This thesis tracks the melodramatic imagination of Tracey Moffatt's art. Whereas many of Moffatt's photographic and filmic works employ conventions of melodrama, the critical literature on her art has barely engaged with this important aspect of her practice. The thesis redresses this gap. I argue that a particular understanding of melodrama that constructs inauthe.ntic and indeterminate realities crucially shapes Moffatt's art. Building on seminal works from literature and film studies, as well as psychoanalysis I develop a framework for the detailed examination of melodrama in Moffatt's art, and identify major themes, stylistic elements and fonnal conventions of melodrama that penneate her practice. The thesis designates and investigates three major concepts associated with melodrama as applicable to Moffatt's practice. First, I propose that her art is linked to a particular melodramatic aesthetic, the aesthetic of muteness as defined by Peter Brooks. This aesthetic uses non-verbal means of expression, such as gestures, the tableau and mise-en-scene to convey emotional and narrative meaning. It also emphasises the shortcomings of verbal language in expressing inner states of being of the modem 'Western' subject. Analyses of Moffatt's photo series Something More and her film Night Cries. A Rural Tragedy demonstrate that the aesthetic of muteness not only serves to express unspeakable traumatic experiences of characters but is also linked to the artist's aim to cross media boundaries. Second, the thesis examines Moffatt's Scarred for Life series in relation to melodrama's exposure of issues of violence and oppression in the family. I will propose that the return of the repressed and the revelation of hidden forces in melodrama may be related to Sigmund Freud's concept of the uncanny. Focussing on Scarred for Life I will examine ways in which artworks may evoke uncanny feelings in viewers. The third key thematic investigated in the thesis is elaborated in Chapter Five, which examines a consistent ambiguity found in Moffatt's art and links it to the moral impetus of melodrama. Building on writings by psychoanalytic theorist Joan Copjec I argue that - unlike early theatrical and literary melodrama, which divides the world into clear-cut binaries of good and evil - Moffatt's melodramas construct a moral ambiguity that questions unequivocal moral' judgment~. With the example of Moffatt's photographic series Laudanum I show that this moral ambiguity challenges viewers to make their own judgments instead of automatically relying on pre-given moral and political premises. By analysing the crucial part that melodrama plays in Moffatt's practice, this thesis not only develops a new way of interpreting the work of this important Australian artist, but also presents an understanding of melodrama as an aesthetic and a way of seeing the world that may be applied to other fonns of contemporary visual art.

The song " Montreal ", by Ariane Moffatt, has achieved a great success in the Summer of 2006. This thesis scrutinizes the causes of this popularity. After a review of the diverse existing methods in popular music research, three modes of analysis are presented. First, the study shown here describes the song through a music-theoretical approach; it observes the rules governing the voice, the melody, the rhythm, the phrases, the bass, the tonality, the chords, and the instruments used, supported by a precise transcription of the song. Then, this paper studies the musical codes that are found in "Montreal". In this section, the musical message of the piece is analyzed, while taking in consideration the sociohistorical context of the Summer of 2006, the national history that preceded the release of this piece, and the lyrics of the song. Finally, this study investigates the issue of national identity in Quebec, the place of "Montreal" into the collective imagination of Quebeckers, and the popular music tradition of the province.

THE INDEFINITIVE SELF: subject as process in visual art This doctoral study is comprised of both creative work and accompanying critical study and exegesis, each comprising 50 per cent of the total weight of submission. The body of research develops a feminist genealogical methodology to explore the study’s central idea: that envisioning the feminine subject as process rather than a fixed entity enables political agency without recourse to rigid essentialism. The creative work, a public space installation in South Brisbane Cemetery at Dutton Park, is titled Last Drinks Gentlemen Please and traces the life and character of my great, great aunt Cecilia Mary Tennant (1875-1938). Documentation and discussion of this work is included in the exegesis and can also be viewed online at the web address http://www.GMTplus10.info/. The thesis presents a critical contextualisation analysing the work of the artists Tracey Moffatt, Mona Hatoum and Pipilotti Rist, as well as my own practice, and identifies key strategies enabling the representation of identity as process. Finally, this study proposes the figure of the Aunt as an elective relationship that enables both intimacy and agency beyond patriarchal constructions of the feminine.

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The politicized use of humor in accented cinema is a tool for negotiating particular formations of identity, such as sexuality, gender, ethnicity, and class. The body of work produced by contemporary women filmmakers working in Australia, specifically Tracey Moffatt, Monica Pellizzari, and Clara Law, illustrates how these directors have employed critical humor as a response to their multiple marginalization as women, Australian, and accented filmmakers. In their works, humor functions as a critical tool to deconstruct the contradictions in dominant discourses as they relate to (neo)colonial, racist, globalized, patriarchal, and displaced pasts and presents. Produced within Australian national cinema, but emerging from experiences of geographical displacements that defy territorial borders, their films illuminate how critical humor can inflect such accepted categories as the national constitution of a cinema, film genre, and questions of exile and diaspora. Critical humor thus consti tutes a cinematic signifying practice able, following Luigi Pirandello's description of umorismo, to decompose the filmic text, and as a tool for an ideological critique of cinema and its role in (re)producing discourses of the nation predicated on the dominant categories of whiteness and masculinity. The study offers a theoretical framework for decoding humor in a film text, focusing on the manipulation of cinematic language, and it provides a model for a criticism that wishes to heighten the counter-hegemonic potential of cinematic texts, by picking up on the humorous, contradictory openings of the text and widening them through a parallel dissociating process. / Finally, critical humor in the accented cinema of women filmmakers like Moffatt, Pellizzari, and Law is shown to constitute a form of translation and negotiation performed between the national, monologic constraints of film production and cinematic language, the heteroglossia of the global imaginaries that have traveled since the beginning with film technology, and the local and diasporic accents informing a filmmaker's unique style and perspective. / by Alessandra Senzani. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography and filmography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.