Lilias Fraser

Lilias Fraser (19 April, 1930 – 26 October, 2004) was one of Australia’s first women documentary filmmakers. She made over 40 films between 1957 and 1996https://www.smh.com.au/culture/movies/lilias-who-the-trailblazing-australian-filmmaker-you-ve-never-heard-of-20220406-p5abam.html, including the early indigenous land rights documentary, This is Their Land. https://collection.sl.nsw.gov.au/record/16AQ7Gqn 
In 1999 Fraser was awarded the Cecil Holmes Cecil Holmes Award for Services to Directing. https://en.wikipedia.org/wiki/Australian_Directors%27_Guild#Lilias_Fraser 
Fraser was the mother of two children who also worked in film: Claudia Castle, best known as a director of music videos for such artists as The Saints, Midnight Oil and INXS, https://musicvideo.fandom.com/wiki/Claudia_Castle and Jane Castle ACS, an environmentalisthttps://www.abc.net.au/news/jane-castle/28108 and multi-award-winning filmmaker and cinematographer. https://www.aftrs.edu.au/alumni/alumni-showcase/jane-castle-acs/ 
==Background==
Lilias Eve Fraser was born in Brisbane in 1930. Her parents, Claud Archibald Fraser and Marjorie Gladys Robina Leitch were married in 1925.https://trove.nla.gov.au/newspaper/article/20899935?browse=ndp:browse/title/B/title/16/1925/01/26/page/1741232/article/20899935 They had four children, Lilias being the second oldest.
In 1923 Claud Fraser opened what is considered to be the first self-service grocery store in Australia, Brisbane Cash ad Carry (BCC), ultimately expanding BCC into a highly profitable chain of 32 stores.https://australianfoodtimeline.com.au/brisbane-cash-and-carry/ Lilias Fraser attended Somerville House, an elite Presbyterian and Methodist girls' secondary college https://www.theeducatoronline.com/k12/breaking-news/parents-march-on-exclusive-school-over-gag-order/242890 https://www.facebook.com/watch/?v=1699209920091853
where she was captain and became friends with future arts administrator Betty Churcher . https://trove.nla.gov.au/newspaper/article/50034712 http://colsearch.nfsa.gov.au/nfsa/search/summary/summary.w3p;page=0;query=Person%3A%22%2FPerson%2Fkey%2F77418-1%22%20Class%3A%22Oral%20history%22;querytype=Class%3AOral%20history;resCount=10 
==1950s==
In 1952, Fraser and Betty Churcher set off for London, at that time the Mecca for artistic Australians, fleeing what they regarded as an inhospitable cultural climate at home. Churcher studied painting at London’s Royal College of Art. https://en.wikipedia.org/wiki/Betty_Churcher Fraser enrolled in the Photography Department, Guildford School of Art and Photography, headed by Ifor and Joy Thomas who are regarded as having laid the foundations for a generation of successful and influential photographers and film directors.https://blog.library.wales/out-of-the-shadows-the-life-and-work-of-ifor-and-joy-thomas/ Through the School, Fraser became involved with a group of young filmmakers which included the director Ken Russell.https://theartsdesk.com/film/theartsdesk-qa-director-ken-russell-1927-2011 
After returning to Australia, Fraser made her first documentary, a short which she shot single-handedly on Stradbroke Island, entitled The Beach (1957).https://www.smh.com.au/culture/movies/lilias-who-the-trailblazing-australian-filmmaker-you-ve-never-heard-of-20220406-p5abam.html She took the film to Sydney in search of further employment and eventually sold it to the Australian Broadcasting Commission (ABC – later Australian Broadcasting Corporation). She also became a production assistant at the Commonwealth Film Unit (CFU), later Film Australia), headed by Producer-in-Chief Stanley Hawes.
 
In 1958 Hawes gave her the job of researching and writing the CFU educational documentary ‘Nests in the Bush https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=13327226&isAv=Y. In her oral history for the National Film & Sound Archive, Fraser recalls that this was one of the first films the CFU shot in 16mm rather than 35mm and that she wrote the voice over and also edited it, ‘because in those days we did everything. Stanley said, "Nobody can make any films unless they learn to edit."'http://colsearch.nfsa.gov.au/nfsa/search/display/display.w3p;page=0;query=Lilias%20Fraser%20Media%3A%22SOUND%20RECORDING,%20PUBLISHED%22%20|%20Media%3A%22SOUND%20RECORDING,%20UNPUBLISHED%22;rec=2;resCount=10. Despite this promising beginning and encouraged by director John Heyer, she left the CFU to enrol in the French national film school, Institut des hautes etudes cinématographiques (IDHEC) in Paris. 
By this time, Fraser had met her future husband Norman Castle, who resigned from his job in the public service and followed her to France. There she became involved with Le Groupe des Trentehttps://fr.wikipedia.org/wiki/Groupe_des_Trente, a new-wave attempt by Alain Resnais, Jean-Luc Godard and others to revive documentary.http://colsearch.nfsa.gov.au/nfsa/search/display/display.w3p;page=0;query=Lilias%20Fraser%20Media%3A%22SOUND%20RECORDING,%20PUBLISHED%22%20|%20Media%3A%22SOUND%20RECORDING,%20UNPUBLISHED%22;rec=2;resCount=10
==1960s==
By 1960, having run into Stanley Hawes in Paris, Fraser was back at the Commonwealth Film Unit where she co-produced the documentary Children’s Theatre (1961).https://www.acmi.net.au/works/66057--childrens-theatre and then moved into directing, becoming literally one of a handful of women to direct films in Australia at that time.https://trove.nla.gov.au/newspaper/article/213877342 https://www.acmi.net.au/stories-and-ideas/film-work-women-in-australian-documentary-film-history/ 
==1970s – 1980s==
In the early 1970s Fraser continued to make sponsored documentaries through Fraser-Castle Productions and also directed children’s television for the ABC.https://www.smh.com.au/culture/movies/lilias-who-the-trailblazing-australian-filmmaker-you-ve-never-heard-of-20220406-p5abam.html 
However, in 1974 the Fraser-Castle partnership – both personal and business – was dissolved and Fraser formed her own company Fraser Films. https://www.acmi.net.au/works/99006--metal-makers/
Although she had been offered steady directing work at the ABC, the hours would have conflicted with the demands of being a single mother and Fraser continued making sponsored films through her own company which offered greater flexibility.http://colsearch.nfsa.gov.au/nfsa/search/display/display.w3p;page=0;query=Lilias%20Fraser%20Media%3A%22SOUND%20RECORDING,%20PUBLISHED%22%20|%20Media%3A%22SOUND%20RECORDING,%20UNPUBLISHED%22;rec=2;resCount=10 In 1975, she also returned to Film Australia to make two educational documentaries. https://www.acmi.net.au/works/74347--viewpoint-on-adelaide/ 
In 1979, in the aftermath of the break-up of her marriage and business, there were debts to pay ‘all over town”http://colsearch.nfsa.gov.au/nfsa/search/display/display.w3p;page=0;query=Lilias%20Fraser%20Media%3A%22SOUND%20RECORDING,%20PUBLISHED%22%20|%20Media%3A%22SOUND%20RECORDING,%20UNPUBLISHED%22;rec=2;resCount=10 and at the same time Fraser’s work began decreasing. It was then that she saw an advertisement for a job in distribution for the Sydney Filmmakers Co-operative and became the Co-op’s Community Film Worker. For five months she traveled through New South Wales, meeting people from government departments, trade unions, women’s groups, youth groups, migrant groups and, indeed, community organisations of all kinds.https://trove.nla.gov.au/newspaper/article/213732424/23023022 She later said that this, as she was nearing fifty, was the beginning of her political education.http://colsearch.nfsa.gov.au/nfsa/search/display/display.w3p;page=0;query=Lilias%20Fraser%20Media%3A%22SOUND%20RECORDING,%20PUBLISHED%22%20|%20Media%3A%22SOUND%20RECORDING,%20UNPUBLISHED%22;rec=2;resCount=10 Indeed, it was quite a transformation -- from the conventional society belle (and her gowns) as described in 1950 by The Brisbane-Courier Mail"Spring Frocking at Legacy Dinner", 20 sep 1950, Retrieved 9 April 2023 to the activist educator appearing thirty years later in the pages of the Sydney Filmmakers Cooperative’s newspaper, Filmnews’'. 
The Co-op offered her not only politically stimulating activities but also friendship with the next generation of independent filmmakers. Fraser started hiring young cinematographers on her documentaries, most notably future Oscar-winner Andrew Lesnie.http://colsearch.nfsa.gov.au/nfsa/search/display/display.w3p;page=0;query=Lilias%20Fraser%20Media%3A%22FILM%22%20Decade%3A%221980-1989%22;rec=2;resCount=10
During the 1980s, Fraser continued making sponsored films but also took on short contracts in training and distribution. Significantly, her support for the advancement of younger women in film led her to work at the Australian Film Television & Radio School as Coordinator of their Industry Training Scheme for Women, upgrading experienced assistants to camera, sound, directing and producing roles. https://trove.nla.gov.au/newspaper/article/213879069/23021055 "Through the Lens Determinedly", Sydney Morning Herald, November 19, 2004. Retrieved April 9, 2023
==1990s and beyond==
Although Fraser’s sponsored film work was coming to a close, she now had the opportunity to produce and direct a documentary different in both content and form from those she had been making for most of her career. The result was Women of the Iron Ore Frontier, photographed by her daughter Jane Castle ACS. https://www.screenaustralia.gov.au/the-screen-guide/t/women-of-the-iron-ore-frontier-1990/1566?stxt=women of the iron frontier
The film is the story of four women in the mining town of Newman located in the remote Pilbara region of Western Australia. Through the lives of these women, the documentary looks at the realities that Fraser had observed but was not able to include in her sponsored films: isolation, women’s unemployment, industrial disputes and racism. Women of the Iron Ore Frontier was selected for screening at the prestigious French Documentary Festival Cinema du Reel, which celebrates the presence of the filmmaker’s point of view. https://festagent.com/en/festivals/reel_filmfesthttps://www.screenaustralia.gov.au/festivals-and-markets/festival-profiles/cinema-du-reel/2164
 
By the mid 1990s, Fraser’s film production work had come to an end. In her retirement, she helped her daughter Claudia with her grandchildren and between 1994 and 1996 co-produced the feminist documentary by Film Co-op associate Jeni Thornley, To the Other Shore. https://www.screenaustralia.gov.au/the-screen-guide/t/to-the-other-shore-1996/4858/ 
In 1999 Fraser was awarded the Cecil Holmes Cecil Holmes Award for Services to Directing by the Australian Screen Directors Association (later known as the Australian Directors Guild).Australian screen director’s association Cecil Holmes Award for Services to Directing https://en.wikipedia.org/wiki/Australian_Directors%27_Guild#Lilias_Fraser "Through the Lens Determinedly", Sydney Morning Herald, November 19, 2004. Retrieved April 9, 2023
Lilias Fraser died in 2004 in an accident resulting from the dementia which affected her final years. Her death was the trigger for daughter Jane Castle’s documentary When the Camera Stopped Rolling, produced by former Film Co-op colleague Pat Fiske, OAM. Nominated in four categories at the Australian Screen Industry’s AACTA awards, the film is a poignant and intimate mother-daughter story and a chronicle of women’s roles in the film industry. It is a tribute to Lilias Fraser which expresses the complexities of being a woman and a mother in a “man’s world”. https://www.screenaustralia.gov.au/the-screen-guide/t/when-the-camera-stopped-rolling-2022/32326/https://www.aacta.org/aacta-awards/winners-and-nominees/2021-aacta-awards/
Category:1930 births
Category:People from Brisbane
Category:Australian people
Category:Women documentary filmmakers
Category:2004 deaths