Lest We forget What?

Landers, R

Lest We forget What?

Landers, R

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Publisher:: ABC TV/Screen Australia/National Film and Sound Archive/DVA/Pony Films
Citation:: 2015
Issue Date:: 2015

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	Study Guide_v0.1.pdf	Published version	4.03 MB	Adobe PDF	View/Open

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Field	Value	Language
dc.contributor.author	Landers, R	en_US
dc.date.issued	2015	en_US
dc.identifier.citation	2015	en_US
dc.identifier.uri	http://hdl.handle.net/10453/136273
dc.format	Documentary	en_US
dc.publisher	ABC TV/Screen Australia/National Film and Sound Archive/DVA/Pony Films	en_US
dc.title	Lest We forget What?	en_US
utslib.location	ABC TV/Screen Australia/National Film and Sound Archive/DVA/Pony Films	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.place-of-publication	ABC TV/Screen Australia/National Film and Sound Archive/DVA/Pony Films	en_US
pubs.rights-statement	Lest We Forget What? is a 1 hour documentary about the ANZAC commemoration of WWI. Research Background The research sits in Field of Research: 1902 Film, Television and Digital Media Ellis notes that documentary is an act of creation and an ethical task ‘bound up with the difficult question of whether or not truth can ever be shown’ (2012). Rosenstone counters that history documentary is ‘a particular sort of truth’ which can affect who the viewer is and how they see the world and asks ‘is this not the real task of history?’ (2018). Nichols argues that historical documentary ‘is a form of knowledge… that is closer to a paradigm shift than the accretion of information and the laborious process of conventional learning’ (2013). The research question is: How can a history documentary interrogate the factually dubious commemorative ANZAC narratives to reveal new truths? Research Contribution Lest We Forget What? demonstrates ways in which the historical documentary form can interrogate contemporary fictions of commemorative history to deliver new and engaging truths. The film used multiple cinematic devices to punctuate the dominant ANZAC commemorative narrative. These include: the juxtaposition of style, form, content and context. Research Significance The film, commissioned by DVA, Screen Australia and ABC for the 100th ANZAC commemoration, screened in two primetime TV slots to over 600,000 viewers. SMH pick of the week described it as ‘a powerful, frank… and immensely important contribution to the ANZAC conversation’ (SMH: 16 April 2015). It is part of the NSFA collection.	en_US

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http://hdl.handle.net/10453/136273