If you’ve read the current (July) edition of Engage: The Magazine of the Graduate Programs in Archaeology, Cultural Heritage Management and Maritime Archaeology, you’ll have seen the article on ‘Where does a Graduate Degree Take You?’. In it, some of our graduated students discuss where they’re working now, what they’ve learnt since leaving university (including what topics proved to be most useful to them and why. This part makes Alice very happy), and how their degree experience prepared them to work in the heritage industry (if you haven’t seen Engage yet, then make sure you read it at our website http://www.flinders.edu.au/ehl/archaeology/archaeology-digital-library/graduate-program-bulletins.cfm. It contains all this and more).
by Natalie Bittner.
We offer you the public of South Australia a centre of entertainment unique in this state. Every luxury, every thought, every care that 27 years of experience dictates, that modern science knows, is here for your comfort, your convenience, your service. We present the showplace of Australia, the Ozone Theatre Glenelg
(From the program distributed at the Gala opening night of the Ozone Theatre, Glenelg November 5th 1937)
Glenelg Cinema. Corner Jetty Road and Rose Street. Photo: Natalie Bittner. 26/05/2011
In the next few weeks, the fate of the Glenelg Cinema complex will be decided. The cinema has been closed since the end of January 2009 with no development on the site and a drop in visitor numbers to the Eastern end of the Jetty Road precinct noticed by nearby traders. In the week following its closure, the Wallis cinema company put up most of the interior fixtures for sale, including the seats and doors.
Having been designed by architect Kenneth Milne in 1936, the Glenelg Ozone Theatre (as it was then known) consisted of a single cinema screen, and had twin marble grand staircases and tartan carpeting throughout. Known for his impeccable detailing, the façade of the building includes stone from Basket Range in the Adelaide Hills, horizontal fins and the current vertical signage is the same element used in the original construction. Advertising material from 1938 says that the Ozone Theatre had air-conditioning throughout, a ladies smoking lounge, and a baby-friendly viewing area where mothers with screaming children ‘will not be embarrassed’ (The Advertiser Saturday October 9, 1937). On the 5th of November 1937 Glenelg Ozone Theatre’s gala opening night consisted of a technicolour screening of A Star is Born with shorts including How to Vote. (The Mail Saturday November 6th, 1937).
In mid-September I visited the South Australian Museum Archives to locate images that were to be used on the interpretive signage at Ngaut Ngaut. This aspect of the project was also approved by the Mannum Aboriginal Community Association Inc. (MACAI). Dr Amy Roberts had given me some ideas as to what to look for and I had a list of index numbers that corresponded to relevant archive collections. Throughout the process of content creation Amy had found a few images that she wanted to use on the signs. The problem was that these copies had very low resolutions. My archives visit was aimed at finding the original images and organising high-quality 600 dpi copies of the photographs and field book sketches.
Gender-exclusive organisations are ubiquitous in the Australian social landscape, coming in all forms, shapes and sizes. The potential for such organisations, however, to inform us about past gender roles and attitudes has not been addressed within the Australian context. The aim of this thesis, therefore, is to investigate what the buildings of such organisations can reveal about the roles of men and women in the past.
Buildings belonging to the Freemasons and the Country Women’s Association in rural South Australia formed the basis for this investigation. Archaeological research was carried out to record the social, geographic, physical and functional attributes of buildings in order to identify trends occurring between and amongst buildings used exclusively by men and women. Attributes included street type, building size, visibility, decorative features, internal layout, alterations and use.
While CWA buildings remained relatively unchanged throughout the study period (1836-2010), the results for Masonic buildings showed that there were significant changes occurring, particularly regarding the use of external decorative features and the presence of amenities. Style, as a form of non-verbal communication, is used to reflect and reinforce prevailing ideology. The changing style of Masonic and CWA buildings suggest a shift in gender roles and attitudes, from the ‘traditional’ separate spheres ideology of pre-WWII, to the more ‘egalitarian’ worldview post-war. This thesis concludes that social changes occurring as a result of World War II are reflected in the design, location and construction of gender-exclusive buildings, most notably those belonging to the Freemasons.
Having moments ago finished the stressful process of writing my masters thesis I felt compelled to post my abstract here for everyone to read before rushing to the library to read the full version, lol. Enjoy , Olly.