This study took the widely-accepted, ‘industry standard’ Structural Paradigm of feature film plotting, and ‘road tested’ it, assessing its value as a tool in the process of actually writing a feature film script. The methodology employed was to write a feature film script (titled THE ARM THAT DOES THE HARM) and look to apply the Paradigm to the writing process. Journals recording the process were kept and peer assessment undertaken. The data from these sources was then analysed and conclusions drawn. The reason for and value of this study are that, while this Paradigm is widely espoused by screenwriting gurus, taught as part of film courses and applied as a tool of script assessment and review, there is very little documented evidence of its actual value to the practice of writing a script. My findings revealed that, though a useful reference point throughout, the Paradigm is most valuable during the early stages of story structuring and again, most particularly, when editing later drafts. An important outcome of this study was that it identified the Paradigm as a valuable tool, not a rule that must be adhered to, a series of points a narrative must be seen to ‘hit’ in order for it to be considered to have been told correctly. Further, this study demonstrated in practice how this tool can be applied. This study suggests that trying to force an evolving story into the confines of the Paradigm can inhibit the story from developing ‘organically’ from its characters. Rather, the Paradigm should be applied as a tool for helping shape stories that first and foremost should be character-driven.

This project is an exploration of the endless negotiation of the va, the relationships that consistently define and redefine themselves in the space between two cultures. The va consists of relationships between people and things, unspoken expectations and obligations: the inherent and changeable patterns, of obligations and expectations between people and their environment. The va space can be viewed as the stage upon which all patterns and motifs carry meaning. How the patterns and motifs change meanings are subject to other elements in the va. Meaning in my work will evoke the interweaving connections of past and present through oral history, genealogy, and fagogo¹ (story telling) memory and artist sentiment. As participant, the artist reflects through the remembrance of sifting through images, person, family, events, time, and space. An emphasis will be placed on the exploration of pattern and motif as a signifier of events and sign of respect, with a focus on notions of the va. The project explores notions of visual patterns and motifs to be utilized as a vehicle to signify in that all patterns and motifs carry meaning in that they signify an event, person, time, and space. Written from a Samorians² perspective of one who lives in the space between. ¹ See Sean Mallon (2002) for an explanation on fagogo in Samoan Art and Artists O Measina a Samoa p. 163). ² The term ‘Samorians’ refers to a play on words of Samoans and an American treat called ‘samores’ containing a marshmallow that is cooked in the microwave or roasted in the fire and then placed in between two chocolate biscuits. It can also refer to an afakasi (half-caste).

As a member of the Stolen Generations, my objective and design in this dissertation is part of a larger project, involving the reclamation of my Aboriginal identity, taken from me as a child. I will attempt to do this through researching the lives of my grandfather George Shaw and his daughters, Ruby Janie and Maggie. Through a reading of files and documents held by the Department of Indigenous Affairs, Perth, I will show how the 1905 Aborigines Protection Act impacted on the lives of the Shaw family, and on all Aboriginal people who lived under this oppressive regime. Through the disclosure of what life was like for me as a child removed, I attempt to identify the shameful lack of care by the authorities concerned with my removal. The rational behind this piece of work is based on a desire to further my own personal journey of healing by linking my story to the larger Shaw story.

Thesis (Ph. D.)--University of Illinois, 1917. / Introduction signed 1918. Vita. Includes bibliographical references (p. [118]-122).

Thesis (D. Min.)--Western Theological Seminary, 1994. / Includes abstract and curriculum vitae. Includes bibliographical references (leaves 235-236).

Thesis (D. Min.)--Trinity Evangelical Divinity School, 1991. / Abstract. Includes bibliographical references (leaves 142-145).

Mémoire (M.Ed.)--Université du Québec à Chicoutimi, 1995. / Document électronique également accessible en format PDF. CaQCU

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 301-305). Also available on the Internet.

Thesis (D. Min.)--Southwestern Baptist Theological Seminary, 1995. / Includes bibliographical references (leaves 149-156).

Thesis (D. Min.)--Trinity International University, 2000. / Abstract. Includes bibliographical references (leaves 266-271).