| Name |
Tracey Moffatt |
| Comments |
Tracey Moffatt was born in Brisbane, and graduated from Queensland College of Art, Film & Video course in 1982.
The following biography is taken from the AFI's Bibloz entry on Moffatt, located at URL - http://www.cinemedia.net/AFI/biblioz/moffatt.htm
--- Tracey Moffatt is one of Australia's leading visual artists. Her work in film, video and photography is highly regarded for its representation of race and gender issues, and for its formal and stylistic experimentation with genre, narrative and the relationships between sound and image. Since 1983, Tracey Moffatt has worked as an independent filmmaker and in various capacities with SBS Television and a range of Aboriginal groups. Her short films Nice Coloured Girls (1987) and Night Cries: a rural tragedy (1990) and her feature film BeDevil (1993) were festival successes and are now frequently referred to in the study of identity politics in Australian cinema.
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Moffatt's individual photographic exhibitions include Gaupa (Goodlooking) (1995); Scarred For Life (1994), Pet Thang (1992) and Something More (1989). Her book Fever Pitch was published by Piper Press in 1996. She has also directed video clips for INXS, Ruby Hunter and Christine Anu.
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Tracey Moffatt officially represented Australia at the Venice Biennale and was the subject of a recent exhibition at the Dia Center for the Arts in New York which featured a large cross section of her film, video and photographic work. --- |
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References ( click to view )
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| journal - A Vital Voice: Indigenous Drama Metro. pp.24-27 |
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Tim Hunter
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| Discusses the selection process for the From Sand To Celluloid collection of short indigenous films and the film bodies which have supported the drama initia...[full record]
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| book - Ab/originality or Aboriginated? The politics of essentialism, identity and self representation. . 00-00-1993 |
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Darlene Johnson
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| Darlene Johnson provides a critique of the essentialist paradigms implicit in colonial representations of Aboriginality in Australian cultural production. Em...[full record]
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| web - AFI: Biblioz : Biblioz: Tracey Moffatt |
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Author Unknown
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| journal - An 'eclectic mix' for INXS launch Encore V11. pp.14-15 |
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Gerard Knapp
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| Details the making of the INXS Full Moon, Dirty Hearts television special, which featured videos made by young Australian directors.
[full record]
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| journal - Beyond Assimilation: Aboriginality, Media History and Public Memory aedon 1 V4. pp.12-26 |
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Meaghan Morris
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| Meaghan Morris embarks upon a learning experience. What began as a talk to be given after a screening of Night Cries turned into an article designed to be h...[full record]
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| newspaper - Black films burst with radiance The Weekend Australian. 13-06-1998. p.12 |
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Lynden Barber
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| The articel refers to Rachel's past work in documentary with the ABC TV's indigenous program unit how the film was inspired. "Radiance" has been adpapted fro...[full record]
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| book - Marketing and Distribution . 00-00-1990 |
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Jennifer Stott
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| Jennifer Stott writes a practical guide to independent film and video production on what goes on when Australian film is marketed, produced and promoted.
T...[full record]
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| journal - Muddying the Mythological waters: Aboriginality in Australian Film Metro. pp.18-21 |
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Karen Jennings
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| journal - The Message of The Messenger Continuum V9. pp.185-199 |
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Alan McKee
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| Attempts to deinfe and then identify the true author of a music video clip, driected by Tracey Moffatt for an INXS song. By identifying the author of the vi...[full record]
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| book - The Women's Companion to International Film . 00-00-1990 |
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Annette Kuhn,
Susannah Radstone
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| As the title suggests, this book provides references to women's filmmaking in general.
However, the section headed "Australia" does provide a condensed but ...[full record]
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| book - Well I Heard It On The Radio And I Saw It On The Television An essay for the Australian Film Commission on the politics of filmmaking by and about Abor . 00-00-1993 |
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Marcia Langton
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| In the first section of her essay, Langton discusses the differences between settled and remote, traditional and contemporary Aboriginal communities and how ...[full record]
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| newspaper - Women on the verge of a breakthrough The Australian. p.16 |
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Helen O'Neill
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An on set description of a scene was a brilliant way to start, capturing the essence and atmosphere during the filming of "Radiance". It touches on issues i...[full record]
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| chapter - Womenvision: women and the moving image in Australia : Aboriginal women in Australian cinema . 00-00-2003. pp.43-56 |
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Marcia Langton
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