The spectacular outdoor projections that are currently redefining our urban space have a long heritage in Australia. For instance, for over a century Australia’s visual culture was profoundly shaped by the technology of magic lantern slide projection. From the 1840s to the 1930s this technology permeated theatres, lecture halls, church services, private homes and even open public spaces. It crossed from popular entertainment venues to elite educational institutions, and evolved from beautifully hand-painted slides to high-quality photographic reproductions. Some aspects of the technology were uniquely Australian, while other aspects were closely plugged into global networks of image trade and cultural exchange. Lantern slide performances produced complex multimedia, multi-sensory experiences for their audiences which can now historically inform our understanding of the collective experience of contemporary new media technologies. As well, they left behind large collections of glass slides in a wide variety of institutions large and small. Although neglected until now because they do not fit easily into traditional museum and gallery taxonomies, these slides have the potential to provide an exciting new archival resource for historians, curators and artists. Our Australian Research Council Discovery Project DP160102509) investigates the variety of contexts in which lantern slides were shown and the breadth of the stories told through this media.
Dr Connolly is the author of Cultural Difference on Trial: The Nature and Limits of Judicial Understanding (Routledge: 2010) and The Foundations of Australian Public Law: State, Power, Accountability (Cambridge University Press: 2017). He is the editor of Indigenous Rights (Routledge: 2009), Public Law in the Age of Statutes (with D. Stewart) (Federation Press: 2015), and Cultural Heritage Rights (Routledge: 2015). In addition, he has published a number of book chapters and journal articles on legal philosophy, indigenous rights, and public law.
Besides his ministerial duties Hassall, like his brothers, was a keen woolgrower, and he also acted as magistrate. He won the lasting affection of squatters, stockmen and shepherds. Though known widely as the 'squire of Denbigh' and the 'galloping parson', his parishioners knew him familiarly as 'Thomas'. He could well be described as the first of Australia's 'bush parsons'. It was said that 'the wilds of Nattai and Burragorang were as familiar [to him] as the more pleasant valleys of Mulgoa and Illawarra'. James Backhouse gave a glimpse of the 'exemplary and diligent' chaplain of Cobbitty providing 'temporal relief, and spiritual instruction' during an influenza epidemic in 1836. A strict Evangelical of the 'Methodist' type like William Cowper and Richard Hill he fully co-operated with Methodists and Dissenters, but it is clear that he stood in awe of his father-in-law, and never gainsaid him. Hassall was interested in practical religion rather than theology. He wrote tracts such as Jemmy Mullins, the Little Irish Sailor Boy , and had a remarkable record of conversions. In August 1843 he received the degree of . from the archbishop of Canterbury through Bishop William Grant Broughton who held him in the highest regard.