For many, stories are an integral part of the childhood experience; fairytales told at bedtime, tall tales swapped in the schoolyard, ghost stories shared around a campfire, myths and legends read in books, and creepypastas (copied-and-pasted stories) shared online. Stories can act as a guiding force; as a way for us to comprehend the world around us.
As a child, I was interested in the siren; a figure from mythology that was half woman, half fish (or sometimes half bird). As an adult, I find it interesting that these creatures are depicted as being both desired and feared. They are noted for their beauty and attractiveness, and also for their proclivity to lure sailors to their deaths. Compared to the fairytales told to children, which are often resolved with the marriage of a prince and princess, the siren creatures seem to have much more strength and agency. They represent an interesting reversal of the ingrained gender power structures.
According to the Australian Bureau of Statistics, an estimated 5 million or 53% of women, have experienced at least one incident of sexual harassment in their lifetime (Australian Bureau of Statistics, 2016. Retrieved 18/11/22). For many women, the first time they encountered this sort of behaviour was in childhood. According to SBS News, the question: "When did you first notice that men were looking at you in a sexual way? How old were you and how did it make you feel?” was asked on Reddit, gaining 21,400 responses within the first two days. (SBS News, retrieved 18/11/22). Many women revealed that men first started harassing them during puberty. Within my own experience, this was certainly true. Related to my work, this project explores the dark and insidious undercurrent of misogyny that sits below the surface in our society, re-contextualising the story of the sirens as a link to coming-of-age and empowerment. In approaching these themes, I have explored the use of filmic techniques in expressing character subjectivity.
PREFACE
I acknowledge the Traditional Owners of the Countries on which I study, work and live, the Gadigal, Bidjigal and Wangal Peoples of the Eora Nation. I pay my respects to Elders past, present and emerging and extend my respect to all Aboriginal and Torres Strait Islander Peoples. Sovereignty was never ceded; always was, always will be Aboriginal land.
Thank you to: The staff and students of AFTRS, Christopher Vasilescu, Associate Professor Melissa Laird, Fabia Andronos and Elsie Edgerton-Till.
This project is dedicated to Corinne Laird and Mary Andronos.
ACKNOWLEDGEMENTS
Subjective Realism
Interiority
Inner World
Symbolism
Ambiguity
Visual Storytelling
Point of view
KEY TERMS
Figures 1 - 4, The Babadook
Figures 5 - 10, Three Colours: Blue
Figures 11, Sharp Objects
Figure 12, Mind Map
Figures 13 - 15, Production design
Figure 16, Cinematography process
Figure 17, Rehearsal process
Figure 18, Editing process
Figure 19, Music process
LIST OF FIGURES
Video 1, The Babadook
Video 2, Three Colours: Blue
Video 3, Sharp Objects
Video 4, Sharp Objects
Video 5, Under the Water
Video 6, Under the Water
Video 7, Under the Water
Video 8, Under the Water
