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• W1994708815 abstract "Click to increase image sizeClick to decrease image size Notes 1 Cathryn Vasseleu, Textures of Light: Vision and Touch in Irigaray, Levinas, and Merleau-Ponty (London: Routledge, 1998), p.3. 2 Cathryn Vasseleu, Textures, p.5. 3 Cathryn Vasseleu, Textures, p.5. 4 Cathryn Vasseleu, Textures, p.7. 5 Walkabout (Nicolas Roeg, 1971) was initially filmed and released as a 35 mm Eastmancolor print. This reading is based on the 2000 Universal DVD. This edit of the film was released on DVD in 1991 and includes a five minute section that had previously been cut. Lanza (1989) p.42, notes that this sequence details the arrival of the girl and two boys at a factory that produces porcelain figures for the tourist trade. During this sequence a woman solicits the attention of the older boy, Gulpilil. Such an edit would support the promotional material which is in part directed toward the possibilities of Walkabout for the school curriculum. Here, a direct reference to sexuality has been cut from the film shifting the context of the relationship between the girl and Aboriginal boy (Agutter and Gulpilil). This also offers a different inflection, and one of ‘innocence’ noted by several reviewers of nudity in the film, which was not cut, as the girl first swims in a pool in the desert, and then again with her companions. The British Board of Film Classification also notes that Walkabout was cut for its initial release to obtain an ‘AA’ classification < http://www.bbfc.co.uk/website/Classified.nsf/0/441617B6FB262FDC802566C800339691?OpenDocument> [accessed 20th November 2009]. 6 Geoffrey Macnab, ‘Dry, Dry, Dry again’, Time Out, 21 June (2000), p.191; James Vance Marshall, The Children (Michael Joseph, 1959) was later re-published as Walkabout. A copy of the release script which is considerably longer than Bond's 14 page script is held at the British Film Institute, London. 7 Gulpilil's name is spelled ‘Gumpilil’ in the film credits and varies across the following citations: Gumpilil in the Walkabout press book (1971), Lanza (1989), p.43 and as Gulpilil in Lapsley (2009), p.18, O'Shaughnessy (2004), p.84. Although the other actors are listed in the credits their characters have not been named. 8 The practice of a double-take recurs in Don't Look Now (Roeg, 1973) as John and Laura Baxter stand at the harbour's edge in Venice before she returns to England and in Puffball (Roeg, 2008) as Kelly Reilly and Tucker embrace; each double-take remarks a significant moment in the film narrative with an ellipsis. 9 In the opening section of the film we see their mother preparing food for the picnic and listening to the radio. The rolling electrical noise of a radio being tuned through different stations also recurs through the film and significantly across a two minute sequence of shots of the sun and effects of glare. It is left as broken at the derelict house the sister, brother and the aboriginal boy find at the end of their journey, but in a subsequent shot which is cut in to a sequence of their continuing journey it spontaneously begins to play. 10 Paul Theroux, ‘Walkabout’, Observer Magazine, 30 December (1990), pp.10–13, 16, 18. 11 Craig McGregor, ‘Walkabout: Beautiful but Fake’, New York Times, 18 July (1971); Paul Theroux, ‘Walkabout’. Theroux writes that the Aborigines were only formally recognised as citizens in 1967, whilst McGregor (1971) states that the film's release coincided with the Australian Government's sale of Aboriginal land to a mining company. Twentieth Century Fox's promotional material for Walkabout includes several notes to exhibitors regarding opportunities to link screenings with travel companies linked to Qantas airlines and as an educational film following on from the inclusion of Vance's novel in Australian school curriculum. The press book describes the story of the film as of ‘The Aborigine boy and the girl 30000 years apart […] together’ an approach which is further problematized in the summary tag line accompanying the DVD release in the juxtaposition of ‘a primitive world where nature and civilisation collide’. This material is held by the British Film Institute, London. For a detailed reading of the inscription of differential ethnically positioned subjectivities see Michael O'Shaughnessy, ‘Walkabout's Music: European Nostalgia in the Australian Outback’, Metro, n.140 (2004), pp.82–86 and Anne Hickling-Hudson, ‘White Construction of Black Identity in Australian Films about Aborigines’, Literature Film Quarterly, 18:4 (1990), pp.263–274. 12 Robert Lapsley, ‘Cinema, the Impossible and a Psychoanalysis to Come’, Screen, 50:1 (2009), pp.14–24, 19. 13 Robert Lapsley, ‘Cinema, the Impossible’, pp.14–24, 20. 14 Robert Lapsley, ‘Cinema, the Impossible’, p.21. 15 Michael O'Shaughnessy, ‘Walkabout's Music: European Nostalgia in the Australian Outback’, Metro, n.140 (2004), pp.82–83. 16 Michael O'Shaughnessy, ‘Walkabout's Music’, p.84. 17 Michael O'Shaughnessy, ‘Walkabout's Music’, p.86. 18 ‘Going Walkabout’, Sight and Sound, 9:3 (1999), pp.58–59; interview with Jenny Agutter. 19 ‘The Cameraman – Tony Richmond’, Screen International, 29 (1976), p.14 Nicolas Roeg is credited as director and cinematographer for Walkabout and Anthony Richmond for ‘Special Photography’ including the still images that intersperse the film. Richmond's collaboration with Roeg continued as cinematographer for Don't Look Now (Nicolas Roeg, 1973) and Bad Timing (Nicolas Roeg, 1983). 20 Scott Salwolke, ‘Walkabout’, Nicolas Roeg: Film by Film (London: McFarland & Company, 1993), p.32. 21 Richard W Haines, Technicolor Movies: A History of Dye Transfer Printing (Jefferson, North Carolina and London: McFarland, [1993] 2003), p.132. 22 Joseph Lanza, Fragile Geometry: The Films, Philosophy and Misadventures of Nicolas Roeg (New York: RAJ, 1989), p.99. 23 Victor Burgin, The Remembered Film (London: Reaktion Books, [2004] 2006), p.68. 24 Laura Mulvey, Death 24x a Second: Stillness and the Moving Image (London: Reaktion Books, 2006). 25 Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, Archive (Cambridge, MA: Harvard University Press, 2002). 26 John Izod, ‘Walkabout’, The Films of Nicolas Roeg: Myth and Mind (London: Macmillan, 1992), pp.51–66. 27 Mary Ann Doane, ‘The Instant and the Archive’, The Emergence of Cinematic Time: Modernity, Contingency, Archive (Cambridge, Massachusetts and London: Harvard, 2002), p.208. 28 Jane Gallop, ‘Encore Encore’, The Daughter's Seduction: Feminism and Psychoanalysis (New York: Cornell, [1982] 1992), p.xi. 29 Robert Lapsley, ‘Cinema, the Impossible’, pp.14–24. 30 Jane Gallop, ‘Encore Encore’, p.48–9. 31 Luce Irigaray, ‘The Power of Discourse’, trans. Catherine Porter with Caroline Burke, This Sex Which is Not One (Ithaca, New York: Cornell, [1977] 1985), pp.76–77. 32 Luce Irigaray, ‘The Power of Discourse’, p.76. 33 Luce Irigaray, ‘The Power of Discourse’, p.76. 34 Teresa de Lauretis, ‘Now and Nowhere: Roeg's Bad Timing’, Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), pp.82–102, p.100. 35 Teresa de Lauretis, ‘Now and Nowhere’, Discourse, 5 (1983), pp.21–40; Robert Lapsley, ‘Cinema, the Impossible and a Psychoanalysis to Come’, Screen, 50:1 (2009), p.24. 36 Barbara Bolt, ‘Shedding Light for the Matter’, Hypatia, 15, 2 (2000), p.208; Bolt's analysis of glare is primarily addressed as a facet of painting whereby the marks and elisions themselves are not representations but trace the movements of the body requiring ‘different strategies of mapping’ than the delineations of image according to perspective. 37 Melissa Miles, ‘The Burning Mirror: Photography in an Ambivalent Light’, Journal of Visual Culture, 4:3 (2005), pp. 330–331. 38 Rachel Jones, ‘Transformations’, Hypatia, 15:2 (2000), pp.151–159. 39 Melissa Miles, ‘The Burning Mirror’, p.341. 40 Barbara Bolt, ‘Shedding Light for the Matter’, pp.202–216. 41 Luce Irigaray, This Sex Which is Not One [1977] trans. Catherine Porter (New York: Ithaca 1985). 42 Mary Ann Doane, ‘Woman's Stake: Filming the Female Body’, ed. Sue Vice, Psychoanalytic Criticism: A Reader (Cambridge: Polity, 1996), pp.194–204. 43 Margaret Whitford, Luce Irigaray, Philosophy in the Feminine (London: Routledge, 1991), p.29. 44 Luce Irigaray, ‘Questions’, This Sex Which Is Not One, p.119. 45 Although we have seen the girl swimming in the pool, the sequences seen earlier in the film omitted the two boys. 46 Luce Irigaray, ‘The Invisible of the Flesh: A Reading of Merleau-Ponty, “The Intertwining the Chiasm”’, trans. Caroline Burke and Gillian C. Gill, An Ethics of Sexual Difference (London: Althone, 1993), pp.153–183. 47 Jane Gallop, The Daughter's Seduction: Feminism and Psychoanalysis (New York: Cornell, [1982] 1992), p.xi." @default.
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• W1994708815 title "A View from Elsewhere: Ellipsis and Desire in<i>Walkabout</i>(Nicolas Roeg, 1971)" @default.
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