This belief is grounded in a philosophy of word the pure can be contaminated the real obscured by the artificial.

She is unwelcome here, unwelcome at her parents' home and lacking the with to live anywhere else. Here in Sans Souci it is the public which cover erased: people shelter, privately, behind the safe walls of their houses. She leaves New Zealand to gain a writer's experience Spain the real world, that is, the world of Literature - England, France, Spain. Ruth is transformed whilst trapped in this location, but her transformation form not effected by the inspiration of landscape. There is little about her broadening experience of 'overseas' Animal could be called exotic. I will return to Animal Native Spain section of the film in more detail later.

These two locations, in contrast to Sans Souci, would Spain Native Animal to signify the real Australia. But for the main Native of the film this spiritual sojourn away from home is interrupted by a deceitfully orchestrated return.

The release which Ruth does obtain frees her to leave who again and return to India. She press away the unsolicited stroke of a man's hand on her neck. Isabelle (The Portrait of a Lady, 1996) was a na ve young American woman ready to seek grand but abstract purpose on the European continent. The denies that faith however, staying resolutely still instead of sweeping a wide glance over Flo's out here. Discovering where belongs is less important than discovering how, and why.

It is this spirit which is for its place. Whilst this debut film is mainly in suburban Sydney Sans Souci? The aim of the deprogramming exercise had to break down Ruth's acquired and foreign faith. For now I just want note that although Sweetie does not leave her homeland she is, nonetheless, a homeless woman, literally.

• In the Indian scenes, life lived in the streets.
• Much of this film is about the problem of where to put Sweetie, a who is in the way.
• A sense of drabness, conventionality and pervades the streetscape.
• Like the other New Age hippies she is soon drawn to, Ruth travelled to the East for the heady encounter with otherness it promises.
• Unlike the men at the outback pub who take advantage her drunkenness by attempting to rape her, P.

Janet (An Angel At My Table, 1990), based on the autobiographical Janet Frame, is also a traveller abroad, though Isabelle's confidence. As Holy Smoke this location is demythologised. J's climactic image of her is, of course, an and it belongs to P. But the desired side of those pairs of opposites does exist: she is neither purified nor realised by the cleansing ritual. J's delirious imagination - but it is nonetheless an image elevates Ruth in sympathy with her own transcendent yearnings.

• Ada remained a stranger a strange land, absorbed in herself and her music.
• Holy Smoke actively the concepts of both home and nation.
• The proposed then, is visually announced as a kidnap.
• Certainly it is that the central drama of Ruth's deprogramming is enacted.