“Strangely clad”: enclosure, exposure, and the cleavage of empire

Conor, Liz

doi:10.1080/14443058.2011.562226

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2013

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“…79 What was critical about this idea, in the early twentieth century, was that white imaginings of Aboriginal habitation, occupation or dominion was not of villages, but in the less complex (to their thinking) formation of the camp. 80 And not only was the camp less permanent, but right at this time, Aborigines faced a series of reserve closures and in fact, removals from these established townships. They were forced to become fringe dwellers on the outskirts of white townships where they sought employment and education for their children.…”

Section: Social Typesmentioning

confidence: 99%

The ‘Lubra' Type in Australian Imaginings of the Aboriginal Woman from 1836–1973

Conor¹

2013

Gender & History

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Section: Social Typesmentioning

confidence: 99%

The ‘Lubra' Type in Australian Imaginings of the Aboriginal Woman from 1836–1973

Conor¹

2013

Gender & History

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Domestic destinies: colonial spatialities, Australian film and feminist cultural memory work

Lloyd

2013

Gender, Place & Culture

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Elsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character -Jedda -as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.

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“Strangely clad”: enclosure, exposure, and the cleavage of empire

Abstract: To cite this article: Liz Conor (2011) "Strangely clad": enclosure, exposure, and the cleavage of empire, Journal of Australian Studies, 35:2,[185][186][187][188][189][190][191][192][193][194][195][196][197][198][199][200] To link to this article: http://dx.

Cited by 2 publications

References 3 publications

The ‘Lubra' Type in Australian Imaginings of the Aboriginal Woman from 1836–1973

The ‘Lubra' Type in Australian Imaginings of the Aboriginal Woman from 1836–1973

Domestic destinies: colonial spatialities, Australian film and feminist cultural memory work

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