1 Ross Gibson, Seven Versions of an Australian Badland, Brisbane: University ofQueens-land Press, 2002.
3 Andreas Huyssen, 'Present pasts: media, politics, amnesia'. In Arjun Appadurai (ed.), Globalization, Durham & London: Duke University Press, 2001, p. 69.
5 Thomas Elsaesser, New German Cinema: A History, Macmillan, 1989.
6 This section draws on an earlier account of Woodward's concept of'grief-work' in Felicity Collins, 'Death and the face of the mother in the auto/biographical films of Rivka Hartman, Jeni Thornley and William Yang', Metro, 126, 2001, pp. 48-54.
7 Kathleen Woodward, 'Freud and Barthes: theorizing mourning, sustaining grief', Discourse, (13)1, 1990-91, pp. 97-9.
10 Kathleen Woodward, 'Grief-work in contemporary American cultural criticism', Discourse, (15)2, 1992-93, p. 94.
13 See Julia Kristeva, Black Sun: Depression and Melancholia, transl. Leon S. Roudiez, New York: Columbia University Press, 1989.
17 Takeo Doi, The Anatomy of Dependence, Kodansha International, Tokyo, 1971, cited in Chris Berry, 'Where is the love? The paradox of performing loneliness in Ts'ai Ming-Liang's Vive L'Amour'. In Lesley Stern and George Kouvaros (eds), Falling For You: Essays on Cinema and Performance, Sydney: Power, 1999, pp. 163-4.
20 This section draws on a review by Felicity Collins of Japanese Story published in Senses of Cinema, 29, 2003.
22 See An Ordinary Woman (Sue Brooks, 1989) and The Road to Nhill (Sue Brooks, 1996).
23 Minor characters in Japanese Story and Heaven's Burning register an unforgiving memory of wartime enmity with Japan, despite economic and cultural acceptance of Japanese investment and tourism in postwar Australia.
24 Gibson, Seven Versions of an Australian Badland, p. 93.
28 This section draws on a review by Felicity Collins of Dreaming in Motion published in Senses ofCinema, 27, 2003.
29 Shoshana Felman, 'Education and crisis, or the vicissitudes of teaching'. In Cathy Caruth, Trauma: Explorations in Memory, Baltimore: Johns Hopkins University Press, 1995, p. 16.
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