Book chapters
“You have to find out if film is anything more than the search for the lost father”: A filmmaker’s personal journey in independent women’s filmmaking in Australia 1970s-80s, Routledge International Handbook of Australian Cinema, Routledge [In Press].
‘“We are not dead”: Decolonizing the Frame – First Australians, The Tall Man, Coniston, First Contact (ed.) E. Blackmore et al., The Routledge Handbook of Indigenous Film. Routledge, 2024.
‘The enigma of film: memory film: a filmmaker’s diary‘, Constructions of The Real: Intersections of Practice and Theory in Documentary-Based Filmmaking, (eds.) K. Munro et al., Intellect Books Series: Artwork Scholarship: International Perspectives in Education, 2023.
‘Island Home Country: On the possibility of praxis between “artefact” and “exegesis” in the creative arts doctorate : a case study’, eds., L. Ravelli et al, Doctoral Writing in the Creative and Performing Arts: the researcher/practitioner nexus (Libri, UK 2014).
Island Home Country, ‘Working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania’, Peters-Little, Curthoys & Docker (eds), ’Passionate Histories Myth, Memory and Indigenous Australia’, (Aboriginal History Monograph 21), ANU Press, 2010.
DCA ‘Island Home Country’– Subversive mourning: working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania. A cine-essay and exegesis (online), UTS 2010.
‘Through a Glass Darkly, Meditations on Cinema, Memory, Psychoanalysis and Feminism,’ L. French (ed.), Women Vision, Damned Publishing, Melbourne, 2003.
‘Past Present and Future: The Women’s Film Fund’. Don’t shoot darling!: women’s independent filmmaking in Australia (eds.), A. Blonski et al, Greenhouse, Richmond, 1987.
‘Sixteen Years of Women and Film Groups’, Don’t shoot darling!: women’s independent filmmaking in Australia (eds.), A. Blonski et al, Greenhouse, Richmond, 1987.
Essays and Reviews
Published with ‘Contested Histories: The Documentaries of Jeni Thornley’ Retrospective, Melbourne Cinematheque, ACMI, October 2024 are the CTEQ Annotations on Film, Senses of Cinema, October 2024: Memory Film by Janice Loreck; Island Home Country by Sian Mitchell; Maidens and Film For Discussion, notes by Jeni Thornley (dir: Martha Ansara and Sydney Women’s Film Group; Thornley performs the main character).
‘Journey Among Women #metoo’, Documentary [blog], April 15 2019.
‘Intertextuality in Margot Nash’s The Silences’, Documentary [blog], March 11 2019.
‘Looking at Women’, Peephole Journal , Issue 7, 2017. Writing on making the short film Still Life (Thornley& Ross, 1974 ), I investigate our “original intention of challenging the male gaze”.
‘Islands of possibility: Film-making, cultural practice, political action and the decolonization of Tasmanian history’, Studies in Australasian Cinema, Decolonizing Screens, 7.2: 2013.
‘The eye of the camera: Ethnographic documentary and the Aperture Festival’, Metro Media & Education Magazine, Issue 181, Sept.2014.
“The ethnography of compassion: documentary in Vietnam”, Realtime #13 2013.
Review of “Cinema’s Alchemist: The Films of Péter Forgács”, in Screening The Past, 2012.
Go back to where you came from: Reality TV encounters the refugee crisis, The Conversation, June 2011.
‘Australia Documentary: History Practices and Genres’, Trish FitzSimons et al, Cambridge UP, 2011, Metro Magazine, No 173, 2011.
Also see various essays on my blog: Documentary, including, Intertextuality in Margot Nash’s ‘The Silences’; Journey Among Women #metoo
L-R Nell Campbell, Robyn Moase, Tom Cowan, Rose Lilley, Peter Gailey, Jeni Thornley, Journey Among Women, 1976.