When Captain James Cook sailed into Botany Bay in Australia for the first time in 1770, his botanist Joseph Banks described the behaviour of the Aboriginals to be 'totally unmovd' and 'totally engagd'.During this same few days Cook named the place Stingray Bay. Within eight days the name was changed by Cook to Botany Bay. Banks' phrases generate oscillating perceptions and Cook's name change poses questions. The perceptions documented in Banks' journal, refer to an invisibility of the Aboriginals themselves. The name 'Stingray' and its change to 'Botany' raises political questions about the necessity for the change. The change also sheds light on a viewpoint at odds with its subject. The events that occurred during the eight days Cook was anchored in Botany Bay will be discussed firstly in the framework of an analysis of the implications of the terms 'totally unmovd' and 'totally engagd' in Banks' journal, and secondly in a discussion about the various historical notions concerning the name change. Did these curly histories and viewpoints render the indigenous culture invisible? Can these inscriptions made by Cook and Banks and the subsequent mythologies surrounding them, including those about the actual place, be a metaphor for 'further understanding'? / Master of Arts (Hons) (Visual Arts)

Thesis (MA)--University of South Australia, 1995

Thesis (Ph.D.)--University of Adelaide, Dept. of Animal Science, 2002. / "May 2002" Includes bibliographical references (leaves 148-164).

Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005. / Coursework. "January, 2005" Bibliography: leaves 108-112.

Thesis (Ph. D.)--University of Sydney, 1973. / Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, University of Sydney. Title from title screen (viewed September 8, 2009) Degree awarded 1973; thesis submitted 1971. Also available in print form.

The thesis takes up the question of the representation of the migrant on the Australian screen in terms of a specific set of concerns around the notions of stereotype and self-reflexivity. The stereotype is read as a self-referential image: hence, as a question of film spectatorship and identity; in short as an unconscious reflex or self image. The text of the thesis is in two parts: part one, comprises the production of the film ‘Italians at home’. It is the major component of research and text which, for this purpose, has been copied and submitted hereto on VHS video cassette. Part two, includes an analysis and discussion of the television documentary ‘The migrant experience’, and an exegesis, of the production, narrative and reception of the film ‘Italians at home’. The migrant experience is read and discussed as an exemplary text of dominant, stereotyped discourse of cultural difference; while ‘Italians at home’ is proposed as a parallel text and a self-reflexive reading and criticism of such a text. Both the television documentary and the film, deal with the representation and problematic of homogenised representations of ethnicity. In the case of ‘The migrant experience’, it is argued, that the figure of the migrant as other and self-image, functions as an object of Australian culture and discourse of national identity within a logic of representation of binary structures; while the film ‘Italians at home’, the question of self-referentiality is seen in terms of the viewing subject and a problematic of film representation; thus, the film attempts to make such signifying structures, visual codes and agreed assumptions of otherness visible, while, at the same time, attempting to displace them or pose them as a problem of representation or reading for the viewer.

This multi faceted project is an investigation through written and studio research of the complexities of interactions that took place between Lutheran missionaries and Indigenous people at such places as Hermannsburg mission. The study uncovers dialogues and cross-cultural exchanges that led to shifts in understandings of Indigenous Australian cultural practices. It also explores the creation of a place and a cultural space that was occupied by both Lutheran missionaries and Indigenous people, as well as the space between what is generally regarded as binary oppositional perspectives of negative and positive effects of Lutheran missions in Central and South Australia. This has been conceptualized through form, texture and media in a new body of artwork. Whilst clay is predominantly used within this body of studio work to refer to Indigenous cultural practices, to the land and to media introduced by the Lutheran missionaries and mission workers, there are also other significant objects that have been in the Heidenreich family for generations and which create a link between past and present. / "Contact 2002" refers to individual identities (Lutheran and Indigenous), whilst the spaces in between vessels allude to exchanges and dialogue that took place in and around the missions. "Exchange 2003" is suggestive not only of the physicality of interactions that occurred within Lutheran missions such as Hermannsburg, but considers the psychological and spatial consequences of such encounters. / The space created by the presence of the Lutheran church and other buildings built by the early missionaries at Hermannsburg is the focus of "Space/Place 2002", which is also indicative of the interactions which took place in such structures. / The documentation and transliteration of Aboriginal languages by some of the Lutheran missionaries is explored through "Land and Language 2002", in which the importance of the land as teacher and classroom as well as oral traditions for the Indigenous people prior to the arrival of the Lutheran missionaries is also referenced. Accounts of specific documentation of Indigenous Australian languages and the collection of Indigenous cultural objects are represented in "Sand 2002" and "Recollections (of Namatjira) 2003" is suggestive of insights given to the broader Australian public into Aranda cultural and visual art practices. / Exchanges and dialogue that occurred between the Lutherans and the Indigenous people at Hermannsburg is explored again through "Thread(s) 2003", which gives reference to traditions and activities encountered by Indigenous men and women as a result of the presence of the missionaries and their wives. Flour, tea and sugar were materials/ provisions that were sources of exchanges between the Indigenous people and the missionaries and this has been explored in "Cultural Exchanges 2003", whilst in "Zum Andenken 2003" exchanges of knowledge are investigated further. / Thesis (MVisualArts)--University of South Australia, 2003.

Thesis (MPsy(Specialisation))--University of South Australia, 2003.

Thesis (MVisualArts)--University of South Australia, 2001.

Thesis (MA(AborStud))--University of South Australia, 1997