Frank Hurley The Man Who Made History Analysis

Since the beginning of civilisation, discoveries have encompassed an enticing notion of uncovering something for the first time, however contemporary perceptions of discovery appreciate the transformative nature of newfound realisations whether they arise from a process of deliberate planning or are evoked unexpectedly. Simon Nasht’s 2004 TV movie documentary Frank Hurley: The Man Who Made History explores the lifetime of the celebrated photojournalist and grand illusionist, Frank Hurley, who pioneered the art of photography and documentary filmmaking and transformed various principles, cultures and civilisations along the way. Correspondingly, Kate Chopin’s contextually divisive and avant-garde short story The Story of an Hour recounts the

emotional whirlwind experienced by the protagonist, personifying the concepts of feminism, emancipation and liberty. Both texts demonstrate the ramifications of particular discoveries for the individual and broader society.

While, personal discoveries have the ability to revolutionise literary and artistic forms, as well as grant the pioneering personality fame, wealth and distinction, they too damagingly influence ones connections and relationships with other individuals.

Through Nasht’s informative documentary, the ramifications of individual discoveries have been disclosed in Hurley’s works and accomplishments. Hurley’s realisation of the power images possesses to portray “a whole range of human experience that no one had ever seen before” demonstrates his newfound belief in the need of photographs to tell the entire story. This belief inspired Hurley to resort to different measures and innovations, such as manipulating and creating composite images as well as experimenting with colour for the first time, in order to attain the perfect shot as “it was impossible to secure the full effects of war without composite pictures”. Thus, not only transforming the art of photography with his ground-breaking techniques but also cementing Hurley’s position in history as one of Australia’s most influential war time photographers. One the other hand, extracts of the interview with Hurley’s twin daughters, Toni and Adele, illustrate the impression of a father who was always absent, “a fascinating stranger” outlining the datum that Hurley was never able to truly explore his relationship with his own progenies, due to the fact it was always sacrificed in order for him to embark on another historical

adventure, solidifying the idea that although discoveries have the aptitude to change one’s life, they all come at a cost.

Correspondingly, one’s own inner discoveries often spark a new perception of life, becoming the facilitator in the transformation of one’s ethics, morals and principles.

Mrs Mallard, much like Frank Hurley, became aware of the endless possibilities her life could offer following her sudden and eye opening discovery. The realisation of her husbands supposed death inspires the repetition “Free, free, free!” outlining the embracing of her new found freedom as a means of breaking the shackles of her old married life, and plunging into her new life free of the “blind persistence”. Furthermore, the imagery of the open window, “she could see in the open square…all aquiver with new spring life” also symbolises her newfound individuality but more so emphasises the reclamation of her individuality and a new life that solely belongs to her, which stood as a revolutionary concept related to the context of the story as the ninetieth century was an era that limited the progress of women. This imagery also acts as a means of the protagonist escaping the one dimensional “square” of her marriage and truly experiencing all life has to offer for the first time, consequently demonstrating the ways in which discoveries transform and encourage individuals to acquire a new outlook on

life.

Though personal discoveries have the ability to advance an individual professionally and personally, they also acquire the capability to preserve lost societies and rejuvenate aging demographics. Through Simon Nasht’s annexation of the segment titled Papua, the revolutionising nature of the discoveries are addressed in a communal sense. Despite Hurley’s expedition to Papua New Guinea being plagued with various controversies, “he unintentionally left them with something of immense value. A record of their lost culture”, this narration combined with the archival footage of Hurley’s work in Papua demonstrate the enduring quality of his photography which in turn provides future generations of the New Guinean society with a record of lost customs, practices and traditions allowing the culture to be continually passed down and prosper, rather than vanishing completely. Moreover, Hurley’s realisation that through camerawork he had the opportunity to “photograph the nation [Australia] as he wished it to be” forever transformed the demographic of Australian society. Acting as a catalyst changing it from the once exclusively British society and ultimately painting Australia as a utopian society with “no poor, no indigenous Australians, no struggling farmers” inspired over six million migrants to journey to the land of supposed boundless opportunity depicted in Hurley’s photographs. Thus, expressing the societal impacts of the ramifications of individual and communal discoveries.