'Rear Window' Seminar – Dr Michael Kitson

It’s always a joy to watch Michael elucidate the hidden gems of meaning lurking beneath the surface of a classic film. If you saw his analysis of The Road Warrior and the Dog, you’ll already know a Rear Window lecture from Kitson is not one to miss.
— Brett Stanning, Teacher of screenwriting RMIT University

I'm very excited about this event in March. I'll be on the door and looking after the morning and afternoon tea – which will be decadent or healthy, depending on your preference.

The seminar will be delivered by Dr Michael Kitson. His knowledge of this film is extensive. (Full disclosure, I married him for his knowledge of literature and film.) The resources are brilliant. The seminar is targeted at teachers, but would be perfect for Year 12 students. If you're bringing a group, contact me via the website for a discount. 

And if you don't live in Ballarat, it's only a short drive from the city. 


In this one-day seminar, academic and film commentator, Dr Michael Kitson will tackle the issues of character, story and theme as he examines Alfred Hitchcock’s spectacular widescreen entertainment, Rear Window. Dr Kitson will give you the tools to wake up from the dream and see the way meaning is made, how character is created, and reality conjured.

Is film really a ‘text’? What is this ’grammar’ in film? Given there’s an original short story, then a screenwriter and screenplay, a film director and a troupe of actors – even an editor, just who is the definitive ‘author’ in whom we can ascribe an authorial intent? Is ‘Hitchcock’ a genre unto himself?

Resources provided on the day: Woolrich’s short story, Hayes and Hitchcock’s screenplay, the official Rear Window DVD, as well as original notes covering a guide to the grammar of film, explication and analysis of ten key scenes, a bank of key quotations and a bibliography of further resources and reading.

This PD is relevant to all educators teaching film as text, from middle grade to VCE.

Date: March 10, 2018
Venue: Ballarat Mechanics’ Institute, The Humffray Room, 117 Sturt Street Ballarat
Cost: $150
Time: 9.00 a.m. Registration, 9.30 start, 4.30 finish
Included: Morning and afternoon tea


Dr Michael Kitson is trained in the production of film and TV, he worked as a location sound recordist and documentary researcher, studied cinema journalism at the British Film Institute and has been writing on film for over twenty years (Cinema Papers, IF, Metro, ASE, Limelight). He has lectured in literature, creative and screen writing at the University of Melbourne, Swinburne, UWS, Melbourne Polytechnic, Victoria University and Federation University. He holds a PhD UWS, MA in Communications RMIT, MA Creative Writing (hons) University of Melbourne, BA Monash University and supervises and assesses postgraduate and doctoral candidates. His short fiction has been anthologised.

Students love Michael’s lectures and classes. His passion for his subject shines through and engages everyone.
— Dr Sherryl Clark, Victoria University





A Different Life


Earlier in the year I opened the letter library and made you all an offer. If you have a copy of Words in Deep Blue and you'd like a letter for your book, just ask me. I'll write it. 

I'm sorry. 

I expected the requests to be more generic. Something along the lines of 'I'd like a letter. Write me anything'. Then I imagined myself sending off three replies at the end of every work day. Little notes, I guess. Sent into the world about whatever it was I'd been doing during the day. 

The emails I'm receiving aren't like that. They're about death and lost love and questions about the point of things. So my reply letters take me a long time to write. 

If you've asked for one, know that I'm thinking about it. You might get your reply tomorrow, or it might arrive in three years. The lovely thing about the wait is  – maybe you've written about heartbreak, and maybe it feels like you'll still be broken twenty years from now. But in six months, a year, five years from now, you'll be sitting in a park, mid morning, soft sun on your skin. And you'll get this letter reminding you that in a time you can't quite remember, you were unhappy. But here, in this moment, you're not. 

Anyway. I'm writing, I'm working my way through the replies. 

For now, though, to make sure I get through everyone who has asked, I feel as though I need to stop taking requests. I'll open them up again as soon as I can. 

And here below, is the latest letter. I've been generously given permission to publish it here. 


Dear –

Firstly – apologies for my late reply. I have to admit, all my letters are late, but my letter to you is later than most. I’ve started it many times, but every time I stop. Because I want to say something that will help, and in the face of such loss, I can’t think what that might be.

But then I remembered a moment in the days when my dad was dying. He was in hospital, still breathing but not conscious. I sat outside the hospital on warm green grass under this cloudless blue sky and cried hysterically. I remember calling one of my best friends. I could hear children in the background. I’d phoned during a birthday party, I think. Or maybe a christening. I remember telling her that I was ruining the day, and trying to hang up. She wouldn’t let me off the phone.

She was determined to hold me in that call, even though she felt awful for having nothing to say. I didn’t need her to say anything. All I needed was someone breathing on the other end of the phone. Someone else alive, in what I could hear from the noise on her end, was a completely different life.

Her mother passed away some time later. And we had a similar phone call with our roles reversed. I had nothing but a need to keep her in that conversation, to let her know that she wasn’t alone.

Even though I don’t have anything to write that I think will help, this letter is my way of being on the other end of the phone. I think that’s what Henry was to Rachel, in Words in Deep Blue.

Since reading your email, I’ve been thinking about the enormity of losing someone, but also what you’re going through, which is the very real, very small details of never seeing them again. Sometimes when I’m driving, or when I’m on the property I’ve bought with my new husband, a thought appears before I can quash it. What would life be like if I lost him?

At the age of 45, he’s the first man I’ve met that I have loved like this. The first man I can have in the house at the same time as I’m writing. The first man I’ve made long term plans with – to keep bees and make honey, to have chickens. We sit at the kitchen table on shaky wooden chairs and list the trees we will plant – ash and apple, fig and pear. An olive grove. We’ve planted aubergine and tomato, chilli and courgette. We don’t have children – we won’t – so these are the things we can leave behind.      

I imagine that if I lost him, I wouldn’t plan like this again. I would mourn and miss, and when that unbearable first ache of that was over, and the long bearable ache had set in, I would keep his bees and jar the honey. Water the olive grove. I would collect the seeds and replant them, as he’s explained how to do. Past and present life would blur.

It’s happened with my father. (Although it’s taken me years.) I’ve inherited his lawn mower (difficult like him). And as I force the monster over the garden I can hear him over the motor, yelling at me to watch my feet. He’s with me in the garden, in the nasturtiums I’m planting. He’s in the books I read.

I’ve never told anyone, not even my editors, but one of the titles I was throwing around for Words in Deep Blue was Librarians for the Dead. And then I quite rightly thought – well that’s a bit bloody depressing and I deleted it.

We do become houses for memories, though. Curators. I feel as though I’ve collected all the things that my father loved, and I’ve organised them inside myself. There are rooms in me that are galleries for him. There are libraries that house the books he read, and the histories that he loved. I have a room, too, for the places he where he wanted to travel, the films he would have loved, ones that came out after his death. In this room are all the things I want to show him, to tell him about. I go there sometimes, as strange as that sounds, and the two of us explore.

If I died, I hope my husband would remarry. I can’t stand the thought of him being alone. I can’t stand the idea that he would plant the garden we planned and not make new lists with someone. But I hope he’d have those rooms for me. I hope he’d visit some days, his new love outside the door, so that it was just the two of us and the things we loved. Photographs of France, our lunches of fresh bread and chocolate, our dinners of cheese.

I’d want him to leave that room, though. Because as much as we’re keepers of memory we must be makers of it, too. In fact, I know that if I died, and I could, in some way see the people I’d left behind, the point of everything would be that they loved, were happy, made lists. Because those left behind are the voices on the other end, who, for now, get to live a different life.

I hope things, one day, get much easier for you. Or, if it’s the most we can hope for when we lose the person we love the most, I hope that there are whole moments, whole days, when you are happy.


Cath x