Jeni Thornley

Jeni Thornley is an Australian feminist documentary filmmaker and writer. Since leaving her job as manager of the Women's Film Fund at the Australian Film Commission in 1986, Thornley has worked as an independent writer, director, and producer at Anandi Films. She has fulfilled teaching roles at University of Technology Sydney (UTS) and the Australian Film, Television and Radio School. Thornley was an honorary research associate in the Faculty of Arts and Social Sciences at UTS, and a consultant film valuer for the Cultural Gifts Program in the Dept of Communications and the Arts.

Career According to Collins (1998), Thornley "belongs to a 1960s generation of New Left filmmakers whose revived historical consciousness was germinated during the Cold War years in the silent fallout from Hiroshima". Born in Tasmania where her father was a film exhibitor, Thornley gained a degree in literature and political science at Monash University in Melbourne in 1969. After moving to Sydney she worked as an actor in experimental theatre and was active in the Women's Liberation Movement, Sydney Women's Film Group (SWFG), the Sydney Filmmakers Co-operative, and the Feminist Film Workers Collective, along with cinematographer Martha Ansara, Margot Nash, and others. As a member of SWFG, Thornley appeared in and worked on the production of the 1973 film, A Film for Discussion. The title reflects the group's wish "to distinguish it from films where the audience members were merely passive consumers of entertainment".

Thornley was one of the organisers of the International Women’s Year Film Festival in 1975, the first of its kind in Australia. As an active member of feminist collectives until the early 1980s, she was involved in a range of exhibition, distribution and publishing activities as well as working as a camera assistant on independent film productions. The film also acts as a short history of "the Anglo-Celtic 'diaspora' in Australia."

In 1983 Thornley coproduced with Megan McMurchy, Margot Oliver and Margot Nash the film, For Love or Money. The film had its roots back in 1977, when Thornley and the others decided to start working on the documentary. In addition, Thornley coordinated the collection of all the photographic material used for the companion book, jointly written with Megan McMurchy and Margot Oliver, For Love or Money, a Pictorial History of Women and Work in Australia, published by Penguin Books Australia in 1983 .

Island Home Country – documentary and exegesis – (2009) was the culmination of Thornley's research for which she received a PhD from University of Technology, Sydney. The documentary screened nationally on ABC1 and ABC2 in June and July 2009.

Collins (1998) has stated that "Thornley's personal films (Maidens and To the Other Shore) and her social action films (A Film for Discussion and For Love or Money) are landmark films in the history of Australian feminist cinema over the last three decades".

Filmography Year Title Length Role Awards 1973 A Film for Discussion 24 mins Cast member, co-producer Finalist, Greater Union Awards, 1973

Publications

For Love or Money : A pictorial history of women and work in Australia, co-written with Megan McMurchy and Margot Oliver, Penguin, 1983,

Chapters contributed "Past, Present and Future: The Women's Film Fund", in Don't Shoot Darling!: Women's Independent Filmmaking in Australia, edited by Annette Blonski, Barbara Creed, Freda Freiberg, Greenhouse Publications, 1987, "Through A Glass Darkly: Meditations on Cinema, Psychoanalysis and Feminism", in Womenvision : Women and the moving image in Australia, edited by Lisa French, Damned Publishing, 2003, "Island Home Country: Working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania," chapter 13. in Passionate Histories: Myth, Memory and Indigenous Australia, edited by Frances Peters-Little, Ann Curthoys, and John Docker, ANU E Press, 2010,