http://www.metromagazine.com.au

http://theeducationshop.com.au

© ATOM 2018. ISBN: 978-1-76061-156-9

A STUDY GUIDE BYKATY MARRINER

SAFE HARBOUR

SAFE HARBOUR (2018) IS A FOUR-PART DRAMA ABOUT A GROUP OF FRIENDS WHOSE SAILING HOLIDAY OF A LIFETIME TO INDONESIA ALTERS THEIR LIVES FOREVER AFTER THEY CROSS PATHS WITH A FISHING BOAT OVERLOADED WITH ASYLUM SEEKERS EN-ROUTE TO AUSTRALIA. THE GROUP COME TO THE AID OF THE BROKEN-DOWN BOAT, LEADING TO A TRAGIC SERIES OF EVENTS THAT RETURN TO HAUNT THEM FIVE YEARS LATER.

CONTENT HYPERLINKS

3 CURRICULUM LINKS

3 PRODUCER’S STATEMENT

4 SHOWRUNNER’S STATEMENT

4 SYNOPSIS

5 EPISODE SYNOPSES

5 KEY CHARACTERS

6 BACKGROUND

INFORMATION

7 DISCUSSIONS

11 EPISODE 1

15 EPISODE 2

17 EPISODE 3

20 EPISODE 4

23 EXTENDED RESPONSES

23 INVESTIGATIONS

24 SAFE HARBOUR ONLINE

24 RECOMMENDED LINKS

25 KEY CREATIVES

25 CREDITS

26 APPENDIX 1: CURRICULUM WEBLINKS

26 APPENDIX 2: INTERVIEW TRANSCRIPTS

Safe Harbour is rated M. Each

episode has a run time of 55 mins.

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» CURRICULUM LINKSThis study guide to accompany Safe Harbour has been written for secondary students in Years 10 – 12. It pro-vides information and suggestions for learning activities in Politics, Civics and Citizenship, English, Geography, History, Media and curriculum projects discussing the is-sue of asylum seekers and refugees. English and Media. Safe Harbour can also be used as a resource to address the Australian Curriculum general capabilities Ethical Understanding and Intercultural Understanding and the cross curriculum priority Asia and Australia’s engage-ment with Asia. Teachers are advised to consult the Australian curriculum online at http://www.australiancur-riculum.edu.au/ and curriculum outlines relevant to their state or territory (See Appendix 1).

Safe Harbour provides an insight into the experiences of people who are forced to leave their homes in search of asylum and refuge. The drama provides opportunities for students to discuss:

• the key concepts and facts about refugees and asylum seekers;

• the human rights issues faced by asylum seek-ers and refugees;

• the courage, hope, dignity and resilience of asylum seekers and

refugees in the face of profound hardships;

• the notion of a common humanity, in which there are shared responsi-bilities and rights that transcend national boundaries.

A key objective of this study guide is to provide a frame-work for positive discussion about the experiences of people who are seeking asylum and the issues raised by their stories. The activities challenge students to think about asylum seekers and refugees in a compassionate way and allow students to engage in important conver-sations about Australia’s response to asylum seekers and refugees.

Activities in this study guide provide opportunities for students to make a close reading of Safe Harbour. In do-ing so, students will:

• describe the structure, content and aes-thetic qualities of Safe Harbour;

• engage in detailed anal-ysis of Safe Harbour;

• analyse the representa-tion of issues, ideas and attitudes in Safe Harbour to consider how the text represents

the world and human experience;

• develop and justify their own interpretations of Safe Harbour;

• create a wide range of texts, make presenta-tions and contribute ac-tively to class and small group discussions.

Teachers should preview Safe Harbour prior to us-ing the film as a curriculum resource. The trailer can be watched online at https://www.youtube.com/watch?v=NAus8HnBVG4.

» PRODUCER’S STATEMENT

Safe Harbour explores how a single action has a ripple effect, building and building to tsunami proportions. It is a study of characters under pressure and the ethical decisions they make. A psychological thriller revolving around the question: ‘Who cut the rope between the two boats?’.

Safe Harbour’s foundations were set in mid 2015 when, having established an office in Brisbane, Matchbox Pictures had a general call out for ideas from local creatives. In response, an idea then known as ‘Asylum’ was submitted by local writers Phil Enchelmaier and Simon Kennedy. While the idea was seminal, it jumped out as one that rang all the right creative notes; a story full of powerful dramatic possibilities that we felt could connect and enthrall an audience domestically and internationally. The original concept was teased out over a couple of brainstorming sessions and with sufficient narrative meat on the bone, I pitched the idea to SBS Head of Scripted, Sue Masters. A short time later, we received the call that SBS wanted to develop the idea for production. With Showrunner/writer Belinda Chayko leading the writing team of Matt Cameron and Phil Enchelmaier and Glendyn Ivin directing, eighteen months after pitching the idea, Safe Harbour was ready to sail into our audience’s hearts and minds.

Many talented people have contributed to making Safe Harbour the series it is and while I unfortunately can’t name them all, I need to thank our outstanding cast and single out Belinda Chayko for her elegant and penetrating writing and for his exquisite directorial eye and indefatigable passion for the series, Glendyn Ivin.

Looking back, Safe Harbour has been a demanding, challenging and, at times, difficult drama to develop and produce but it’s the difficult that makes work great and we think Safe Harbour is just that.

In a period of unprecedented mass migration across the globe and of a deepening divide between the haves and have-nots of the world, Safe Harbour is deeply concerned about the fundamental human experience, and very much a drama for our times.

STEPHEN CORVINI

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» SHOWRUNNER’S STATEMENT

When matchbox pictures pitched the idea of safe harbour to me, it had immediate appeal. I have always been interested in the ‘grey’ areas of morality, that liminal space between right and wrong. So creating something that spun out from a major ethical decision, made by characters under pressure, was right up my alley.

Simon and phil’s original premise held within it all the possibilities of drama - both a study of characters and a thriller/mystery. The work of developing the scripts, however, was not straightforward. (It never is). We had two major challenges. The first was ensuring that the series was a drama, not a polemic. That involved staying very close, at all times, to the characters and their own individual responses, needs and wants. The second challenge was in getting the balance right between the action in the present day, and the action in the past. The scripts move between the two time frames across all four episodes, with the events from the past not being told in a linear fashion. So it took a lot of juggling and experimenting to ensure that the audience understood what had happened in the past, and how it informed the events in the present, yet were intrigued and engaged by the interplay between the two times.

One touchstone was constant for me, and the other writers matt cameron and phil enchelmaier, during the development. We kept coming back to the ‘single action’ that stephen refers to above. Almost every aspect of the story, even things which don’t seem obviously related, comes back to that moment out in the ocean, when the australians and the asylum seekers were forever bound, ironically, by the cutting of the tow rope between the two boats.

Our hope has always been that safe harbour will be part of an ongoing conversation about the responsibilities of australia, and all australians, when it comes to asylum seekers - told through the stories of ordinary people in an extraordinary situation.

BELINDA CHAYKO

» SYNOPSISFive years ago, Ryan Gallagher bought a second hand yacht from Darwin and gathered a group of friends to sail from there to Indonesia to break in the boat and enjoy a surf and sun holiday at the same time. The group was less than a day’s sail from their destination when something appeared on the horizon. Another boat.

As they drew closer to the other boat, the group on the yacht grew nervous. This was not another group of holidaymakers, or even feared pirates. It was an overloaded and broken down fishing boat full of distressed asylum seekers. The group on the yacht – Ryan and his wife Bree, his sister Olivia, her boyfriend Damien and their friend Helen – have to make a decision. Turn and pretend they haven’t seen anything or help. The decision they make has profound effects on all of their lives.

After heated discussions and a vote, Ryan makes the captain’s call – the yacht will tow the boat to Australia, where the refugees will be able to seek asylum. In the middle of the night, however, fearing an approaching storm, Damien takes the wheel. He turns and starts heading back to Indonesia, the closer destination. When the Australians wake the next morning to find the fishing boat gone, they all assume the asylum seekers untied themselves in order to prevent a return to Indonesia.

It’s not until five years later, when Ryan steps into a taxi driven by one of the refugees, Ismail, that they learn the truth. Someone cut the rope between the two boats, leaving them to the storm. The boat sank and seven of the forty on board drowned, including Ismail’s nine-year-old daughter Yasmeen.

The revelation drives a wedge of mistrust between the Australians, as they grapple with protecting themselves and doing the right thing. The refugees – Ismail and his wife Zahra son Asad, and brother Bilal – are drawn into the drama as the Australians try to make reparation, but only make things worse. And the refugees themselves struggle with their desire for justice and, possibly, revenge.

A war of sorts breaks out between the Australians and the refugees, as misunderstandings and de-fensiveness collide. Other, long-held secrets come to light. Meanwhile, Asad, Ismail’s son, starts a se-cret romance with Ryan’s daughter Maddie, caus-ing even more tension between the two groups.

The one question that hangs over it all is who cut the rope? Suspicion falls on each of the Australians, and even the refugees, until the guilty party is revealed.

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» EPISODE SYNOPSES

Episode One

Five Australians on a sailing holiday come across a fishing boat full of desperate asylum seekers in the middle of the Timor Sea. Deciding to help, they tow the boat but, in the middle of the night, it disappears. Years later, one of the Australians, Ryan, steps into a taxi driven by one of the refugees, Ismail. Overjoyed to learn the refugees reached Australia, he invites Ismail and his family to a barbeque, reuniting everyone.

At the barbeque, Ryan and the others learn the truth that someone cut the rope between the two boats and, as a result, the fishing boat sank and seven people died, includ-ing Ismail’s nine-year-old daughter. The Australians strug-gle not to suspect each other, particularly Damien, who left the country suddenly after the holiday, without even an explanation to his girlfriend Olivia. When Damien suddenly returns, and Ryan realises that it was no accident that he met up with Ismail again, tensions rise.

Episode Two

Ryan, his wife Bree, sister Olivia, Damien and Helen are called in to interviews with the Australian Federal Police (AFP) after Ismail, wanting justice for his daughter, reports the crime at sea. Ismail’s move causes a rift in his family. His wife, Zahra, wants to leave the past behind; his brother Bilal wants actions, not words. When Damien attempts a rapprochement with Ismail and his brother, Bilal sees red and assaults him. Tensions between the Australians and the refugees increase further. Amidst mysterious threats and acts of vandalism, there is the surprise discovery that the teenage children of the families, Maddie and Asad, have been in contact with each other.

As the Australians are interviewed by the AFP, cracks start to appear in their stories. Helen, a lawyer looking at an imminent promotion, tries to protect herself. Bree won’t back up her husband and Damien looks like he is covering something up as well. Bree and Damien share a secret, but it’s not what it seems. They had a brief affair during the holiday; the real reason Damien ran away. Zahra, too, has a secret. She is pregnant and doesn’t know if she is going to keep the baby; her unresolved grief is too strong. Ismail, re-living the tragedy, begins to doubt himself and suspect his own brother as the one who cut the rope.

Episode Three

The Australian Federal Police call Ryan in, only to tell him that they are using their discretion and there is no case to answer. It is too late to put the genie back in the bottle. Bree and Ryan are struggling to keep their marriage to-gether after the revelation of the affair. Olivia is devastated

by the disclosure and the conflict between her parents pushes Maddie closer to Asad. Ismail goes looking for Bilal, realising he has accused him unfairly. He finds an-other of the refugees, Matou, whose anger and bitterness start to rub off on Ismail, who is already distressed by the failure of his legal case against the Australians.

Under Matou’s influence, Ismail seeks revenge, setting fire to the now-docked yacht that was the beginning of all this trouble. Bilal, however, becomes the suspect and, when he is arrested for the arson, Helen finds herself want-ing to help him. But the weight of suspicion still hangs over Helen, as well as the others. It’s only when Olivia, pushed to the edge by the betrayals around her, cracks that the truth is revealed. She saw Ryan cut the rope and she has been protecting him all this time. When Maddie overhears the truth, she runs to Asad.

Episode Four

Maddie is missing and Ryan and Bree are distraught. Ryan goes to Ismail’s, worried that he now knows the truth but discovers Maddie isn’t there. He confesses to Bree and they now fear the worst, that Ismail knows Ryan was responsible for his daughter’s death and is punishing him with Maddie. Zahra, too, is starting to suspect her husband after the police arrive to question them. Maddie, however, is safe and sound having concocted a plan with Asad to try to scare her father. She wants him to experience what it feels like to lose someone.

The crisis brings Olivia and Damien back into the fold of the family, and they put their own hurts behind them to act as support. Helen, feeling helpless, offers to represent Bilal in court. He reluctantly agrees. When Ismail learns where Maddie is, he decides to collect her and take her home. But before he leaves, he discovers Zahra’s secret, that she has been considering terminating her pregnancy. Filled with anger about what has happened to him, and how his family have suffered and grieved, Ismail takes Maddie instead to an isolated area where he is eventually confront-ed by Ryan. The two men fight, a bloody battle between themselves and their own demons. Maddie returns home, Helen manages to get Bilal released, and each family reunites. While they can now look to the future, they also know that the past will never let them go.

» KEY CHARACTERSRYAN GALLAGHER Ewen Leslie BREE GALLAGHER

Leeanna Walsman MADDIE GALLAGHER Ella Jaz

Macrokanis LACHLAN GALLAGHER Callum Aston OLIVIA

GALLAGHER Phoebe Tonkin DAMIEN PASCOE Joel

Jackson HELEN KORCZAK Jacqueline McKenzie ISMAIL

AL-BAYATI Hazem Shammas ZAHRA AL-BAYATI Nicole

Chamoun BILAL AL-BAYATI Robert Rabiah ASAD AL-

BAYATI Yazeed Daher YASMEEN AL-BAYATI Maha Riad

MATOU Pachero Mzembe

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» BACKGROUND INFORMATION

What is global citizenship?

Global citizenship involves knowing that we are all citizens of the one globe and behaving in a way which demon-strates a respect for that globe and all people on it.

A global citizen is someone who demonstrates the follow-ing values and attitudes:

> Empathy> A commitment to social justice and equity> A respect for diversity> A concern for the environment and a commitment to sus-

tainable development> A belief that people can make a difference

The story told by Safe Harbour challenges the audience to think about what it means to be a global citizen through its portrayal of the actions and decisions of the Australians when they encounter the asylum seekers. In addition, the series prompts us to wonder what we would do if we ever found ourselves in such a difficult situation.

What are maritime zones?

All countries that border the sea have sovereign right over an area of ocean and the resources within this area. These areas are known as maritime zones. The Maritime Zones Border Protection Command protects Australia’s maritime areas by overseeing surveillance and response operations within Australia’s maritime zones.

In Safe Harbour, the Liberame is sailing from Darwin to Indonesia. The yacht is crossing the Timor Sea when it encounters the overcrowded fishing boat. Use Google Earth – https://www.google.com.au/earth/ – to trace the yacht’s route. In Episode 1, the Liberame is a half a day out of Kupang when it encounters the fishing boat. Kupang is the biggest city and port on the island of Timor.

Use the Internet to research maritime boundaries in the Timor Sea. Drawing on your research, draw a map that shows these maritime boundaries and identifies the coun-tries that have maritime jurisdiction in the Timor Sea.

Recommended link. Australian Government Geoscience Australia: Maritime Boundary Definitions: http://www.ga.gov.au/scientific-topics/marine/jurisdiction/maritime-boundary-definitions

Seeking help at sea

If a vessel experiences difficulty in Australian waters and needs to activate its Emergency Position Indicating Radio Beacon (EPIRB) or transmit a distress call on the radio, the Australian Maritime Safety Authority’s Rescue Coordination Centre in Canberra will receive the distress signal or be notified of the situation. The Centre will coordinate the rescue or delegate the role to the relevant regional police organisation.

In Safe Harbour, Ryan and Damien use the radio to trans-mit calls for assistance. When the calls are not received, Ryan as captain of the Liberame is responsible for the decisions made at sea.

Recommended link. Australian Government Australian Maritime Safety Authority: https://www.amsa.gov.au

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What should you do if you come across a boat of asylum seekers at sea?

The following article provides a real world in-sight into the dilemma that faces the Australians aboard the Liberame: https://www.sbs.com.au/guide/article/2018/01/10/what-should-you-do-if-you-come-across-boat-asylum-seekers-sea?cid=inbody:psychological-thriller-safe-harbour-coming-soon-to-sbs

Seeking refuge

Safe Harbour depicts the risks that people are prepared to take to seek asylum in Australia and the ongoing trau-ma that they face once they have resettled in Australia.

There are many reasons why people are forced to leave their homeland as refugees.

Refugees are usually fleeing because of a well-founded fear of specific kinds of persecution related to their: race, religion, nationality, membership of a particular so-cial group or political opinion. The persecution is usually a serious punishment or some significant disadvantage inflicted by a government or by individuals or a group that the government cannot or will not control.

• Who is an asylum seeker?• Who is a refugee?• What is the difference between an asylum seeker

and a refugee?

The United Nations High Commissioner for Refugees (UNHCR) safeguards the rights and wellbeing of refu-gees. Through the 1951 Convention Relating to the Status of Refugees and the 1967 Protocol, UNHCR coordinates international action to protect refugees and resolve refugee problems worldwide.

Countries are responsible for protecting the human rights of their citizens. When they are unable or unwill-ing to do so, people may suffer violations of their human rights that force them to seek asylum in another country. The 1951 Convention Relating to the Status of Refugees and the 1967 Protocol protect the rights of refugees.

The 1951 Convention Relating to the Status of Refugees and the 1967 Protocol are grounded in Article 14 of the Universal Declaration of Human Rights 1948. Article 14 recognises the right of persons to seek asylum from persecution in other countries.

Teachers and students are advised to access infor-mation about the 1951 Convention Relating to the Status of Refugees and the 1967 Protocol online by accessing the UNCHR website: http://www.unhcr.org/.

» DISCUSSIONSKey scenes and sequences

The study of narrative texts like Safe Harbour involves an examination of how narratives are organised, structured and engage audiences. Throughout this study guide, students will be asked to consider how story elements and production elements contribute to the narrative.

Story elements refer to the aspects of a narrative that relate to the storyline. Story elements include:

- the opening, development and resolution of the narrative- cause and effect- establishment and development of and relationship be-

tween characters- point/s of view from which the narrative is presented- the function of setting in the narrative- the relationship between multiple storylines- the structuring of time and its impact on narrative

progression

Production elements are the techniques filmmakers use to tell stories. Production elements include:

- CAMERA TECHNIQUES

- ACTING- MISE EN SCENE

- EDITING- LIGHTING- SOUND

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Characters

Use the character chart in Table 1 overleaf to make notes about the main characters. Spaces have been left for you to choose other minor characters.

• Draw an A3 map that shows the relationships between characters.

• In what ways do the characters change? Who or what causes characters to change? Make timelines that show the development of the main characters. Your timelines should describe, explain and prove the changes evident in the main characters.

• Drawing on your character chart and character relation-ships map, write an analysis of the portrayal of each of the main characters. Make reference to specific moments from Safe Harbour to endorse each analysis.

• Are the characters in Safe Harbour relatable? Which character(s) did you most identify with and why?

Key ideas and issues

KEY IDEAS: BETRAYAL. COMPASSION. CHOICES AND CONSEQUENCES. DUTY. FAMILY. GRIEF. GUILT KEY ISSUE: ASYLUM SEEKERS AND REFUGEES

What other ideas and issues would you add to this list? Choose an idea or issue from the list and prepare a multi-media analysis of the series’ exploration of the idea or issue. Make sure that your analysis considers how the idea or issue is made evident through plot, characters, setting and lan-guage. Use direct and indirect evidence from Safe Harbour to support your analysis.

Production elements

• Do you like the way the series looks? What elements of the production did you find appealing?

When we watch a series like Safe Harbour we are caught up in the story that it is telling and accept everything that happens on the screen as natural. In fact, everything that we see has been carefully chosen and arranged, on the screen and within the story, to have a specific effect on the audience watching the film.

Understanding Safe Harbour involves an investigation of the way production elements are employed in telling the story.

• Working with a partner, describe the way the director of Safe Harbour has used one production element. Use PowerPoint to present your description to the class. Limit your presentation to ten slides. Your presentation should use words and images. You may incorporate video and audio clips.

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Description Motivation Views Values

RYAN GALLAGHER

BREE GALLAGHER

MADDIE GALLAGHER

LACHLAN GALLAGHER

OLIVIA GALLAGHER

DAMIEN PASCOE

HELEN KORCZAK

DESCRIBE THE CHARACTER’S PERSONALITY TRAITS

EXPLAIN WHAT MOTIVATES THE CHARACTER’S ACTIONS

IDENTIFY VIEWS HELD BY THE CHARACTER

IDENTIFY VALUES THAT ARE EITHER ENDORSED OR CHAL-LENGED BY THE CHARACTER.

Table

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ISMAIL AL-BAYATI

ZAHRA AL-BAYATI

BILAL AL-BAYATI

ASAD AL-BAYATI

YASMEEN AL-BAYATI

MATOU

Description Motivation Views Values

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» EPISODE 1Episode 1 begins in 2013 aboard the Liberame. The setting is the Timor Sea. Damien Pascoe has just caught a fish. Bree and Ryan Gallagher are impressed with the catch, as is Damien’s girlfriend and Ryan’s sister Olivia who takes a photograph to capture the moment. Also on board is Helen Korczak, a friend and neighbour of the Gallaghers.

• Describe the atmosphere on board the Liberame. Draw on this scene and the scene that follows in which Ryan gives Helen a lesson in knot tying.

• Later, as Damien fillets the fish, Olivia tells him and Ryan,‘The ocean’s full of plastic. There’s like trillions and tril-lions of tiny little pieces out there just floating around, and the fish are eating it.’What does this remark tell the audience about Olivia?

• Write a detailed analysis of the opening sequence. How does it foreshadow the events to follow?

The narrative shifts to five years later. The setting is the Brisbane central business district. Ryan catches a taxi to his Ashgrove home. He talks on the phone during the trip, discussing the likely success of a business deal. The driver is Ismail Al-Bayati.

• How does the director position the audience to regard Ismail?

Having established the two temporal settings of Safe Harbour, the narrative now shifts back and forth from the present day to the events about the yacht in 2013. In the next flashback, a conversation about lunch is cut short when Olivia notices a boat on fire in the distance. It is an overcrowded fishing boat. The people aboard shout and wave for help. One of them is Ismail.

• Explain the significance of the shot of Bree and the others looking from the yacht to the fishing boat in the near distance.

Ryan and Damien travel across the water in a dinghy towards the fishing boat. Ryan intends to give the people on board the fishing boat water and to look at the engine. Bree follows their movements with the aid of binoculars.

• Describe the atmosphere on board the fishing boat. What do Ryan’s interactions with the passengers, in particular Ismail, in this and a scene that follows in which Ryan attempts to fix the engine but fails, reveal about Ryan and his willingness to render assistance?

• Bilal: Tell him we want to go on his boat. Tell him! It’s a cruise ship. Tell him now.

Ismail: My friend. Hey. We go to Australia. You ... you ... you take us.Bilal: You take us Australia.Ismail: You take us, please. Please!Compare the yacht and the fishing boat. Why does Bilal refer to the Liberame as ‘a cruise ship’?Ismail and Bilal both ask Ryan to take the asylum seek-ers on board the fishing boat to Australia. The asylum seekers are attempting to enter Australia without authorisation.Is it a crime for asylum seekers to enter Australia without authorisation? Would Ryan be committing a crime if he brought the asylum seekers to Australia on the Liberame? Use the Internet to find the answers to these questions.

In the kitchen of his Ashgrove home, Ryan recounts his day to Bree who is preparing dinner. Their teenage

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children, Lachlan and Maddie sit at a table on the deck. They should be doing their home-work. Ismail from the driver’s seat of the parked taxi observes the Gallagher family.

The scene that follows is set in the flat that is home to the Al-Bayati family. Ismail’s teenage son wants to know if he can go to a friend’s house. Zahra, Ismail’s wife is setting the table and preparing dinner. She asks her husband about his day. As Ismail’s brother Bilal takes the keys to the taxi, Ismail tells Bilal that he has ‘found one of them’.

• Make a table that provides a comparison of the Gallagher family and the Al-Bayati family and their circumstances based on what we see of the Gallagher family home in Ashgrove and the Al-Bayati family’s flat in Stafford.

Having returned to the yacht, Ryan as captain of the Liberame uses the radio to call for immediate assistance. When they fail to make contact, the Australians discuss what they should do next.

• Ryan: Well we could try and take em on board.Damien: Oh, there’s like forty of them, or more.Bree: Well we could strip stuff out. We could make some room.Ryan: Or we could tow em.Damien: Yeah, that could burn out the engine.Olivia: Do we even have enough food? Water?Helen We could go for help. We could mark their posi-tion, head back into Australian waters until we get contact.Ryan: Their ... their engine is dead. It’s totally cactus.Helen: We’re not set up for rescue. So why don’t we go to someone who is?Bree: Look, we’ve got to think about the kids, Ryan.Damien: And whether we take them on board, or ... or whether we tow them, we’re putting everyone at risk. Even them.Who is right? Who isn’t? What ideas are practical? What ideas are impractical? What statements are motivated by reason? What statements are motivated by emotion?Imagine you were on the Liberame. What would you have added to this conversation?

• Why does Ryan refuse to set off the emergency beacon?

• Bree: They just want to go to Australia. That’s what they said.

What are the Australians’ legal obligations? What do you think are their moral obligations?

Damien believes that putting forty people on the yacht ‘would be a big mistake’. Olivia suggests that Damien try to fix the engine. The men argue. Helen arbitrates,

‘It’s your boat, Ryan. You’re the captain so ultimately it’s your call. So what do we wanna do? Do we want to stay and help or do we want to go and get help from some-where else?’

The decision is made to take a vote.

In a subsequent scene, Ryan, in the privacy of the galley counts the votes.

• Ryan: It’s four to one.Damien: Four to one what?Ryan: We’re gonna tow em.The outcome of the vote is to tow the boat to Darwin. Why do you think Ryan decides to deceive the others about the vote, after all he is the captain? Explain the significance of the scene in which Ryan ties the tow line between the yacht and the fishing boat.

• How does the director depict the distress of the asylum seekers?

The narrative returns to the present. It is the next morn-ing. Helen and Ryan acknowledge each other as they deal with their wheelie bins. Both are on their mobile phones discussing work matters. Ryan looks across to the parked taxi, finally realising that the driver is Ismail.

• Describe Ryan’s reaction when he realises the taxi driver is Ismail.

When Ismail says he can’t come in for coffee because he is working, Ryan proposes a family barbecue on the

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weekend. Ismail refuses and then accepts. A smiling Ryan, still shaking his head in disbelief, hands Ismail his business card and tells him that he will see him on Sunday.

• How do the others react to the news of the barbe-cue? Your answer should refer to Bree and Olivia’s response when Ryan tells them what happened when he took out the bins. Why does Ismail want to attend the barbecue? Why doesn’t Zahra want to attend the barbecue.

On the Sunday of the barbecue, the Gallaghers make preparations for their guests. The conversations about cooking the meat, drinking alcohol and dressing modestly highlight respect. Lachlan and Maddie’s questions reveal that they do not know what happened when their parents holidayed on the yacht in 2013.

• Bree, Olivia and Helen raise their glasses of cham-pagne and toast ‘serendipity’.What is serendipity? Why is this gesture ironic?

• Zahra: You said you would take us to Australia. And in the middle of the night, you cut us loose. How could you? How could you leave us there? ... Seven people died! Seven! ... You killed my daughter!Write a detailed analysis of this sequence from the arrival of the Al-Bayati family to Zahra’s outburst and the Al-Bayati family’s decision to leave. What does the audience learn about what happened after the fishing boat became separated from the yacht? What does the audience learn about the Al-Bayati family’s life in Australia? What does the audience learn about Ryan and Bree’s attempt to learn of the fate of the asylum seek-ers? Describe each character’s response to Zahra’s disclosures.

Later than night, Ismail apologises to Zahra. He explains what he hoped that the encounter would achieve,

‘I shouldn’t have agreed. I shouldn’t have made you go. I thought if I looked into their faces, I could understand.’

Zahra does not want to understand; she just wants to

move forward. Bilal is resentful about the outcome of the barbecue. He tells Ismail, ‘I want Yasmeen to be honoured. I want you to think about Yasmeen.’ Ismail is confused and distressed, caught between what he believes God wants of him and what he wants for himself.

Helen has found the evidence that proves Zahra’s claim. Seven people died when the boat sank, including the Al-Bayatis’ daughter. She asks Ryan, Bree and Olivia what they want to do next.

• Helen: Do we want to report it?Olivia: Well, we didn’t before.Helen: We didn’t know seven people died before.Bree: I’m sorry, I still don’t understand why they’re blaming us. They cut themselves loose when we turned back to Indonesia, yes?Helen: Well, you know, that’s what we think happened.Olivia: They stole the life jackets. And the dinghy. They wanted to get to Australia.Helen: Yes, that’s what we’ve been telling ourselves all this time but we really don’t know for sure, do we?What obligations did the Australians have to report the incident at sea when they arrived in Indonesia and when they returned to Australia? Was their decision not to report the incident irresponsible? Was their decision not to report the incident inhumane? Should they have told the authorities in Indonesia and in Australia the truth of what happened at sea?

• Helen: Think about it. Why didn’t we report the boat to the authorities when it happened? I think it’s because we knew what it looked like. It looked like one of us had cut the rope.Why does suspicion fall on Damien?

Ryan calls Ismail. He wants to help the Al-Bayatis.

‘Anything you want. Just ask. Look, Ismail, I’ve been lucky. With the business and everything. I’ve done well. I can’t imagine how hard it is to come to a new place and start over again with nothing.’

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When Olivia discovers that Ryan has transferred $50,000 to Ismail and Zahra Al-Bayati’s bank account, she tells Bree. Bree is displeased by Ryan’s decision, as is Zahra when she finds out about the transaction.

• Is Ryan’s offer genuine? And even if it is genuine, is it insensitive? Why does Ismail say no? Why is Bree angry about Ryan’s decision to give the Al-Bayatis financial compensation? Is her anger justified? Why does Zahra refer to the $50,000 as ‘blood money’?

While Ryan mucks around with Lachlan and Maddie, showing them his kung fu moves, Bree emails Damien.

• What did you think when Bree contacted Damien with-out letting any of the others know?

Helen is at her computer looking at photos from the holi-day when Graham, a senior colleague, informs her that she may soon be a magistrate. A surprised Helen expresses her gratitude to Graham and then turns back to the com-puter and deletes the photos.

• Explain the significance of Helen’s action.

In the flashback that follows, Ismail comforts his daughter with stories of Australia.

‘Do you know what I’m going to do when we get to Australia? I’m going straight to the closest shop and I’m going to get everything I need to make you bourek. With pickles. You like that, don’t you?’

When Yasmeen asks if there will be ice-cream, her father replies, ‘Any flavour you want.’

• ‘In Australia they have everything.’Why do people seek asylum in Australia?

• Explain the significance of the shot of the tow rope dangling in the water.

Damien returns with stories of living and working abroad. Ryan is surprised by him turning up ‘out of the blue’, until Bree explains that she contacted him. Ryan is just as surprised to learn that Bree and Damien have been in contact for over a year or more. When Olivia learns about Damien’s return, she tells Bree that ‘he can run away like he did before’.

• Explain Ryan’s animosity towards Damien. How does Ryan react when Damien suggests they talk to the Al-Bayatis?

When Zahra is using their home computer to study, she discovers a folder that reveals Ismail has been compiling information about the Gallaghers. She confronts her hus-band and tells him to stop. Ryan, unsettled by Damien’s comments about the coincidence of Ryan finding himself in Ismail’s taxi, begins his own research. When he shows the agent who is handling the sale of the Liberame a photo of Ismail, the agent recognises him. Ryan tells Bree about his discovery.

• When Bree goes jogging, she heads to the jetty. On board Liberame, she searches until she finds a knife. She makes her way back onto the deck and drops the knife into the water.Explain the significance of Bree’s decision. How did you judge her action?

Zahra unable to hide that she is ill, tells Bilal that she is pregnant. She has not told Ismail and she asks Bilal to promise not to tell his brother the news.

• Explain Zahra’s reluctance to tell Ismail that she is pregnant.

Episode 1 ends with a flashback to the night that the tow rope was cut. The life jackets are gone and so is the din-ghy. Lightning flashes in the distance.

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» EPISODE 2Episode 2 begins on board Liberame. Lightning flashes in the distance. Despite Ryan believing that turning the boat around and heading back to Indonesia is a bad idea, Damien thinks it is their only option.

• Bilal: They’re turning.Matou: We have to wake the others.Bilal: No.What are the likely consequences that the asylum seekers will face in Indonesia?Damien makes the decision to turn the boat around. Why? Would you have turned the boat back in the direction of Indonesia? Why? Where does our respon-sibility to others begin and end?

The action shifts from past to present. Lachlan and Maddie are wearing Day of the Dead masks, gifts from Damien. Damien shares his story of being in Mexico and watching the parade. While Bree acknowledges Damien’s generosity, Ryan cynically observes the Harrods price tags. The awk-ward conversation is interrupted by a knock on the door. Australian Federal Police Officers Wade and Matera inform Ryan that his name has been mentioned in the reporting of a Commonwealth crime.

Following the visit from the Australian Federal Police, Ryan, Bree, Olivia and Damien meet with Helen and Graham to discuss their predicament. Graham explains that in towing the fishing boat, Ryan, the Captain of Liberame accepted a duty of care for the refugees. He advises them to cooper-ate with the AFP but not to discuss the case with each other. Helen reminds the Gallaghers and Damien not to contact the Al-Bayatis.

Later the AFP officers search the Liberame. Ryan thinks he

has answered their question about anyone recently being on board the yacht honestly until he spots Bree’s earbuds on the deck.

• Graham: As you may or may not know, international and Maritime law, as well as the Australian Navigation Act says you have an obligation to help a vessel in distress. The penalty for criminal negligence in failing to render assistance is up to ten years.Why is the Australian Federal Police duty bound to investigate the events that took place on the Liberame in 2013?Before you answer this question, spend some time researching the obligations of rendering assistance to any person found at sea in danger or distress.Recommended links:Australian Navigation Act 2012https://www.amsa.gov.au/vessels-operators/regulations-and-standards-vessels/navigation-act-2012International Convention on Maritime Search and Rescue. http://www.imo.org/en/About/Conventions/ListOfConventions/Pages/International-Convention-on-Maritime-Search-and-Rescue-(SAR).aspxUnited Nations Convention on Law of the Seahttp://www.unhcr.org/4ef3002c9.pdf

Despite being told not to contact the Al-Bayatis, Damien visits their flat. He feels a need to make reparation for what happened at sea. He tells Ismail and Bilal,

‘I believe this can be resolved between men. Not lawyers. And I ... came here because I ... I feel the need to take responsibility.’

• Bilal: What are you saying? That you are guilty?Damien: We’re all guilty. We could have taken you on board the boat. We didn’t do that.What do you think Damien wanted to achieve by talk-ing to Ismail and Bilal about his decision to turn the

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boat around? Who does Damien think cut the rope? Why does the encounter become violent?Later as the Al-Bayatis eat dinner, Bilal and Zahra question Ismail about Damien’s reference to a lawyer.How does Ismail justify his decision to engage a lawyer? Why is Zahra angry with Ismail for engaging a lawyer?Asad tells his uncle, ‘They should pay for what they’ve done to us.’ Writing as Asad explain why he thinks the Australians should be punished for their actions at sea.

An email containing a photograph of the Liberame with Arabic writing on the hull angers Ryan. He confronts Ismail.

• Ryan: What does that say?Ismail: Yasmeen.How does the confrontation shape the audience’s understanding of Ismail’s need for justice?Explain the significance of the scenes that follow in which Zahra talks on the phone about terminating a pregnancy and Bilal swims in the sea.How does the flashback shape the audience’s under-standing of the relationship that existed between the Gallaghers and the Al-Bayatis before the tow rope was cut?

In Episode 2, Bree, Ryan, Olivia, Helen and Damien are in-terviewed by the AFP officers. Graham is present for all of the interviews but one. Damien does not want Graham to act as his counsel. The AFP officers also interview Ismail.

• Read the transcripts of the interviews – see Appendix 2. Drawing on the interviews, write a summary of each character’s knowledge and understanding of what happened when the Liberame encountered the fishing boat. How does each character represent their involve-ment in the situation? How does each character defend the decisions made at sea? What do the characters reveal about themselves and their relationships with each other during the interviews?

Bilal is a regular at a late night café. The proprietor is Renee. In this scene, he is speaking Arabic. Renee not knowing what he is saying attempts to compliment Bilal

but his response despite how it sounds is revealing of his anger and his pain,

‘When your soldiers left the Islamic State militants came. They were looking for me. But they couldn’t find me. They found my wife instead. Then took her and they raped her and they tortured her. Then they hanged her. They hanged her so that everyone could see. Her body was hanging there for four days. Four days.’

• Given Renee’s genuine interest in Bilal, why do you think he behaves as he does in this scene?

The Gallaghers’ car is graffitied by Asad. Asad writes the word ‘Murderer’ on the front window screen of the car. Damien makes a complaint against Bilal to the taxi com-pany he works for.

• Why do you think Asad decided to graffiti the Gallaghers’ car? Do you think he was motivated by justice or revenge? What about Damien’s decision to make a false claim about Bilal to his employer? Is his behaviour motivated by justice or revenge?

• In a flashback scene, Damien tries to make radio contact. Meanwhile Hamid, one of the asylum seekers has boarded the Liberame. Olivia and Bree are fright-ened by Hamid’s presence. Ryan and Ismail attempt to restore calm.How does Hamid access the Liberame? What does Hamid’s behaviour suggest about the desperation of the asylum seekers? Is it understandable that the Australians are fearful for their safety after this event? What are the consequences of Hamid’s behaviour for Ismail and his family?

When Zahra realises that Maddie and Asad are in contact with each other, Zahra informs Ryan. As they speak, Zahra makes the connection between the red marks on Asad’s shirt and the graffiti that Ryan is cleaning off the car. They are in agreement that the contact must stop.

• What happens when Ryan speaks to Maddie? Is Ryan’s request reasonable? Is Maddie’s response understandable?

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The AFP officers visit Ryan at work. They want to know why he didn’t mention the $50,000 transfer Ryan made to Ismail’s bank account. When he refuses to comment without his lawyer present, Wade and Matera tell Ryan that Helen’s interview was ‘off the record’. If their inten-tion was to antagonise Ryan, they are successful.

• What happens when Ryan confronts Helen? How does she justify her ‘off the record’ interview? Explain the significance of Helen’s statement, ‘You might have been the Captain but we have a shared culpability. We’re all in this together.’?When Ryan arrives home, he confronts Bree about her being on board the Liberame. Bree tells Ryan she decided to get rid of the knife.How does Bree justify her action?

Bree books Damien a hotel room and makes it clear that as soon as the investigation is over he is to disappear again. Her ultimatum makes little sense at first – after all, she was the one who emailed Damien about the reunion with the Al-Bayatis. Damien decides it is time to tell the truth.

• Damien: I fucked Bree. It was after we got to Kupang. It’s why I walked out on Olivia and disappeared. It didn’t ... it didn’t mean anything, I swear. It’s just ... What happened on that boat shifted everything. You changed. Liv changed. We all did. Nothing’s gone right since then.Explain Damien’s decision to tell Ryan about his brief affair with Bree. Why does Bree pretend to be asleep when Ryan arrives home? How does the revelation of Bree and Damien’s sexual relationship shape the audi-ence’s understanding of the key ideas of loyalty and betrayal?

Episode 2 concludes with Bilal and Ismail at odds. Ismail is disap-pointed and angry that Bilal has not trusted him with the truth – that he lost his job. The broth-ers argue and then fight. Zahra tries to intervene but is accidentally punched and lands hard on the floor.

• Why does Bilal tell his brother, ‘You killed Yasmeen, you know that?’?Why does Ismail accuse Bilal of not doing all he could to save Yasmeen?What does the flashback reveal about what hap-pened that night on the boat?

» EPISODE 3Episode 3 begins with Maddie and Lachlan arguing. Maddie calls Lachlan a ‘deadshit’ and Lachlan calls Maddie a ‘stupid bitch’. Ryan and Bree intervene. While the reason for the conflict is unclear, Bree believes it has something to do with the unresolved tension between her and Ryan. The conversation is interrupted by a phone call from the AFP. They have made a decision.

• Wade: Mr Gallagher, you are formally advised that the Australian Federal Police have exercised their discre-tionary powers in this matter and deemed that, due to the absence of conclusive evidence, you have no case to answer.Describe Ryan’s reaction to the finding of the AFP. How do the other characters feel about the finding? Do you think justice was served?

Asad is heading out when Ismail arrives home. He tells his father he is going to Jordan’s and refuses a lift when one is offered. Inside the flat Ismail and Zahra talk about Bilal.

• Zahra: I love you. Asad loves you. And your brother would die for you if he had to.Why are Ismail and Asad at odds? Drawing on this scene and others in the series describe Zahra’s ability to make her husband see sense.

While Helen is relieved that the investigation is over, she is still unsettled by the outcome. She tells Graham that it ‘just doesn’t feel right’. While Graham agrees, he has a more pragmatic view of the matter,

‘I sat through all those interviews, Helen. I don’t know what happened out

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there in the middle of that ocean, but with all the versions I heard, I’m pretty sure that someone in your group isn’t telling the whole truth. So yes, the decision isn’t right. Something like this is a political hot potato. I’m not sur-prised they dropped it. No one forced them to get on that fishing boat, Helen. I know this sounds cruel, but they took fate into their own hands when they made that decision. I think it’s time to let it go, don’t you, hmm? Focus on what’s ahead. You’ve got so much to look forward to.’

• Why does Graham think that the decision ‘isn’t right’? What does he mean when he refers to the investiga-tion as a ‘political hot potato’? Do you think Graham is an empathetic person? Does his comment suggest he understands the choices that asylum seekers make to flee persecution and find refuge in another country?Explain the significance of Helen pouring herself a full glass of scotch and the flashback scene that brings this sequence to a conclusion.

When Ismail visits Matou to find out if he has seen Bilal, the conversation turns to that night on the boat. Ismail is not only searching for his brother; he is searching for the truth. When Zahra learns that Ismail has been associating with Matou, she expresses her disapproval.

• What is Matou’s recollection of the night that the tow rope was cut? Why does he also want to see the Gallaghers and where they live? How does the director position the audience to view Matou?

Damien gives Olivia the small wooden set of drawers that they bought from a hawker in Tiananmen Square. He then tells her the truth about why he left so suddenly and never made contact with her. Olivia is devastated by Damien’s confession that he slept with Bree. He attempts to ex-plain, blaming what happened on his decision to turn the yacht around, but Olivia is not prepared to listen. Later she

examines the contents of the drawers and recalls the past.

• Explain the significance of the flashback scene. How does it shape the audience’s knowledge and under-standing of what happened on the yacht?

Like Damien, Bree is trying to set things right. She has booked a family holiday at Whistler Ski Resort. Maddie and Lachlan are excited. Ryan is furious that Bree has made such a significant decision without him. He is not in the mood for any more surprises.

• Explain Ryan’s objections to the holiday. Is his anger justified?

When Olivia realises that Bilal is living on the Liberame, she informs Ryan. Olivia believes that Ryan should report Bilal to the police for trespassing. Ryan decides a new pad-lock will be enough to keep Bilal away. Having accepted Renee’s offer of a few hours of casual work at the café, Bilal having nowhere else to sleep now that he cannot ac-cess below deck on the yacht, bunks down in a store room at the back of the café.

• Why does Bilal choose to deceive Renee? What hap-pens when Renee discovers Bilal sound asleep on the store room floor? Explain the significance of her response to his predicament. Compare her response to Bilal’s act of trespass with Olivia’s response.

• Ismail: I tried to get justice, Matou.Matou: Justice isn’t given, Ismail. It has to be taken.What is justice? What is Ismail’s view of justice? Why doesn’t Matou endorse Ismail’s view of justice?Explain Ismail’s decision to spend time with Matou rather than to go home and be with Zahra. What do the men talk about when they are together? Is Zahra right to disapprove of Matou?What does Ismail and Matou’s conversation in the scenes set on the evening they set fire to the boat

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reveal about the way they view their past and their suffering?Explain Matou’s decision to set fire to the Liberame. Drawing on the scenes set at the jetty and at the flat, describe Ismail’s response to the fire. Why does Ryan decide not to report the arson to the police?

For Maddie, the tension between her parents is stressful. She wants to understand why they are always arguing and why her father has become so withdrawn but Bree does not want to tell her daughter the truth. Maddie needing to make sense of the situation reaches out to Asad.

• Maddie: I don’t know how you stay happy when all this bad stuff’s happened to you. I couldn’t do it.Asad: I just try not to think about it.What do Asad’s recollections reveal about the trauma that asylum seekers experience in their quest for refuge?Drawing on the scene set under the bridge, write an analysis of Maddie and Asad’s friendship. Your analysis should refer to both story and production elements.Asad invites Maddie home for dinner. Is Maddie a welcome visitor? Describe Zahra and Ismail’s response to Maddie’s presence.

Bilal is arrested for maliciously destroying property by fire. It is Olivia’s doing. She reports the crime to the police and identifies him as being at the scene of the crime immediately before the fire.

• Oliva: It happened, Helen. I saw him.Helen: Well so what? You know you could just let it go. It is never going to end. It is just gonna keep going until it destroys us all. I mean, is that what you want?Watch the scene in which Olivia and Helen talk on the phone after Bilal is arrested. Why is Helen angry with Olivia? Do you think Olivia did the right thing to report the crime to the police?

In a room at the Remand Centre, Ismail and Bilal discuss their fates. Ismail feels guilty that Bilal has been arrested

for a crime he did not commit.

• Ismail: I can’t let you. Take the blame for something I did.Bilal: You have to. You have a family.Ismail: You’re my family.Bilal: And Zahra ... and Asad.Ismail: I’ll tell them the truth.Why is Bilal willing to take the blame for the fire on the Liberame? Explain Ismail’s decision to do as Bilal asks. What does this scene suggest about the brothers’ relationship?

Like Damien, Olivia has decided to tell the truth. She visits Damien, gives him a DVD and leaves. Damien is devastated when he watches the DVD and realises that Olivia was pregnant with their child. Olivia then confronts Bree about her part in it all. When Ryan tries to calm Olivia, she lashes out at him. Maddie listens from the hallway as her parents and aunt argue.

• Olivia: You came to the clinic with me. You sat with me, holding my hand. You stayed there for the whole thing. You were still there when I got out and that whole time you knew. You knew why Damien left and you never said anything.Bree: You didn’t want that baby, Liv.Why is Olivia angry with Bree? How does Bree defend her behaviour? Is Olivia’s anger justified?

• Olivia: You’re supposed to trust the people that you love. They’re s’posed to stick by you, you’re s’posed to stick by them. I can’t anymore, Ryan.Why is Olivia unwilling to trust? Were you surprised by her admission that she saw Ryan cut the rope? Explain the significance of the flashback scene, in particular how it portrays Ryan’s decision to set the fishing boat loose in the middle of the Timor Sea.

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» EPISODE 4Having overheard the truth of what happened that night on the yacht, Maddie runs away. Bree frantically calls the homes of Maddie’s friends to determine where she is. Ryan returns from the police station where he has reported Maddie as missing. Needing to do more, Ryan drives to the Al-Bayatis’ flat.

• Ismail: His daughter runs away. It’s not our business.Zahra: We know what this feels like Ismail. We can’t wish it on anyone else.Ismail: Can’t we?Write an analysis of the scene in which Ryan confronts the Al-Bayatis about Maddie’s disappearance. Your analysis should refer to both story and production elements.

Helen convinces Bilal that his counsel is ‘incompetent’ and that she will provide him with a ‘quality defence’.

• Bilal: There is a saying in Iraq, you know? How you say, ‘a man who is drowning would even grab onto a snake.’ You understand?Explain Bilal’s decision to accept Helen’s offer of help. Why does Graham question Helen’s decision to represent Bilal? What does the conversation between Graham and Helen reveal about Helen’s motivation for helping Bilal?Ryan believes that Maddie has run away because he overheard Olivia admit to Ryan that she saw him cut the rope. When he tells Bree, she is shocked to learn the truth about what happened that night on the yacht. Ryan is convinced that he can make things right but Bree is devastated by Ryan’s revelation and what it may mean for her family.In a subsequent scene, Bree talks to the police on the phone. Her anger about all that has happened is obvi-ous as she berates the police officer on the other end of the line,

‘They assault our friend, they vandalise our car, they set fire to my boat and all you can do is talk to them? Like this is what I pay taxes for, so that the police can sit around on their arses all day?’

• Are Bree’s expectations of the police unreasonable? Is her distress and her lashing out at her neighbour just about Maddie being missing? Were you surprised by Olivia’s being there and supporting Bree?

The police visit the Al-Bayatis. They search the flat. When they leave, Ismail angrily slams the front door of the flat.

• Ismail: It’s never going to be alright for us to be here. Never. We’re always going to be something else.What does Ismail mean when he says ‘we’re always going to be something else’?

In a scene that follows, Ryan breaks into the flat and searches for evidence of Maddie having been there.

• What happens when Ryan sees the photograph of Yasmeen?Explain the significance of the letter from the family plan-ning clinic. What does Ryan think it means? What are the repercussions of him showing the letter to Ismail?

Later, when Damien encounters Ryan at the joinery, he tells Ryan to go home. Ryan admits that it is his fault that Maddie has run away.

• Damien: Well you wouldn’t have done what you did if I hadn’t turned the boat around. It’s not just your fault. We all fucked up royally.How does Damien view Ryan’s decision to cut the rope? Does he react how you expected him to react to the truth? After all, Ryan’s secret has meant that some of the others were suspicious of Damien. Why do you think Damien believes they were all at fault? Do you agree that all of them are culpable?

With Asad’s help, Maddie is hiding out at the motel where Matou works.

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• Asad: I don’t think running away’s a crime. I mean, you said it yourself. You wanted your Dad to know what it felt like. To lose someone. If you go back now, what was the point?Maddie: He has to hurt. He has to really feel it.Write an analysis of the scene in the motel room, when Asad brings a starving Maddie food and informs her of the fallout of her deci-sion to run away. Your analysis should refer to both story and production elements. What does this scene reveal about Maddie’s deci-sion to run away and Asad’s decision to help her?Later, after Asad has left, Maddie uses the computer in the office to look at the Facebook page that Bree has made to alert people to Maddie’s being missing.How does the Facebook page make Maddie feel? Were you surprised by Matou’s decision to tell Zahra where Maddie is hiding. How does Asad justify his decision to help Maddie?

In a pre-trial hearing, Helen argues that given the evidence against Bilal is circumstantial, she wishes to cross examine Olivia. The prosecutor challenges her request but Helen is adamant,

‘Ms Gallagher did not actually see the accused commit the crime. He was merely in the vicinity and according to the witness’s own statement, the accused had already vacated the yacht when the incident occurred.’

• Explain Helen’s desire for justice to be served. Is she just helping Bilal or is she actually helping herself?

Ismail is about to go to the motel, pick Maddie up and take her home, when Ryan confronts him. Ryan thinks Maddie is pregnant and that Asad is the father. Ismail realises the letter belongs to Zahra.

• Ismail: When were you going to tell me?Zahra: I ... I still hadn’t made a decision and I --Ismail: About something like this? In secret? After eve-rything we’ve been through? This brings ...This brings

me so much pain. This ... This brings me shame –Zahra: Shame? I bring you shame? I will tell you about shame. Shame is knowing I will never get to see my daughter grow up. Or get married. Or have children. I will never get to see her be happy. Shame is waking up every morning, knowing that if only ... If only I had held onto Yasmeen ... Don’t speak to me about shame.What does Ismail mean when he uses the word ‘shame’? What does this word mean to Zahra? How does Zahra’s response add to your understanding of her uncertainty about the pregnancy?

An angry Ismail arrives at the motel. He tells Maddie to col-lect her things and that he is taking her home. Maddie is concerned that Asad is in trouble for helping her. She tells Ismail that the decision to run away was her idea. Ismail reassures her that neither of them is in trouble.

• Why does Ismail leave Maddie’s phone in the motel room?

The action shifts to the Gallaghers’ home. Zahra and Asad wait with the Gallaghers and Damien for Ismail to arrive with Maddie. This sequence is intercut with scenes set in the taxi as Ismail drives Maddie away from rather than towards her home.

• Write an analysis of this sequence. Why Ismail is not doing what he said he would do – bring Maddie home? What do the characters fear? In particular, explain how the director arouses the audience’s suspicion and cre-ates suspense.

In a scene set at the taxi depot, Ryan demands to know the GPS location of Ismail’s taxi. When he threatens the proprietor of the taxi company about employing illegal immigrants, Ryan get what he wants. When he reaches the destination, he sees Ismail and learns that Maddie has fled. Ismail and Ryan fight until exhausted and distressed

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they fall to the ground.

• Ismail: I let her go. But you! You! You left us out there to die! You killed my daughter! You broke us!Ryan: I know, I know ...Ismail: You broke me!A flashback scene portrays the struggle that the asylum seekers faced when the boat sank in the Timor Sea. Write an analysis of this scene. Your analysis should refer to story and production elements. How does this scene add to the audience’s knowledge and understanding of Yasmeen’s death and the unresolved grief of her parents, uncle and brother?

In a scene set at the Al-Bayatis’ flat, Ismail and Zahra look forward rather than back. Confronting the past has proven to be traumatic but Zahra’s decision to keep the baby signals that something good has also come of it all.

• Zahra: I miss her. Every day. We can’t replace her. You remember when we first got married, before the war got in the way? How many children did we say we would have?Ismail: Three.Zahra: One for you One for me and one for the world. I think the world deserves this little one. And us too. Don’t you?What is the purpose of this scene? How does it portray Zahra and Ismail’s relationship? How does it portray their understanding of the past, present and future?

For the Gallaghers, Damien and Helen, it is time for the truth, the whole truth, to be told.

• Bree: I just wish I hadn’t been so fucking gutless.Damien: You were scared. We were all scared.Ryan: That night, I um ... I couldn’t sleep so I went --Olivia: You don’t have to do this.Ryan: No, it’s fine, it’s fine. So I went up on on deck. I just wanted to check on the other boat and make sure everything was okay. And I saw you there, Helen, and you’d fallen asleep. And I’m sitting there. I was look-ing at this boat and I was thinking, ‘it’s too hard.’ And I didn’t know if ... if we were towing em into a storm

or ... or away from one. But we were taking them back to the last place that they’d wanna go. I mean, they ... they may never get another chance. I ... I ... I didn’t know what to do. I just did what you all wanted.What is the purpose of this scene and the flashback to the night of the vote? How does the scene set in the present portray the relationship between Ryan, Bree, Olivia, Damien and Helen? How does the flashback scene portray Ryan’s decision to cut the rope?

• I just want the answer to one question. Ms Gallagher, can you say, without a shred of doubt, with one hun-dred percent certainty that this is the man you saw leaving the yacht?Helen cross-examines Olivia.What is the outcome of the cross-examination?

With Bilal at home where he belongs, the Al-Bayatis sit down to dinner together. For Ismail it is the chance to apologise.

• Read Ismail’s apology:‘I’ve been so focussed on everything I’ve lost, I stopped seeing what I have. You. My family. And every-thing you do for me. Iraq. Yasmeen. They remain in my heart. And now we have a new life. A new home. And so much to look forward to.’Why does Ismail feel the need to apologise to his wife, son and brother?Explain the significance of the short scene that follows in which Bilal visits the café to see Renee. What does this scene suggest about Bilal’s future?

Ryan and Ismail meet on a pedestrian bridge in the CBD. Ismail tells Ryan about Yasmeen. His words reflect his love of his daughter and that he will always grieve her loss,

‘Yasmeen was a little rascal, you know. She was always outside, and always playing. She loved nature. Bare feet. Dirty face. Laughing. Playing tricks.’

• Explain the significance of the meeting place.What does this scene reveal about forgiveness?Explain the symbolism of the framed photograph of Yasmeen.

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» INVESTIGATIONS1: Australia’s current response to asylum seekers and refugees

The focus of this investigation is to determine Australia’s demonstration of global citizenship by examining Australia’s current response to asylum seekers and refugees. This investigation consists of collaborative and individual tasks.

The investigation has four parts:

A. Identify the current Australian Federal Government’s re-sponse to asylum seekers and refugees. Is the current Australian Federal Government’s response to asylum seekers and refugees a positive example of global citizenship? Compile a written report that provides a detailed account of the findings of your investigation.

B. Identify the response of an Australian non-government organisation (NGO) to asylum seekers and refugees. How is the work of the NGO promoting global citizen-ship? Make an A3 poster to raise awareness about the NGO that you have investigated.

C. Identify an individual who is making a positive contribu-tion to the situation of asylum seekers and refugees. This individual may be employed by the Australian Federal Government or work for an NGO. You could also choose an individual who is regarded as an advo-cate for asylum seekers and refugees or an individual who works for a media outlet. The individual may be someone you know who has an active involvement in the campaign to seek justice for asylum seekers or refugees. Write and present a speech commending this individual’s demonstration of global citizenship.

D. Do you think your response to asylum seekers and refugees demonstrates global citizenship? Write a personal reflection in answer to this question.

2: The Tampa

On August 24, 2001, an overcrowded fishing boat known as the Palapa experienced distress in the stretch of ocean between Christmas Island and the coast of Indonesia. The ship that rescued the asylum seekers aboard the Palapa was the Norwegian container freighter MV Tampa. The captain attempted to bring the asylum seekers to Australia, the nearest mainland but was prevented from doing so by the Australian Government.

Use the Internet to research the Tampa incident and then use your research findings to answer the following questions.

• How did the Tampa incident determine Australia’s policy on unauthorised boats?

• How did the media coverage of the Tampa incident influence public opinion about asylum seekers?

• How did the Tampa incident influence the 2001 Federal election?

• Captain Arne Rinnan was the captain of the MV Tampa. What role did he play in the rescue of the asylum seekers aboard the Palapa? How was his intervention viewed by the Australian Government of the time?

• Why do many of the Tampa refugees regard Captain Rinnan as a hero? Do you think his actions were he-roic? Why?

» EXTENDED RESPONSES

The following topics provide an opportunity for students to construct an extended response that discusses Safe Harbour. An extended response should be 750 – 1000 words in length and should draw on specific evidence from Safe Harbour. The topics can also be used to facilitate small group discussion and class forums about the series.

• ‘The sailing holiday changes everything.’ Discuss.• ‘Knowing what’s right and what’s wrong, isn’t always clear.’ How

does this statement apply to the experiences of the characters in Safe Harbour?

• ‘All Ryan and Ismail want is to keep their families safe.’ Discuss.• ‘Safe Harbour is a story of loyalties and betrayals.’ Discuss.• How does the director of Safe Harbour create suspense?

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Recommended links:National Museum of Australiahttp://www.nma.gov.au/online_features/

defining_moments/featured/tampa_affairRefugees: The Tampa Casehttp://www.futureleaders.com.au/pdf/Julian_Burnside.

pdfTampa Incident – Parliament of Australiahttps://webcache.googleusercontent.com/

search?q=cache:a-D3P6zbjcAJ:https://www.aph.gov.au/~/media/wopapub/senate/com-mittee/maritime_incident_ctte/report/c01_pdf.ashx+&cd=3&hl=en&ct=clnk&gl=au

Tampa enters Australian Waters with 433 asylum seekers

http://www.abc.net.au/archives/80days/sto-ries/2012/01/19/3412121.htm

3: Operation Sovereign Borders

Operation Sovereign Borders (OSB) is a border protection operation led by the Australian Defence Force and assisted by a number of Australian Federal Government agencies. Its aim is to stop maritime arrivals of asylum seekers to Australia and combat people smuggling. Boats are intercepted and turned back to source and transit countries.

OSB commenced on 18 September 2013. The zero tol-erance stance regarding illegal boat arrivals along with mandatory detention was introduced by the Abbott Federal Government. In November 2013 the govern-ment claimed that OSB had achieved a ninety percent reduction in illegal maritime arrivals.

OSB is still in effect. International law allows Australia to deny any vessel entry into territorial waters, provided the asylum seekers are not returned to a place in which they may be threatened.

Recommended link:Operation Sovereign Borders http://www.osb.border.gov.au/

Your task is to investigate the impact of Operation Sovereign Borders (OSB). This is a collaborative task. Use the following questions to guide your investiga-tion. You may choose how to format the results of your investigation. You will be expected to share your investigation with your peers.

• How has OSB impacted on the lives of asylum seekers and refugees?

• How has OSB impacted on Australia’s relationship with its neighbouring countries?

• How has OSB impacted on Australia’s ability to re-spond to asylum seekers and refugees in a humani-tarian way?

» SAFE HARBOUR ONLINE

Safe Harbour SBS program page https://www.sbs.com.au/programs/safe-harbourMatchbook Pictures https://www.matchboxpictures.com/ https://www.facebook.com/MatchboxPictures/

» RECOMMENDED LINKS

Australian Human Rights Commission https://www.humanrights.gov.au/our-

work/asylum-seekers-and-refugees/asylum-seekers-and-refugees-guide

Established in 1986 by an act of the Federal Parliament, the Australian Human Rights Commission is an independent statutory organisa-tion and report to the Federal Parliament through the Attorney-General.

Australia for UNHCR http://www.unrefugees.org.au/Australia for UNHCR is an Australian charity that raises

funds to support the work of the UN Refugee Agency in Australia. Our purpose is to provide life-changing humanitarian support to refugees and other displaced and stateless people who come under the care and protection of the UN Refugee Agency.

Department of Immigration and Border Protection http://www.border.gov.au/Trav/RefuThe role of the Department of Immigration and Border

Protection is to manage the entry and settlement of people in Australia.

Refugee Council of Australia http://www.refugeecouncil.org.au/The Refugee Council of Australia is the national um-

brella body for refugees and the organisations and individuals who support them.

Settlement Council of Australia http://www.scoa.org.au/The Settlement Council of Australia is the national

peak body for settlement. The council represents settlement agencies across Australia providing direct services to people of refugee and migrant background. The council’s goal is to help ensure the best possible settlement outcomes for migrants and refugees settling in Australia.

Parliament of Australia http://www.aph.gov.au/About_Parliament/

Parliamentary_Departments/Parliamentary_Library/pubs/rp/rp1415/AsylumFacts

The Parliament of Australia website provides access to a series of research papers. This research paper, updated on March 2, 2015, provides information on asylum claims, unauthorised arrivals and irregular migration in Australia and Europe.

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» KEY CREATIVES

DEBBIE LEE | EXECUTIVE PRODUCERDebbie Lee is Matchbox Pictures’ Director of Scripted Development. Lee provides creative leadership to the development of scripted content across a broad range of genres and markets.

Lee joined Matchbox Pictures from ABC Television where her most recent role was as Head of Comedy. Prior to that, Lee held roles at ABC Television as Commissioning Editor, Entertainment and Comedy and at SBS Television where she was Commissioning Editor, Drama and Comedy for SBS

Independent. During her time at ABC Television,

Debbie commissioned and executive produced such programs as A Moody Christmas, Laid, Lowdown, Please Like Me, Upper Middle Bogan and Angry Boys. At the SBS Debbie commissioned Wilfred, John Safran vs. God and The Circuit amongst many others.

For Matchbox, Lee has overseen numerous projects including Maximum Choppage, Glitch and The Family Law.

STEPHEN CORVINI | PRODUCERStephen Corvini is Matchbox Pictures’ Drama Development Executive. For Matchbox, he has produced Hyde & Seek, Oddlands and now, Safe Harbour.

With over twenty years of experience in the television and film industries, Corvini began his career with the ABC working as a Producer and Director of drama, arts programs and documentaries including producing drama series Mercury

and Correlli. Corvini has worked for Italian television and for the London office of NHK Japan. In 2000, he was invited to Reykjavik Iceland to be a producer on the multi-awarded family feature film Ikingut before returning to Australia and going on to produce with Grundy television and Burberry Productions with whom he shared a development and production partnership.

In 2005, Corvini became Film Victoria’s Investment

BELINDA CHAYKO: SHOWRUNNER/WRITERBelinda Chayko is a writer and director for film and television and was the showrunner and head writer of Safe Harbour. As showrunner, she oversaw the development of the scripts, including during filming and post-production. She is also an executive producer of the series. She has directed two feature films - Lou, starring John Hurt (which she also wrote) and City Loop, starring Sullivan Stapleton. Both films have screened at international festivals and sold around the world. She is also the writer of the SBS telemovie, Saved, starring Claudia Karvan, for which she won an Australian Writers Guild Award (AWGIE). She was one of the key writers on the Foxtel series Secret City (Series 1 and 2) and the ABC AWGIE-award-winning series Barracuda , as well as Old School, Miss Fisher’s Murder Mysteries, Newton’s Law and Fighting Season. Belinda has also written and directed several award-winning short films, including Swimming and Small Confessions. She is a graduate of the Australian Film, Television and Radio School, with a BA in Screenwriting, and

an MA (Honours) from the University of Western Sydney.

Manager handling all production investment for the screen agency, which he followed up with roles including Project Manager for the Film Finance Corporation and Development Producer for feature Film company Resolution Independent and Ruby Entertainment where he also produced the narrative comedy series Whatever Happened to That Guy? for the Comedy Channel.

From 2009 to 2015, Corvini was Fremantlemedia’s Drama Development Producer. At Fremantlemedia, he created, developed and produced the critically acclaimed mini-series Devil’s Dust. He also conceived and established the development of the thirteen-part series Mr & Mrs Murder for the Ten Network and was the creator, developer and producer of Better Man, a multiple award-winning mini-series for SBS. Corvini also developed and produced the Nine Network telemovie Schapelle.

GLENDYN IVIN | DIRECTORGlendyn Ivin is one of Australia’s leading directors in television, film and commercials. Ivin first came to attention with the short film Cracker Bag, which won the Palme d’Or in 2003 at the Cannes Film Festival. His first feature film, Last Ride, starring Hugo Weaving, premiered at the Toronto International Film Festival and won Best

New Director at The Abu Dhabi Film Festival and the Jury Prize at the Rome International Film Festival.

For television, Ivin’s credits include Offspring; the telemovie Beaconsfield; and Puberty Blues Series

1 and 2. In 2014, Ivin directed the World War drama Gallipoli, and in 2015, The Beautiful Lie. Ivin was also

set up director on Seven Types of Ambiguity.

EXECUTIVE PRODUCERS: DEBBIE LEE, SUE MASTERS AND BELINDA CHAYKO.PRODUCER: STEPHEN CORVINIDIRECTOR: GLENDYN IVINWRITTEN BY: BELINDA CHAYKO, MATT CAMERON AND PHIL ENCHELMAIER.

CREATED BY: PHIL ENCHELMAIER AND SIMON KENNEDY WITH BELINDA CHAYKO.BASED ON AN ORIGINAL CONCEPT BY: SIMON KENNEDY AND PHIL ENCHELMAIER.DEVELOPED BY: BELINDA CHAYKO, MATT CAMERON, PHIL ENCHELMAIER, SIMON KENNEDY, ANTHONY MULLINS AND STEPHEN CORVINI.

» CREDITS

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Ryan’s interview

Wade: You said you wanted to help the asylum seekers reach Australian waters.

Ryan: Mm.Wade: So why did you turn the yacht around and head to

Indonesia?Ryan: There were signs of a storm. The ... the closest land

was Kupang, so we decided to change course.Matera: That was your call? As Captain?Ryan: No, no, it was Damien.Matera: What, you didn’t agree?Ryan: There ... there was no way of knowing, with our

equipment, whether we were headed into the storm or not. We ... we didn’t know which direction it was travel-ling in, or the speed.

Wade: So you lost control of your vessel at this point?Ryan: You could say ... you could say that, yeah.Wade: You angry about that?Ryan: No.Matera: But you’d made a commitment to the asylum

seekers.Wade: You knew they didn’t want to go back. I mean, cut-

ting them loose, that would have been doing them a favour, wouldn’t it?

Ryan: They ... they had no working engine. They ... they couldn’t have gotten anywhere under their own speed.

Wade: Well still, they would have had a fighting chance, though, and you wanted to help, Mr Gallagher. That’s what you said.

Damien’s interview

Matera: You noted the storm in the log, about four o’clock, but you didn’t turn around until well after dark.

Damien: Yeah, we didn’t want to fuel tensions further.Wade: Were you concerned for your safety? What the

asylum seekers would do once they found out?Matera: Only five of you on board, including three women.Damien: We were all concerned.Wade: But only you decided to turn around, even though,

» APPENDIX 1: CURRICULUM WEBLINKSThe table below provides website information for curriculum documents in each state and territory.

FOR MORE INFORMATION

Australian Capital

Territory

ACT Government Education Directorate: http://www.education.act.gov.au/teaching_and_learning/curriculum_programs

ACT Board of Senior Secondary Studies: http://www.bsss.act.edu.au/curriculum

New South Wales

NSW Education Standards Authority: http://www.boardofstudies.nsw.edu.au/new-nsw-k10-syllabus/

Northern Territory

NT School Curriculum: https://nt.gov.au/learning/primary-and-secondary-students/nt-school-curriculum

Queensland Queensland Curriculum and Assessment Authority: https://www.qcaa.qld.edu.au/

South Australia

Government schools: https://myintranet.learnlink.sa.edu.au/educating/curriculum-years-r-10/australian-curriculum

Catholic schools: http://www.cesa.catholic.edu.au/our-schools/learning-teaching/australian-curriculum

Independent schools: http://www.ais.sa.edu.au/teaching-learning/australian-curriculum

Tasmania Tasmanian Government Department of Education: https://www.education.tas.gov.au/

Victoria Victorian Curriculum and Assessment Authority: http://victoriancurriculum.vcaa.vic.edu.au/

Further advice for Independent schools: https://www.is.vic.edu.au/for-teachers/curriculum/australian-curriculum/

Western Australia

Government of Western Australia School Curriculum and Standards Authority: http://k10outline.scsa.wa.edu.au/

» APPENDIX 2: INTERVIEW TRANSCRIPTS

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as you’ve acknowledged, you had no absolute proof you were heading into a storm, Mr Pascoe.

Damien: Well it was my belief at the time.Wade: Are you a man who can handle himself, Mr Pascoe?Damien: Yeah, I like to think so. Fell down some steps.Wade: Fell down some steps.Matera: Mr Gallagher said that you all voted about wheth-

er you were going to help the asylum seekers, and the result was four to one. How did you vote? Were you the one, Mr Pascoe? The one who didn’t want to help?

Damien: Yeah, I thought it was a risk. Would have been smarter to go and get help.

Matera: And were you concerned that if they found out how you voted, they’d think you were responsible?

Damien: I’ve got nothing to hide, detectives. I took 15 mil-ligrams of Valium that night, for a longstanding anxiety issue. You can ask Olivia. She’ll tell you.

Olivia’s interview

Wade: Must have been hard to sleep, after a scare like that. I mean, lying awake. All sorts of things go-ing through your mind. You’d just want it to be over, wouldn’t you?

Matera: Was that why the fishing boat was separated from the Liberame that night? To prevent it from being overrun by the asylum seekers? To stop anyone else coming on board –

Olivia: They cut themselves loose because they didn’t want to go back to Indonesia.

Wade: What about Damien Pascoe, your former partner? Surely he must have been worried about a possible mutiny, especially after you were targeted. He, ah, said that you um, you broke up just after you got back.

Olivia: That’s right.Matera: Why? You were together for a long time. Why sud-

denly break up?Olivia: Did he tell you why?(Matera shakes head.)Olivia: Then you know about as much as I do.Wade: Ms Gallagher, Mr Pascoe said he took 15 milligrams

of Valium that night. To the best of your recollection, is that true?

Olivia: In my experience, Damien ... Damien says a lot of things that don’t turn out to be true.

Bree’s interview

Bree: I’m sorry, I don’t understand why we’re doing this. They came aboard our boat in the middle of the night. And then they stole our life jackets, they stole the dinghy. We could have had our throats cut, you know? Okay, when I woke up in the morning and I saw that their boat was gone, I felt relieved. No! I can’t incrimi-nate myself. We haven’t done anything. We haven’t done anything.

Wade: Can you account for your husband’s whereabouts that night --

Bree: Oh, my husband?Wade: Yes.Bree: I’ve just ... I told you what happened. They stole

from us.Graham: Just answer the question, Bree.Wade: Your husband. Was he with you all that night? Mrs

Gallagher, would you please answer the question?

Ismail’s interview

Matera: If your daughter was sick, Mr Al-Bayati, and needed food, water and medical attention, why did you leave their boat?

Ismail: Ah, we um, were separated from my wife, my son, my brother.

Matera: Well couldn’t they join you on the boat?Ismail: They didn’t ... they weren’t, ah, willing to do that.Matera: Your family?Ismail: The Australians. I could see they were scared.Wade: You mentioned your brother. Bilal? Is that how you

pronounce it?Ismail: Yes.Wade: Now he was in the Iraqi Army, wasn’t he?Ismail: Yes.Wade: Special Forces, I believe.Ismail: I’m not sure what you’re implying.Wade: Oh, I’m implying your brother was trained in elite

combat, Mr. Al-Bayati. He could swim. He could trav-erse a suspended 50 foot rope, for instance.

Matera: Your brother knew that the boat had turned around, ruining your chances of getting to Australia. And yet he didn’t inform anyone, not even you. Why not?

Ismail: Ah, you’ll ... you’ll have to ask him that.Wade: We tried. Doesn’t want to talk to us.Matera: Unless he had a plan. Maybe he was going to cut

the fishing boat loose. Give you a chance.Ismail: Why would he do that? We were in the middle of

the ocean –Wade: Hey.Ismail: With no engine.Lawyer: Ismail.Ismail: Women and children were –Lawyer: Ismail, sit down. Sit down.Wade: Five lifejackets, Mr Al-Bayati. One for each member

of your family and a dinghy big enough to carry you all. You don’t think that’s some kind of coincidence?

Ismail: They cut us loose!Matera: Oh, and then –Ismail: They left us out there to die!Matera: And then threw the lifejackets into the dinghy and

sent that out to you. Why would they risk their own safety for yours?

Ismail: We lost everything.

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This study guide was produced by ATOM. (© ATOM 2018)

ISBN: 978-1-76061-156-9 editor@atom.org.au

To download other study guides, plus thousands of articles on Film as Text,

Screen Literacy, Multiliteracy and Media Studies,

visit <http://theeducationshop.com.au>.

Join ATOM’s email broadcast list for invitations to free screenings, conferences, seminars, etc.

Sign up now at <http://www.metromagazine.com.au/email_list/>.

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