5. Conclusion. At the Australian Film and Television School -- Satdee Night (1973) -- Gretel (1973) -- After AFTS -- Starting points -- Outlining of chapters -- 1. An authorial cinema -- A multidimensional career -- Perceptions of success: Armstrong's point of view -- Casting and crew -- Images of Armstrong -- Armstrong, feminism, and on being a `woman director' -- Present-day activisms: Gender Matters and Make It Australian -- Conclusion -- 2. A popular, commercial cinema: Mrs. Soffel, Little Women, Charlotte Gray, Death Defying Acts -- Mrs. Soffel: confinement and the power of silence -- Place and escape -- From Fires Within to Little Women -- Little Women -- Home: locus of resistance -- Armstrong in Europe: popular films after the year 2000 -- Conclusion -- 3. An Australian genre cinema: My Brilliant Career, Oscar and Lucinda, Starstruck -- Genre, globally -- Period film and the Australian industry -- My Brilliant Career -- Oscar and Lucinda -- The presence of the present -- The Australian musical: Starstruck -- Conclusion -- 4. A sensual cinema: The Last Days of Chez Nous, Unfolding Florence: The Many Lives of Florence Broadhurst, Women He's Undressed -- Designing Armstrong -- The Last Days of Chez Nous (1992) -- Sound and taste -- House as character -- Unfolding Florence: The Many Lives of Florence Broadhurst (2006) -- Women He's Undressed (2015) -- Conclusion -- 5. An ethical cinema: High Tide and The Story of Kerry, Josie and Diana -- Towards a feminist cinematic ethics: beginning with Mulvey -- High Tide (1987) -- Opportunities for empathy -- Armstrong's documentary ethics -- Participant well-being -- Axiographics -- Conclusion.
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