Photographer, filmmaker, writer, adventurer. Controversial, passionate, audacious. Frank Hurley was an extraordinary Australian, possibly most famous for his Antarctic photographs captured alongside expeditioners Sir Douglas Mawson and Sir Ernest Shackleton. From the early twentieth century until his death in 1962 Hurley created a stunning visual archive that chronicled the major events of the twentieth century, and Australia's achievements both home and overseas. This book and the Hurley Collection in the National Library of Australia make clear this outstanding contribution and the lengths to which the man would go in order to convey the gravity of events. For Hurley, image-making and exploration went hand-in-hand and he sought out experiences as a pioneer documentary film-maker, official photographer in two world wars, early aviator, and adventure and story-seeker in both the natural environment and in rapidly disappearing non-western worlds. In this readable, definitive and wonderfully illustrated re-issued biography, Alasdair McGregor describes Hurley's life and character in all its richness.
Hurley's Australia showcases his impressive visual celebration of Australia in the period immediately after the Second World War. In his mission to capture Australia for Australians he travelled throughout the country photographing its vast landscape, its modern cities, its industrial strength and its agricultural riches. The vision he created captures, the essence of a younger, more innocent nation.
‘Photography, Early Cinema and Colonial Modernity’ is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker. The focus of this volume surrounds the media events that encompassed these various creations – what Hurley called his ‘synchronized lecture entertainments’. These media events were at once national and international; they involved Hurley in an entire culture industry that was constantly in movement along global lines of travel and communication. This raises complex questions both about the authorship of Hurley’s photographic and filmic texts – which were often produced and presented by other people – and about their ontology, as they were often in a state of reassemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life enjoyed by Hurley’s creations amidst the complicated topography of the early twentieth century’s rapidly internationalizing mass-media landscape. As a way to conceive of that space, and of the social life of the people and things within it, this study uses the concept of ‘colonial modernity’.
This is the first illustrated edition of the diaries kept by Australian-born photographer and film maker Frank Hurley about his work on the Mawson and Shackleton Antarctic Expeditions, his two expeditions to Papua in the 1920s, and his experiences during the First and Second World Wars. While Hurley is best known today as a photographer and film maker, there is another source, so far little known to the public, which also gives us a startling sense of the presence of the past – his voluminous manuscript diaries, which have survived years of world travel and are now carefully preserved in the archives of the National Library of Australia in Canberra and the Mitchell Library in Sydney. This illustrated edition of his diaries presents Frank Hurley in his own words, explores his testimony to these significant events, and reviews the part he played in imagining them for an international public.
Passchendaele In Perspective explores the context and real nature of the participants experience, evaluates British and German High Command, the aerial and maritime dimensions of the battle, the politicians and manpower debates on the home front and it looks at the tactics employed, the weapons and equipment used, the experience of the British; German and indeed French soldiers. It looks thoroughly into the Commonwealth soldiers contribution and makes an unparalleled attempt to examine together in one volume specialist facets of the battle, the weather, field survey and cartography, discipline and morale, and the cultural and social legacy of the battle, in art, literature and commemoration. Each one of its thirty chapters presents a thought-provoking angle on the subject. They add up to an unique analysis of the battle from Commonwealth, American, German, French, Belgian and United Kingdom historians. This book will undoubtedly become a valued work of reference for all those with an interest in World War One.
Photographing Papua is a study of photography in the public domain in the late nineteenth and early twentieth centuries. It argues that southeastern New Guinea, known as British New Guinea and then as Papua when it became an Australian colony, was created as a geographical place through visual representation in illustrated magazines and newspapers, lavishly illustrated travelogues and mission hagiography, serial encyclopedia, lantern slides and postcards. Readers :knew" Papua because many thousands of black and white photographs of Papuans, villages and material culture rapidly swamped the reading public once the process of halftone, newsprint reproduction became possible. In an innovative and breakthrough fashion Photographing Papua switches attention from a few well known prints in museums and archives, in some cases repeatedly reproduced, but mostly rarely seen outside of scientific and scholarly circles. It deals instead with thousands of photographs, often used in ways not intended when the photograph was taken, but which editors and publishers (and subsequent photographers) gradually made conform to an iconographic imperative, a sort of abbreviated visual gallery of "natives" and a quick-access pathway to the actual and imagined lives of Papuans in the "last Unknown" as New Guinea was titled. It is a study of representation, colonialism, cross-cultural encounters and the early world of illustrated media and photo-journalism.
From vividly colored underwater photographs of Australia's Great Barrier Reef to life-size dioramas re-creating coral reefs and the bounty of life they sustained, the work of early twentieth-century explorers and photographers fed the public's fascination with reefs. In the 1920s John Ernest Williamson in the Bahamas and Frank Hurley in Australia produced mass-circulated and often highly staged photographs and films that cast corals as industrious, colonizing creatures, and the undersea as a virgin, unexplored, and fantastical territory. In Coral Empire Ann Elias traces the visual and social history of Williamson and Hurley and how their modern media spectacles yoked the tropics and coral reefs to colonialism, racism, and the human domination of nature. Using the labor and knowledge of indigenous peoples while exoticizing and racializing them as inferior Others, Williamson and Hurley sustained colonial fantasies about people of color and the environment as endless resources to be plundered. As Elias demonstrates, their reckless treatment of the sea prefigured attitudes that caused the environmental crises that the oceans and reefs now face.
The photographer Frank Hurley (1885-1962) is a legendary figure in Australian cultural history, This book is an account of Hurley's 'showmanship', that is, his professional sense of performance and display, and accompanied an exhibition of his work in 1990.
The Fifth International Symposium of the Pacific Arts Association, titled "Art, Performance, and Society," called for papers in sessions dealing with "Production and Performance," "Social and Cultural Context," "The Record and the Remainder," and "The Mission of Museums." In all, some sixty papers were presented, twenty-four of which have been included in this book. The first two topics elicited several papers that explored the creative process, including the description and analysis of performance, and the taxonomy of objects used, the transmission of cultural knowledge, and the identity and work of individual artists. The second two topics provided the opportunity for papers on some significant early museum collectors and collections, various methods of documenting cultural material (such as photography), how cultural material has been and can be exhibited, and the role of museums and cultural centers in Pacific Island countries.
'Photography and Australia' focuses on those aspects of photographic practice that can be considered distinctively Australian. It argues that the colonial experience has been crucial in shaping photographers' concerns.