Love I Love: The Figurative Economy of Tom White

Mules challenges the critical interpretations of Tom White as a psychological realist film about the angst of white Anglo-Australia, and provides the interpretation focusing on the figurative economy of the film. 'In a striking novelty, Tom White appears to draw some of its tableau images from the paintings of contemporary Australian artist Stewart MacFarlane, whose neo-noir images of modern life have almost single-handedly introduced male desire into contemporary debates about sexuality and the human condition.'