab .\tab .\tab 26
\par Diffracting the Dialectic\tab .\tab .\tab .\tab .\tab .\tab .\tab 30
\par Alethic Truth and Documentary Theory\tab .\tab .\tab .\tab .\tab 31
\par A Critical Realist Account of Power\tab \tab .\tab .\tab .\tab .\tab 33
\par Documentary Philosy:  The Aesthetic Dimension\tab .\tab .\tab .\tab 36
\par Marxism and Docmentary Aesthetics: The Practice of
\par \tab Socialist Realism\tab .\tab .\tab .\tab .\tab .\tab .\tab 40
\par Marxism and Documentary Aesthetics:  The Practice of 
\par \tab Socialist Criticism\tab .\tab .\tab .\tab .\tab .\tab .\tab 44
\par Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 47
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\b \page Chapter 2 ~ Documentary Debates I:
\par }\pard\plain \s5\keepn\widctlpar\outlinelevel4\adjustright \b\lang3081\cgrid {A Dialectical Critical Realist Intervention}{\b0 \tab \tab .\tab .\tab .\tab .\tab 49
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 Introduction\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 49
\par Noel Carroll and the Criticism of Postmodernist Scepticism\tab \tab .\tab 49
\par Carroll versus Nichols\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab 55
\par Reflexivity in DCR\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 57
\par Brian Winston\rquote s }{\i\fs24 Claiming the Real: The Documentary Film
\par \tab Revisited }{\fs24 (1997)\tab .\tab .\tab .\tab .\tab .\tab .\tab 59
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Ethics\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 61
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 Aesthetics\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 62
\par Cognition \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 64
\par Trinh T. Minh-ha\rquote s }{\i\fs24 The Art of Record: A Critical Introduction to 
\par \tab Documentary}{\fs24 \tab \tab \tab \tab \tab \tab \tab \tab 94
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Foundational Thinking\tab .\tab .\tab .\tab .\tab .\tab .\tab 95
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 Critique\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 96
\par Evidentiality\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 96
\par Richard Kilborn and John Izod: The Antinomies of
\par \tab Perspectivalism\tab .\tab .\tab .\tab .\tab .\tab .\tab 99
\par The Issues of Reflexive Documentaries\tab .\tab .\tab .\tab .\tab 100
\par The Issue of Ideology\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab 101
\par Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 102
\par 
\par 
\par 
\par }\pard \widctlpar\adjustright {\b\fs24 Chapter 3 ~ Documentary Debates II:
\par A Dialectical Critical Realist Intervention}{\fs24 \tab \tab .\tab .\tab .\tab .\tab 75
\par 
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {William Rothman:  The Question of Critique\tab \tab .\tab .\tab .\tab 75
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 Carl Plantinga and the Non-Necessity of Epistemological
\par \tab Hesitation\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 85
\par Objections and Alternatives\tab .\tab .\tab .\tab .\tab .\tab .\tab 87
\par The Politics of Liberalism\tab .\tab .\tab .\tab .\tab .\tab .\tab 91
\par Corner, J. }{\i\fs24 The Art of Record:  A Critical Introduction to
\par \tab Documentaruy}{\fs24 q\tab .\tab .\tab .\tab .\tab .\tab .\tab 94
\par Foundation Thinking\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab 95
\par Critique \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 96
\par Evidentiality\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 96
\par Richard Kilborn and John Izod: The Antinomies of
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {\tab Perspectivalism\tab .\tab .\tab .\tab .\tab .\tab .\tab 99
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 The Issues of Reflexive Documentaries\tab .\tab .\tab .\tab .\tab 100
\par The Issue of Ideology\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab 101
\par Conclusion\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 102
\par }\pard \widctlpar\adjustright {\fs24 
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\b \page PART 2:  THE FILMS}{\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab 104
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 
\par }\pard\plain \s6\keepn\widctlpar\outlinelevel5\adjustright \b\fs20\lang3081\cgrid {\fs24 Chapter 4 ~ Left Wing Documentary in
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\b\fs24 Australia in the Post War Period:  The Forties\tab }{\fs24 .\tab .\tab .\tab .\tab 105
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {The Role of the Waterside Workers\rquote  Federation\tab .\tab .\tab .\tab 108
\par The Communist Party and the People\rquote s Front\tab .\tab .\tab .\tab 110
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 The Politics of }{\i\fs24 Indonesia Calling}{\fs24 \tab .\tab .\tab .\tab .\tab .\tab 112
\par The Film\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 114
\par The Brotherhood of St. Lawrence Films\tab .\tab .\tab .\tab .\tab 122
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls4\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls4\adjustright {\i\fs24 Beautiful Melbourne}{\fs24 \tab .
\tab .\tab .\tab .\tab .\tab .\tab 122}{\i\fs24 
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls4\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls4\adjustright {\i\fs24 These Are Our Children}{\fs24 
\tab .\tab .\tab .\tab .\tab .\tab .\tab 123}{\i\fs24 
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {The Melbourne Realist Film Association:  Films and
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 \tab \tab Personalities\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 132
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls5\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls5\adjustright {\i\fs24 Prices and the People}{\fs24 \tab 
.\tab .\tab .\tab .\tab .\tab .\tab 132
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls5\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls5\adjustright {\i\fs24 In My Beginning\tab }{\fs24 .\tab 
.\tab .\tab .\tab .\tab .\tab .\tab 137
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 143
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {
\par 
\par }\pard\plain \s5\keepn\widctlpar\outlinelevel4\adjustright \b\lang3081\cgrid {Chapter 5 ~ The Waterside Workers Film Unit\tab }{\b0 .\tab .\tab .\tab .\tab 145}{
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {The Films\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 146
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard\plain \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls6\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls6\adjustright \fs20\lang3081\cgrid {\i\fs24 
The Hungry Miles }{\fs24 (1954)\tab \tab .\tab .\tab .\tab .\tab .\tab 149
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls6\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls6\adjustright {\i\fs24 November Victory }{\fs24 (1956)
\tab \tab .\tab .\tab .\tab .\tab .\tab 152
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls6\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls6\adjustright {\i\fs24 The Bones of Building }{\fs24 
(1957)\tab .\tab .\tab .\tab .\tab .\tab 155
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1080\widctlpar\jclisttab\tx1080{\*\pn \pnlvlblt\ilvl0\ls6\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls6\adjustright {\i\fs24 Hewers of Coal}{\fs24  (1958)\tab 
\tab .\tab .\tab .\tab .\tab .\tab 158
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 161
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 
\par 
\par }\pard \widctlpar\adjustright {\b\fs24 
\par Chapter 6 ~ The Documentary Films of Cecil Holmes}{\fs24 \tab .\tab .\tab .\tab 163
\par }\pard \li720\widctlpar\adjustright {\fs24 Holmes the Left Populist:  }{\i\fs24 The Load of Wood}{\fs24  (1956) and
\par \tab }{\i\fs24 Words For Freedom}{\fs24  (1959)\tab .\tab .\tab .\tab .\tab .\tab 163
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls7\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls7\adjustright {\i\fs24 Words For Freedom }{\fs24 (1959)
\tab .\tab .\tab .\tab .\tab 165
\par }\pard\plain \s7\li720\keepn\widctlpar\outlinelevel6\adjustright \lang3081\cgrid {Holmes the Ethnolgrapher\tab \tab .\tab .\tab .\tab .\tab .\tab 168
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard\plain \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls8\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls8\adjustright \fs20\lang3081\cgrid {\i\fs24 
I The Aboriginal}{\fs24  (1963)\tab .\tab .\tab .\tab .\tab .\tab 169
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Holmes and Griersonianism:  The Instances of
\par }\pard\plain \li1440\widctlpar\adjustright \fs20\lang3081\cgrid {\i\fs24 The Coasters and  The Islanders}{\fs24 \tab .\tab .\tab .\tab .\tab 171
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls9\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls9\adjustright {\i\fs24 The Coaster }{\fs24 (1948)\tab .
\tab .\tab .\tab .\tab .\tab 173
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls9\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls9\adjustright {\i\fs24 The Islanders}{\fs24  (1968)\tab .
\tab .\tab .\tab .\tab .\tab 173
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 180
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\b \page }{\b\fs24 Chapter 7 ~ the Social and political
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\b\fs24 Thought of John Pilger}{\fs24 \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 182
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {A Controversial Practice\tab .\tab .\tab .\tab .\tab .\tab .\tab 183
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 Political Voices\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 186
\par \ldblquote Other People\rquote s Wars\rdblquote : The Voice of Left Populism\tab \tab .\tab .\tab 189
\par A Marxist-Leninist Voice?\tab .\tab .\tab .\tab .\tab .\tab .\tab 191
\par The Ethical and Professional Dimension\tab .\tab .\tab .\tab .\tab 193
\par The Hawke Interview\tab \tab .\tab .\tab .\tab .\tab .\tab .\tab 194
\par The Films:\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 197
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls10\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls10\adjustright {\i\fs24 Secret Country}{\fs24 \tab .
\tab .\tab .\tab .\tab .\tab .\tab 201
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls10\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls10\adjustright {\i\fs24 The Last Dream}{\fs24 \tab .
\tab .\tab .\tab .\tab .\tab .\tab 204
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls10\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls10\adjustright {\i\fs24 Heroes Unsung}{\fs24 \tab .\tab 
.\tab .\tab .\tab .\tab .\tab 204
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls10\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls10\adjustright {\i\fs24 Secrets }{\fs24 \tab .\tab .
\tab .\tab .\tab .\tab .\tab .\tab 206
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls10\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls10\adjustright {\i\fs24 Other People\rquote s Wars}{
\fs24 \tab .\tab .\tab .\tab .\tab .\tab 208
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 210
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {
\par 
\par }\pard\plain \s5\keepn\widctlpar\outlinelevel4\adjustright \b\lang3081\cgrid {Chapter 8 ~ Radicalism and Commitment
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\b\fs24 In the Films of David Bradbury}{\fs24 \tab .\tab .\tab .\tab .\tab .\tab .\tab 213
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {The Case Studies of Individuals \tab .\tab .\tab .\tab .\tab .\tab 217
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard\plain \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls11\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls11\adjustright \fs20\lang3081\cgrid {\i\fs24 
Frontline}{\fs24  (1979)\tab \tab .\tab .\tab .\tab .\tab .\tab 217
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls11\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls11\adjustright {\i\fs24 Public Enemy No 1}{\fs24 \tab .
\tab .\tab .\tab .\tab .\tab 219
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {The Latin American Films\tab .\tab .\tab .\tab .\tab .\tab .\tab 226
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard\plain \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls12\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls12\adjustright \fs20\lang3081\cgrid {\i\fs24 
Nicaragua: No Pasaran }{\fs24 (1984)\tab .\tab .\tab .\tab .\tab 226
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls12\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls12\adjustright {\i\fs24 Chile:  Hasta Quando }{\fs24 
(1987)\tab .\tab .\tab .\tab .\tab 227
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls12\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls12\adjustright {\i\fs24 South of the Border }{\fs24 
(1988)\tab .\tab .\tab .\tab .\tab 228
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Understanding the Revolution: From the
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 \tab Aesthetic to the Cognitive\tab .\tab .\tab .\tab .\tab .\tab 232
\par The Social Problem Films\tab .\tab .\tab .\tab .\tab .\tab .\tab 236
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls13\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls13\adjustright {\i\fs24 State of Shock}{\fs24  (1989)
\tab .\tab .\tab .\tab .\tab .\tab 236}{\i\fs24 
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls13\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls13\adjustright {\i\fs24 Russell Wiley:  Nazi Supergrass 
}{\fs24 (1993)\tab .\tab .\tab .\tab 240}{\i\fs24 
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 242
\par }\pard\plain \li720\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 
\par 
\par }\pard\plain \s5\keepn\widctlpar\outlinelevel4\adjustright \b\lang3081\cgrid {Chapter 9 ~ The Political and the Personal
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\b\fs24 in the Films of Tom Zubrycki}{\fs24 \tab .\tab .\tab .\tab .\tab .\tab .\tab 244
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {The Films\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 246
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard\plain \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls14\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls14\adjustright \fs20\lang3081\cgrid {\i\fs24 
Waterloo }{\fs24 (1981)\tab .\tab .\tab .\tab .\tab .\tab .\tab 246}{\i\fs24 
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls14\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls14\adjustright {\i\fs24 Homelands }{\fs24 (1993)\tab 
\tab .\tab .\tab .\tab .\tab .\tab 247}{\i\fs24 
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls14\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls14\adjustright {\i\fs24 Billal }{\fs24 (1996)\tab .\tab 
.\tab .\tab .\tab .\tab .\tab 252}{\i\fs24 
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Tom Zubrycki as Labour Filmmaker\tab \tab .\tab .\tab .\tab .\tab 255
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard\plain \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls15\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls15\adjustright \fs20\lang3081\cgrid {\fs24 
Theoretical Preliminaries\tab \tab .\tab .\tab .\tab .\tab 255
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls15\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls15\adjustright {\i\fs24 Kemira:  Diary of a Strike}{
\fs24  (1984)\tab \tab .\tab .\tab .\tab 256
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls15\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls15\adjustright {\i\fs24 Friends and Enemies }{\fs24 
(1986) \tab .\tab .\tab .\tab .\tab 261
\par {\pntext\pard\plain\f3\cgrid \loch\af3\dbch\af0\hich\f3 \'b7\tab}}\pard \fi-360\li1800\widctlpar\jclisttab\tx1800{\*\pn \pnlvlblt\ilvl0\ls15\pnrnot0\pnf3\pnstart1\pnindent360\pnhang{\pntxtb \'b7}}\ls15\adjustright {\i\fs24 Amongst Equals }{\fs24 (1989 
\endash  91)\tab .\tab .\tab .\tab .\tab 265
\par }\pard\plain \s8\li2160\keepn\widctlpar\outlinelevel7\adjustright \lang3081\cgrid {Origins of the Film\tab .\tab .\tab .\tab .\tab .\tab 265
\par }\pard\plain \li2160\widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 The Film\tab .\tab .\tab .\tab .\tab .\tab .\tab 266
\par The Critics\tab .\tab .\tab .\tab .\tab .\tab .\tab 267
\par }\pard\plain \s4\li720\keepn\widctlpar\outlinelevel3\adjustright \lang3081\cgrid {Conclusion\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 270
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\b \page }{\b\fs24 Conclusion}{\fs24 \tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 273
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {
\par }{\b\fs24 Referees\tab }{\fs24 .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab .\tab 280
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\b \page 
\par CERTIFICATION
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs28\lang1033 
\par 
\par The work contained in this thesis 
has not been previously submitted for a degree or diploma at any other higher education institution.  To the best of my knowledge and belief, this thesis contains no material previously published or written by another person except where due reference is 
made.
\par 
\par 
\par Signed_______________________________
\par 
\par 
\par 
\par Date________________________________
\par 
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \fs28\cgrid {\page }{\b ACKNOWLEDGEMENTS
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 
\par    This thesis would not have been possible without the help of a veritable host of encouragers. First among them has been my supervisor Professor Stua
rt Cunningham. I am grateful for his kindness, hard work, understanding and his very necessary patience with my intellectual and political rages and enthusiasms. I am also indebted to the encouragement and assistance provided by my second supervisor Profe
s
sor Bob Lingard of The University of Queensland.  I would also like to thank all my colleagues at QUT who have urged me on and helped me in many ways from the very beginning. Among them are Dr. Graham Bruce, Peter Schembri, Helen Yeates, Lee Duffield, Cra
t
is Hippocrates, Leo Bowman, Terry Flew, Charles Leech, Dave Harvey, Sandra Lazzarin, Victoria Woodward, Ian Stocks, Mark Swan, Merv Partridge, James Cole and Vivienne Muller. I have in addition received a great deal of support from Tim Mathers of the Quee
nsland State Library and from Gary Pearce at RMIT library,
\par 
\par    Many of the ideas in this thesis were tried out first on my students.  I gained much from their engagement with and responses to what I had to say. I am especially grateful to Maria Mitropoulos,
 Ed Wright, Matthew Rossner, Daniel Osmolowski, Michelle North-Coombes.
\par 
\par }\pard\plain \s16\li-57\widctlpar\adjustright \lang3081\cgrid {   I have been blessed with an extended family who have throughout given unstintingly of their support and love \endash  my mother and brothers and sisters, Rosemary MacBride, Ted and Daniel
 Watson, John Boyd, and my \ldblquote childer\rdblquote  \endash  Ciaran, Sean and Sarah.
\par }\pard\plain \widctlpar\adjustright \fs20\lang3081\cgrid {\fs24 
\par    From among my many friends who have gone the extra mile for me I would like to mention Brian Laver, Kathy Turner, Merv Welch, Lee Bermingham, John Ridgeway,  Mrs Grant, Jackie Malone and my
 cyber friends Lou Proyect, Alan Norrie, Mervyn Hartwig, Tobin Nelhaus, and Timothy Dayton.
\par 
\par    In addition, I would like to thank Dr. Andrew Leggett for being a good friend to my family, and Dr.Tony Wild who did for me what all the king\rquote s horses and all the king\rquote s men could not do for Humpty Dumpty.
\par 
\par    Finally, I would like to mention especially three encouragers who gave generously of their time. Sadly they are now dead. Old Jim Henderson, indomitable communist and true believer in the workers\rquote  paradise 
to come; and my dear friends Frank Allen and Bob Leach \endash  gone but never forgotten.}{\lang1033 
\par 
\par 
\par }}



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