Thesis (B.A.(Hons.))-- University of Adelaide, Dept. of History, 1971.

Göttingen, Universiẗat, Diss., 2004.

Thesis (Ph. D.)--University of Sydney, 1995. / Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of History, Faculty of Arts. Includes tables. Includes bibliography. Also available in print form.

Thesis (Ph.D.)--University of Western Sydney, 2009. / A thesis presented to the University of Western Sydney, College of Business, School of Management, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

Thesis (M.A.)--University of Sydney, 1990. / Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Master of Arts to the Dept. of Fine Arts, Faculty of Arts. Degree awarded 1990; thesis submitted 1989. Includes bibliography. Also available in print form.

Thesis (Ph. D.)--University of New South Wales, 2003. / Title from PDF title page (viewed on July 18, 2005). Includes bibliographical references.

This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material / Doctor of Philosophy (PhD)

This study is intended to provide a record of the founding and development of one of Australia's oldest and longest surviving film festivals and to determine the nature and impact of the Festival in its engagement with other cultural, social, and political institutions over the thirty years from 1954 to 1983. I have taken my research from a variety of sources, primarily the archive of Sydney Film Festival papers and ephemera lodged at Mitchell Library, Sydney. I have utilized a number of publications from the period, including daily newspapers, trade papers and specialist film and art journals. These give some indication of the Festival's influence and impact within the wider community and help position it in terms of predominant cultural and social values. I conclude that the Sydney Film Festival has played a significant, and so far somewhat underestimated, role in the development of Australian film culture and industry, and has influenced the nature and reception of films in commercial distribution within the country. In a pedagogical sense, it has influenced contemporary understanding of film and film history, in part by privileging particular movements and filmmakers over others and in part by creating a communal and interactive environment in which films, filmmaking and other aspects of film culture can be discussed, analysed and celebrated. This is a history of an organisation whose membership included some of the major figures in Australian film and related media and I have been committed to bringing a human element to the events and issues explored. To this end, I have utilized the extensive Oral History archive created in 1992 by the Sydney Film Festival in order to commemorate its fortieth anniversary. As is often the case with historical research, some of these personal memories are in conflict with one another and with the documentary record. By a process of referencing and cross referencing, I hope I have arrived at an approximation of a truth about a moment in the life of an Australian cultural icon.

This study is intended to provide a record of the founding and development of one of Australia's oldest and longest surviving film festivals and to determine the nature and impact of the Festival in its engagement with other cultural, social, and political institutions over the thirty years from 1954 to 1983. I have taken my research from a variety of sources, primarily the archive of Sydney Film Festival papers and ephemera lodged at Mitchell Library, Sydney. I have utilized a number of publications from the period, including daily newspapers, trade papers and specialist film and art journals. These give some indication of the Festival's influence and impact within the wider community and help position it in terms of predominant cultural and social values. I conclude that the Sydney Film Festival has played a significant, and so far somewhat underestimated, role in the development of Australian film culture and industry, and has influenced the nature and reception of films in commercial distribution within the country. In a pedagogical sense, it has influenced contemporary understanding of film and film history, in part by privileging particular movements and filmmakers over others and in part by creating a communal and interactive environment in which films, filmmaking and other aspects of film culture can be discussed, analysed and celebrated. This is a history of an organisation whose membership included some of the major figures in Australian film and related media and I have been committed to bringing a human element to the events and issues explored. To this end, I have utilized the extensive Oral History archive created in 1992 by the Sydney Film Festival in order to commemorate its fortieth anniversary. As is often the case with historical research, some of these personal memories are in conflict with one another and with the documentary record. By a process of referencing and cross referencing, I hope I have arrived at an approximation of a truth about a moment in the life of an Australian cultural icon.

This thesis argues that the emergence of architect-designed project housing in Sydney in the late 1950s and 1960s was associated with a cultural and political shift within the local architectural profession. In order to provide an understanding of how such a shift might be defined, the thesis draws from the literature on the sociology of professions and the theories of sociologists Pierre Bourdieu, Paul du Gay and Sharon Zukin. Beginning in the 1930s and then progressing through the war and postwar years, the thesis will show how the popular housing market came to assume a major point of focus for the local architectural profession not only as an area of practice but also in relation to issues of identity and public image. The emergence of architect-designed project housing in Sydney in the late 1950s and 1960s is seen as an extension of that process. The thesis demonstrates how successful models of architectural engagement with project housing were used to highlight limitations in the way in which the profession had defined itself, particularly through such devices as the Royal Australian Institute of Architects' Code of Professional Conduct. It is argued that the dramatic revision made to that code in 1969 embodied a distinct cultural and political shift for the profession and was the result of a growing tension between traditional ideals and the realities of practice. It is concluded that architect-designed project housing served to inform that shift by providing a context in which aspects of this tension could be tested and, in some cases, reconciled.