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The Story of Aliko and Ambai

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The Story of Aliko and Ambai The Story of Aliko and Ambai: Cinema and Social Change in Papua New Guinea A project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Mark Asbury Eby Bachelor of Arts, PLNU, Master of Arts, UCLA School of Media and Communication College of Design and Social Context RMIT University June 2017 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the project is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Mark Asbury Eby 30 June 2017 ii The Story of Aliko and Ambai Cinema and Social Change In Papua New Guinea iii Acknowledgements I thank my senior supervisor, Professor Heather Horst, for supporting me through the writing process of this project. Heather has never wavered in her steady, measured, conscientious and thoughtful responses to the constant stream of writing I have created in regards to my film production practice over the last few years. My overly- narrative writing style may not have been the best fit for academia but Heather’s patience, good humour, monthly word quotas, and continued requests for more analysis and less description has guided me to the finish line. I also appreciate being mentored through the academic publishing process, resulting in a publication at the end of last year. I am truly grateful for the support and insight she has provided, based on her own experience as a highly accomplished researcher and author. I also thank my associate supervisor, Dr Verena Thomas, who has been my colleague and friend since 2010 when I first became associated with the University of Goroka. She was crucial in the application process for the Pacific Media Assistant Scheme (PACMAS) grant that supported the film production that made this project possible. In addition, as director of the Centre for Social and Creative Media (CSCM) at UOG where I was a researcher and lecturer, Verena helped me navigate producing the film while working full time and being enrolled in a PhD program. Verena’s exemplary research, production and writing on the themes of engaging with local communities, indigenous research methods, and collaborative production processes has guided my own research in parallel and highly productive ways. Her feedback on my many drafts has also been insightful, since she was present during the production process and is aware of the many challenges and pressures that process entailed. I am grateful that Verena has always found the time for a chat and knows when to use the whip (so to speak) and when a kind word of encouragement is needed. Professor Jo Tacchi with her extensive knowledge and expertise in the area of Communication for Development (C4D) was integral as an associate supervisor during the first half of the PhD process and I appreciate her input, insight and support. In addition to CSCM at UOG, I acknowledge the organizations that made this work possible. This includes PACMAS who supported the production process with an iv Innovation Grant for the project Love and Violence in Melanesia: Melanesian Youth producing a feature film for regional distribution. Thanks to Dominic Friguguetti, Head Pacific and Mekong, ABC International and Michael Mel, PVC at UOG, for being signatories to the grant and Talita Tu’ipulotu at PACMAS and Kate Raseta at ABC International Development for administration and feedback. My writing, research and PhD scholarship was supported by the RMIT Mobilising Media for Sustainable Outcomes in the Pacific Region, which was an ARC Linkage Project Grant (LP120200705) with thanks to the chief investigators, Professor Heather Horst, Professor Jo Tacchi, and Domenic Friguglietti, Head Pacific and Mekong, ABC International. Thanks to CARE International and project manager Anna Bryan who also supported the film production with a very generous grant. In addition, I am grateful to the School of Media and Communication for a partial fee waiver in my final quarter of enrolment in 2016 and the Digital Ethnography Research Centre (DERC) at RMIT for providing a cohort of supportive colleagues. Additional thanks to the Austalian Mediatheque at the Australian Centre for the Moving Image (ACMI) and Siobhan Dee from the National Film and Sound Archive (NFSA) who facilitated many hours of viewing rare footage from the early days of PNG cinema. Thanks to Dr Jennifer Anayo, Sheba Mohammid and Marion Muliaumaseali’I, my PhD colleagues who spent many hours together with me, reading and critiquing each other’s work and I am pleased we have all neared the finish line together. I especially appreciate Marion’s close proximity, listening ear, and willingness to chat over the last few months. Dr Jessica Noske-Turner has helped critique my work from the beginning, in addition to sitting on one of the milestone panels, for which I am grateful. Thanks to Dr Christine Schmidt who was also part of the ‘reading and feedback team’ and provided copy editing on an early ‘final’ draft. Additional thanks to RMIT milestone panel members for critical feedback and input, includes Professor Sarah Pink, Associate Professor Craig Batty, Dr Leo Berkeley, Dr Daniel Binns and Dr Linje Manyozo. I am particularly grateful to Dr Manyozo for his kind and gracious words of encouragement at my completion milestone that have helped me through several periods of discouragement writing up my final draft. I would also like to thank Dr Jane Landman, who I met at the Pacific History Conference at UOG in 2010, and whose research sparked my interest in reviewing early colonial films in Papua and New Guinea. v Producing a film requires an enormous amount of good will and cooperation. I thank my core creative team collaborators, Diane Anton, Jenno Kanagio and Dilen Doiki. Without their cooperation, goodwill, talent and perseverance, this project would not have been possible. Ruth Ketau is a joy to work with and she was supportive and encouraging, providing crucial introductions in her community for film locations and giving insightful feedback on the process and outcomes. I’d also like to thank my colleagues at the University of Goroka who participated in the writers’ workshop or as actors in the film (or both): Emma Mua, Bob Noiney, Janet Munaup, Dr Jane Awi, Llane Munau, Dr Gairo Onagi and Associate Prof. Michael Mel. Additional thanks to Dr Angela Kelly, Monica Paulus, John Eriko and Jean Jano for their participation in the writers’ workshop and their expert feedback. Dilen Doiki, Diane Anton, Louie Ipapu, Jim Sari, and Lilly Samuel provided links to their communities in Masi, Bena, Banana Block, Okiufa and Saispik respectively, and I thank them and their communities for their participation. Thanks toTheresa Meki for her stint as production assistant and Paul Bebes, who was my primary research assistant in conducting final interviews with the cast and crew in the harried weeks between the end of film production and my move to Melbourne. Finally, to the actors Moslyn Moses, Venda Kakaso, Paul Bebes, Maggie Kondango, Lucy Sari, Harry Koveso (BH), Tabitha Albert, Inapero Susure (Tallman), Koupa Gihiro, Lilly Bebes, Danny David, Annie Yombon, Gisa Lassy and Chris Pondriliki and the rest of the crew Nickson Warambukia, Lilly Samuel, Klinit Barry, Kereta Johnstone, Sylvia Stan, Zina Ketauwo, Sheena Simelolo, Helen Rockliff, Wendy Paulus, Melissa Walangas, Mayphyll Billy, Butler Otio, Abraham Pahun, Lawrence Ikeme, Jim Sari, Nicky Tura, Laba Kenny, Samson Deka, Ronald Mondo, Elias Alex, and Richard Mogu, my heartfelt gratitude for the many hours of dedication to the film production. Thanks to Peter Walker, the Love Patrol director at Wan Smolbag for participating in the exchange program with CSCM and providing feedback on the script. Thanks to Jo Dorras, the scriptwriter, and the Love Patrol cast and crew for allowing us to observe and ask questions and providing inspiration. Thanks to Joys Eggins for participating in the writers’ workshop and the regional exchange as a CSCM team member and to Francis Wai and Charlie Amos from Vanuatu for providing expert guidance to our Aliko & Ambai crew, inspiring the exegesis discussion of what it means to be Melanesian wantoks. vi I would like to thank the circle of Melbourne friends I have made over the last two years who’ve watched with bemusement and good-humoured supportive camaraderie as I’ve made my way through the PhD process: Dana Chasofloski, Jason Williams, Patrick Fitzgerald, Andrew Shakespeare, Lien Yeomans, Robin Drysdale, Citt Williams and Jo Wapling. To my colleagues working or doing research in PNG with whom I’ve shared many good hours chatting, I thank Christopher Little, Olivia Barnett-Naghshineh, Jackie Kauli, Ivo Syndicus, Aaron Fernandes, Prue Ahrens, Maggie Kenyan, Melanie Sanford, Mark Busse and Bob Foster. To my friends still remaining in Goroka who’ve provided a home when I’ve visited and strongly encouraged me to finish my PhD, thanks to Charlotte Kakebeeke and Rebecca Ford. Due to our connection since childhood, I owe many of my insights into what it means to be an indigenous person engaging with social change in PNG to Paul Mila Malimba and I’m thankful for our ongoing friendship. I will always be grateful to John Bishop for demonstrating how to be a thoughtful and steady friend, an occasional trickster, and a patient and forgiving filmmaking mentor, which is something I have tried to emulate in my own life. I am also thankful for my years of collaboration on multiple projects with Judy Mitoma and Christina Hellmich that helped to hone my skills in community engagement and film production.
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