About Jeni Thornley

Jeni pic

The rug may take years to finish, years of dedication to a single intricate design, years of sitting at the loom with one aim - working at the rug. The finished rug is too much in the future, too far ahead to encourage her. It requires the patience of waiting. The principle in craftsmanship that calls us to work with materials may be the same principle which in a larger sense calls us to work with ourselves. Carla Needlman, The Work of Craft: An Enquiry into the Nature of Crafts and Craftsmanship, 1979

Potter Carla Needlman’s words resonate with my cur
rent documentary Island Home Country (2008) and diary films Maidens (1978) and To The Other Shore (1996). It’s like starting out on a journey and not knowing how far it will take you or where to, but there's no doubt that at the end of it all, much has changed. It was similar with the historical (collaborative) feature documentary For Love or Money A History of Women and Work in Australia (1983). We had to take a waiting with approach too, as the collective process was so complex and arduous. It had its own timing. The process itself required the patience Needlman writes about. I think that’s why I experience my filmmaking more like a craft, than part of an industrial system. Possibly the digital era of filmmaking and distribution breathes new life into filmmaking as a craft based practice


Island Home Country - 2008

The Other Shore - 1996
For Love or Money - 1983 (Contact Distributor)
Maidens - 1978 -
Felicity Collins, "Memory in Ruins: The Woman Filmmaker in Her Father's Cinema", Screening the Past. No. 13, 2001

Felicity Collins, "The Experimental Practice of History in the Film Work of Jeni Thornley", Screening the Past, 1998



anandi films p/l
po box 320 newport beach nsw 2106
ph: 02 99184054
email jeni@jenithornley.com
web http://www.jenithornley.com/
blog http://www.jenithornleydoco.blogspot.com/


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