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 DOI: 10.1057/9781137411570.0010 Select Bibliography 

Baltruschat, Doris. “Co-producing First Nations’ Narratives: The Journals of Knud Rasmussen.”Indigenous Screen Cultures in Canada. Eds Sigurjon Baldur Hafteinsson and Marian Bredin. Winnipeg, Canada: University of Manitoba Press, 2010. 127–42. Print. Bancroft, Robyne. “Bostock, G.”The Encyclopaedia of Aboriginal Australia: Aboriginal and Torres Strait Islander History, Society, and Culture. Ed. David Horton. Vol. 1. Canberra, Aust.: Aboriginal Studies Press (with assistance from the Australian Institute of Aboriginal and Torres Strait Islander Studies [AIATSIS]), 1994. Print. Barclay, Barry. “Celebrating Fourth Cinema.” Illusions 35 (2003): 7–11. Print. _____. Mana Tūturu: Māori Treasures and Intellectual Property Rights. Auckland, NZ: Auckland University Press, 2005. Print. _____. “An Open Letter to John Barnett.” Spectator 23:1 (2003). 33–6. Print. _____. Our Own Image. Auckland, NZ: Longman Paul, 1990. Print. Barkan, Elazar and Ronald Bush. Claiming the Stones/Naming the Bones: Cultural Property and the Negotiation of National and Ethnic Identity. Los Angeles: Getty Research Institute, 2002. Print. Bateson, Mary Catherine. Peripheral Visions: Learning Along the Way. New York: Harper Perennial, 1995. Print. Before Tomorrow. Dir. Marie-Helene Cousineau and Madeline Ivalu. Alliance Vivafilm, 2008. Film. Bell, Jim. “Creating Together: Igloolik and Puvirnituq Co-operate on Isuma’s Third Feature Film.”Nunatsiaq News (19 January 2007): n. p. Web. 21 October 2011. Bennett, Kirsty. “Fourth Cinema and the Politics of Staring.” Illusions 38 (2006): 19–23. Print. Bostock, Gerald. “Black Theatre.” Aboriginal Writing Today. Ed. Jack Davis and Bob Hodge. Canberra, Aust.: Australian Institute of Aboriginal Studies [AIAS], 1985. 63+. Print. _____. “Close Encounters of the Black Kind: Aboriginal Filmmaker at Channel O.” Filmnews (September 1981): 1+. Print. Bryson, Ian, Margaret Burns, and Marcia Langton. “Painting with Light: Australian Indigenous Cinema.” The Oxford Companion to Aboriginal Art and Culture. Ed. Sylvia Kleinert, Margo Neale, and Robyne Bancroft. South Melbourne, Aust.: Oxford University Press, 2000. 297–305. Print.

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Calder, Peter. “Mauri: Confusing but Magnificent.”New Zealand Herald (29 September 1989): n. p. Print. _____. “World Report – New Zealand. Riding a ‘Whale’ Wave: Hits put Kiwis on Hollywood Map, But Local Pix Still Strapped.” Variety (8 November 2004): A1 (2). Print. Collins, Bill. “A Black Page in History.” Daily Mirror (8 November 1983): 1. Print. Collins, Felicity and Therese Davis.Australian Cinema After Mabo. Cambridge: Cambridge University Press, 2005. Print. Columpar, Corinn. Unsettling Sights: The Fourth World on Film. Carbondale, IL: Southern Illinois University Press, 2010. Print. Connolly, Keith. “The Other Aussie Battlers.”Herald [Melbourne, Aust.] (6 October 1983): n. p. Print. Conquergood, Dwight. “Performing as a Moral Act: Ethical Dimensions of the Ethnography of Performance.” Literature in Performance 5.2 (1985): 1–13. Print. Corfield, Qiane. “Movie Matai.” Mana Magazine 77 (2007): 84–6. Print. “Cover Story: Something to Be Proud Of.” Mana Magazine 49 (December 2002–January 2003): 41. Print. Crosbie, Tom. “Critical Historiography in Atanarjuat The Fast Runner and Ten Canoes.” Journal of New Zealand Literature 24.2 (2007): 135–53. Print. Cross, Miriam. “Cousineau & Invalu’s [sic] Before Tomorrow.” Arts & Opinion 8.2 (2009): 12 pars. Web. 14 October 2011 . Davis, Therese V. “Indigenising Australian History: Contestation and Collaboration on First Australians.” Screening the Past 24 (2009): n. p. Web. 26 February 2014. _____. “Love and Social Marginality in Samson & Delilah.” Senses of Cinema 51 (2009): n. p. Web. 9 June 2012. _____. “‘Remembering Our Ancestors’: Collaboration and Mediation of Aboriginal History.” Studies in Australasian Cinema 1.1 (2007): 5–14. Print. _____. “Working Together: Two Cultures, One Film, Many Canoes.” Senses of Cinema 41 (2006): n. p. Web. 1 December 2008. Davis, Therese V. and Romaine Morton. “‘Working in Communities, Connecting with Culture’: Reflecting on U-Matic to YouTube.” Screening the Past 31 (2011): 1–11. Web. 14 May 2014.

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Davis, Therese V., and Helen Simondson, Eds. From U-Matic to YouTube: A National Symposium Celebrating Three Decades of Australian Indigenous Community Film and Video, June 8–9, 2010. Melbourne, Aust.: Monash U and the Australian Centre for the Moving Image [ACMI], 2010. Print. Deger, Jennifer. Shimmering Screens: Making Media in an Aboriginal Community. Minneapolis, MN: University of Minnesota Press, 2006. Print. Dell’oso, Anna-Maria. “Documentary Evidence of Ghastly Racial Kitsch.” Sydney Morning Herald (5 November 1983): n. p. Print. Dennis, Jonathan and Jan Bieringa. Film in Aotearoa New Zealand. 2nd ed. Wellington, NZ: Victoria University Press, 1996. Print. Denzin, Norman K., Yvonna S. Lincoln, and Linda Tuiwhai Smith, Eds. Handbook of Critical and Indigenous Methodologies. Los Angeles: Sage, 2008. Print. DiNova, Joanne R. Spiraling Webs of Relation: Movements toward an Indigenist Criticism. New York: Routledge, 2005. Print. Dowell, Kristin. “Indigenous Media Gone Global: Strengthening Indigenous Identity On- and Off-Screen at the First Nations/First Features Film Showcase.” American Anthropologist 108.2 (2006): 376–84. Print. Dubois, Isabelle. “On the Set of Before Tomorrow: Nunavut and Nunavik Inuit Bond Together to Bring the Past to Life.” Inukitut: Up Close (2006): 30–9. Print. Duda, Marty. “This is the Modern World.” Real Groove 173 (2008): 35. Print. Eriksen, Thomas Hylland. Ethnicity and Nationalism. London: Pluto, 2002. Print. Evans, Michael Robert. Isuma: Inuit Video Art. Montreal: McGill-Queens University Press, 2008. Print. Fachin, Dina. “Inside the Image and the Word: The Re/membering of Indigenous Identities.” Ethnic Studies Review/Ethnic NewsWatch (ENW) 32.1 (2009): 30–54. Print. Farrell-Green, Simon. “Mt. Roskill Dreaming.” Metro [Auckland] 296 (February 2006): 58–63. Print. Figueroa, Esther. “Whale Rider (Movie Review).” The Contemporary Pacific 16.2 (2004): 422–6. Print. Fiske, Pat. “Lousy Little Sixpence.” Filmnews 13.10 (October 1983): 11+. Print.

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Foster, Michael. “Aboriginal Filmmaker Sees His Role as Chronicler of History.” Canberra Times [Australia] (6 October 1983): 12. Print. Fraser, Cleo. “The Tattooist.” Tu Mai 89 (2007): 13. Print. Gabriel, Teshome H. “Thoughts on Nomadic Aesthetics and Black Independent Cinema: Traces of a Journey.” Out There: Marginalization and Contemporary Cultures. Eds Russell Ferguson, Martha T. Gever, Trinh T. Minh-ha, and Cornel West. New York: New Museum of Contemporary Art, 1990. 395–410. Print. Garcia, Maria. “Whale Tale: New Zealand’s Niki Caro Brings Māori Legend to Life.” Film Journal International 106.6 (2003): 16–7. Print. Gauthier, Jennifer. “Indigenous Feature Films: A New Hope for National Cinemas?” CineAction 64 (2004): 63–71. Print. Georgiou, Myria. Diaspora, Identity and the Media: Diasporic Transnationalism and Mediated Spatialities. Cresskill, NJ: Hampton Press, 2006. Print. Ginsburg, Faye. “Culture/Media: A Mild Polemic.” Anthropology Today 10.2 (1994): 5–15. Web. 6 July 2010. _____. “Embedded Aesthetics: Creating a Discursive Space for Indigenous Media.” Cultural Anthropology 9.3 (1994): 365–82. Print. _____. “Indigenous Media: Faustian Contract or Global Village?” Cultural Anthropology 6.1 (1991): 92–112. Print. _____. “Screen Memories: Resignifying the Traditional in Indigenous Media.” Media Worlds: Anthropology on New Terrain. Eds Faye Ginsburg, Lila Abu-Lughod, and Brian Larkin. Berkeley: University of California Press, 2002. 39–57. Print. Grant, Nick. “Cutting Loose.” OnFilm 25.8 (2008): 14–5. Print. Griffin, John. “Inuit Feature Before Tomorrow was 18 Years in the Making.” Montreal Gazette (21 March 2009). Web. 28 January 2014 . Gunderson, Sonia. “Women’s Collective Screens Film for Hometown Crowd.” Nunatsiaq News (29 February 2008). Web. 21 October 2011 . Hearne, Joanna. “‘The Cross-Heart People’: Indigenous Narratives, Cinema, and the Western.” arizona.openrepository.com. University of Arizona, (2004): 302. Web. 29 June 2014.

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_____. “Telling and Retelling in the ‘Ink of Light’: Documentary Cinema, Oral Narratives, and Indigenous Identities.” Screen 47.3 (2006): 307–26. Print. Himpele, Jeff. “Packaging Indigenous Media: An Interview with Ivan Sanjinés and Jesús Tapia.” American Anthropologist 106.2 (2004): 354–63. Print. Hokowhitu, Brendan. “The Death of Koro Paka: ‘Traditional’ Māori Patriarchy.” The Contemporary Pacific Special Issue 20.1 (2008): 115–41. Print. Hokowhitu, Brendan and Vijay Devadas, Eds. The Fourth Eye: Māori Media in Aotearoa New Zealand. Minneapolis, MN: Minnesota University Press, 2013. Print. Huhndorf, Shari M. “Atanarjuat, the Fast Runner: Culture, History, and Politics in Inuit Media.” American Anthropologist 105.4 (2003): 822–6. Print. _____. Going Native: Indians in the American Cultural Tradition. Ithaca, NY: Cornell University Press , 2001. Print. Hurley, Andrew W. “Three Takes on Intercultural Film – Michael Edols’ Trilogy of Aboriginal Films: Lalai Dreamtime; Floating, Like the Wind Blow ‘em About – This Time; and When the Snake Bites the Sun.” Studies in Australasian Cinema 2.1 (2008): 73–93. Print. _____. “Whose Dreaming? Intercultural Appropriation, Representations of Aboriginality, and the Process of Film-making in Werner Herzog’s Where the Green Ants Dream (1983).” Studies in Australasian Cinema 1.2 (2007): 175–90. Print. Hutchinson, Ivan. “It’s a Documentary of Shame.” Sun [Sydney] (29 September 1983): n. p. Print. Iordanova, Dina and Leschu Torchin. Film Festivals and Activism. St Andrews, Scotland: St Andrews University Press, 2012. Print. Isuma International Distribution. “Before Tomorrow.” n.d. Web. 24 January 2014 http://www.isuma.tv/beforetomorrow>. Kai’i, Tania Marie. “Te Kauae Mārō o Muri-ranga-whenua (The Jawbone of Muri-ranga-whenua): Globalising Local Indigenous Culture – Māori Leadership, Gender, and Cultural Knowledge Transmission as Represented in the Film Whale Rider.” Portal 2.2 (2005): 1–15. Print. Kamu, Malua. “The Tattooist: A Critical Analysis.” Unpublished essay. Dunedin, NZ: University of Otago, 2009. Print.

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Kelly, Brendan. “Interview – A Different Direction: Marie-Helene Cousineau went to the Far North to Create the Jutra-Nominated Film, Before Tomorrow.” Montreal Gazette (22 March 2010): A.3. Web. 4 March 2014. Kidman, Joanna. “Research Engagement with Māori Communities,” MAI Review 1 [Research Note 1] (2008): n. p. Print. Krupat, Arnold. “Atanarjuat, the Fast Runner and Its Audiences” Critical Inquiry 33 (2007): 606–31. Print. _____. Ethnocriticism: Ethnography, History, Literature. Berkeley: University of California Press, 1992. Langton, Marcia. Well, I Heard It on the Radio and I Saw It on the Television: An Essay for the Australian Film Commission on the Politics and Aesthetics of Filmmaking by and about Aboriginal People and Things. Sydney, Aust.: Australian Film Commission, 1993. Print. Lealand, Geoff. “At Ease: An Interview with Toa Fraser.” Metro Australia 150 (2006): 62–6. Print. Lee, Chris. “The Plain and Simple Truth.”Express [Sydney] (2 November 1983): n. p. Print. Lehavot, Keren. “Between Two Worlds: A Psychology Student’s International Experience in Māori New Zealand.” MAI Review 3 [Research Note 1] (2007): n. p. Print. Limbrick, Peter. Making Settler Cinemas: Film and Colonial Encounters in the United States, Australia, and New Zealand. Basingstoke, Hampshire, Eng.: Palgrave Macmillan, 2010. Print. Lonetree, Amy and Amanda J. Cobb, Eds. The National Museum of the American Indian: Critical Conversations. Lincoln: University of Nebraska Press, 2008. Print. “Lousy Little Sixpence.” Movie Review (18 November 1983): n. p. Print. “Lousy Little Sixpence.” Womanspeak 8.1 (1983): 19. Print. Lousy Little Sixpence. Dir. Alec Morgan. Ronin Films, 1983. Film. Lousy Little Sixpence Discussion Guide/Publicity. New South Wales, Aust.: 1982 [National Film and Sound Archive Title No: 456002]. Print. MacDonald, Dougal. “Strong Pair of Documentaries on Aborigines.” Canberra Times [Australia] (18 October 1983): n. p. Print. MacDougall, David. “The Visual in Anthropology.” Rethinking Visual Anthropology. Eds Marcus Banks and Howard Morphy. New Haven, CT: Yale University Press, 1999. 276–95. Print.

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_____. “Whose Story Is It?” Visual Anthropology Review 7.2 (1991): 2–10. Print. Magocsi, Paul Robert, Ed. Aboriginal Peoples of Canada: A Short Introduction. Toronto: University of Toronto Press, 2002. Print. Marks, Laura U. “Inuit Auteurs and Arctic Airwaves: Questions of Southern Reception.” Fuse 21.4 (1998): 13–7. Print. Marrubio, M. Elise. “Introduction to Native American/Indigenous Film.” Post Script Special Edition 29.3 (2010): 3–12. Web. 18 September 2011. Martin, Thibault. “From Documentary to Social Sciences: How the Issue of Representing the Other Emerges.” Screening Culture: Constructing Image and Identity. Ed. Heather Norris Nicholson. Lanham, MD: Lexington, 2003. 191–205. Print. Matthews, Philip. “Myth Making.” Listener (1 February 2003): 19–24. Print. May, Stephen, Tariq Modood, and Judith Squires, Eds. Ethnicity, Nationalism, and Minority Rights. Cambridge: Cambridge University Press, 2004. Print. Maybury-Lewis, David. Indigenous Peoples, Ethnic Groups, and the State. Boston: Allyn and Bacon, 2002. Print. McCarthy, Lyn. “Lousy Little Sixpence.” Rolling Stone (November 1983): 93. Print. McIntyre, Stuart and Anna Clark. The History Wars. Carlton, Aust.: Melbourne University Press, 2003. Print. Medved, Maureen. “Review of Before Tomorrow.” Herizons (Winter 2010): 47. Print. “Mia, Myself and I.” Spasifik 13 (2006): 52–3. Print. Michaels, Eric. Bad Aboriginal Art: Tradition, Media, and Technological Horizons. Minneapolis, MN: University of Minnesota Press, 1994. Print. Milliken, Robert. “Document of Black Tragedy.” National Times [Australia] (4–10 November 1983): 32. Print. Minde, Henry, Ed. Indigenous Peoples: Self-Determination, Knowledge, Indigeneity. Delft, Netherlands: Eburon Delft, 2008. Print. Minh-ha, Trinh T. Cinema Interval. New York: Routledge, 1999. Print. Morgan, Alec. “The Making of Lousy Little Sixpence.” Making Film and Television Histories: Australia and New Zealand. Eds James E. Bennett and Rebecca Beirne. London: I.B. Tauris, 2011. 11–6. Print.

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Morris, Meaghan. “Sydney Film Festival (Review of Lousy Little Sixpence).” Financial Review (24 June 1983): 31. Print. _____. “Two Laws: An Unquiet Realm of the Aboriginal Struggle.” Financial Review 30 Apr. 1982. Web. 23 June 2010 . Morris, Paula. “Whale Rider.” Cineaste 29.1 (2003): 18. Web. 31 July 2008. Morton, Frances. “Toa Fraser.” Inside Film 84 (2006): 25. Print. Murray, Stuart. Images of Dignity: Barry Barclay and Fourth Cinema. Wellington, NZ: Huia, 2008. Print. “New Zealand Film at AFM.” New Zealand Film 81 (2006): 1–12. Print. Niezen, Ronald. The Origins of Indigenism: Human Rights and the Politics of Identity. Berkeley: University of California Press, 2003. Print. No. 2 (a.k.a Naming Number Two). Dir. Toa Fraser. New Zealand Film Commission, 2005. Film. NZ On Screen. Mataku. 2014. Web. 19 February 2014 . Oates, Gregory and Diana Fitzgerald. “Lousy Little Sixpence.” Metro [ATOM: Australian Teachers of Media] 62 (1983): 31–4. Print. O’Connor, Elizabeth. “Peter Burger.” Te Karaka (Raumati 2007): 10–1. Print. Orange, Claudia. The Treaty of Waitangi. 2nd ed. Wellington, NZ: Bridget Williams [with assistance from the Historical Publications Branch, Dept. of Internal Affairs], 1992. Print. Orton, Mark. “Director Draws on Life to Pull the Strings.” Otago Daily Times (9 August 2008): 55. Print. Pearson, David. The Politics of Ethnicity in Settler Societies: States of Unease. Basingstoke, Hampshire, Eng.: Palgrave Macmillan, 2001. Print. Peters-Little, Frances. “The Impossibility of Pleasing Everybody: A Legitimate Role for White Filmmakers Making Black Films.” Australian Humanities Review (2003). Web. 12 February 2014 . Pitts, Virginia. “Intercultural Short Filmmaking in Aotearoa New Zealand.” Metro Australia 148 (2006): 140–6. Print. Radstone, Susannah. “Reports and Debates.” Screen 42.2 (2001): 192. Print. Raheja, Michelle H. Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film. Lincoln, NE: University of Nebraska Press, 2010. Print.

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Reconciliation Australia. “3 June: A Significant Date – The Mabo Decision.” Reconciliation Australia. Web. 14 March 2014 . Reynolds, Henry. The Chant of Jimmie Blacksmith. Redfern, Aust.: Currency [with assistance from the National Film and Sound Archive [NFSA]), 2008. Print. _____. Why Weren’t We Told? A Personal Search for the Truth About Our History. Melbourne: Penguin Australia, 2000. Print. Riding the Waves. Dir. Jonathan Brough. South Pacific Pictures, 2004. Film. Roth, Michael S. “Beyond Critical Thinking.” Chronicle Review (2010). Web. 7 January 2010 . Rowse, Tim. After Mabo: Interpreting Indigenous Traditions. Carlton, Aust.: Melbourne University Press, 1994. Print. Schiwy, Freya. Indianizing Film: Decolonization, the Andes, and the Question of Technology. Brunswick, NJ: Rutgers University Press, 2009. Web. 13 October 2011. Seguin, Denis. “Reviews – Sundance Film Festival: Before Tomorrow.” Screen International (23 January 2009): 24. Print. Simon, Alissa. “Film Reviews: Before Tomorrow.” Variety (17 November 2008): 33. Print. Smith, Laurel C. “Decolonizing Hybridity: Indigenous Video, Knowledge, and Diffraction.” Cultural Geographies 19.3 (2012): 329–48. Print. Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. Dunedin, NZ: Otago University Press, 1999. Print. _____. “On Being Culturally Sensitive: The Art of Gathering and Eating Kina without Pricking Yourself on the Finger.” New Zealand Association of Counsellors Journal 12.1 (1990): 47–53. Print. _____. “On Tricky Ground: Researching the Native in the Age of Uncertainty.” Sage Handbook of Qualitative Research. Eds Norman K. Denzin and Yvonna S. Lincoln. New York: Sage, 2005. 85–107. Print. _____. “Researching in the Margins: Issues for Māori Researchers – A Discussion Paper.” Alternative: An International Journal of Indigenous Scholarship [sup. pages] (2006): 4–27. Print. _____. “Towards the New Millenium: International Issues and Projects in Indigenous Research.” He Pukenga Kōrero: A Journal of Māori Studies 4.1 (1998): 43–61. Print.

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Tracy, Karen. Everyday Talk: Building and Reflecting Identities. New York: Guildford, 2002. Print. Two Laws. Dir. Alessandro Cavadini and Carolyn Strachan. Smart Street Films, 1981. Film. Walker, Ranginui. Ka Whawhai Tonu Matou: Struggle without End. Auckland, NZ: Penguin, 1990. Print. Walsh-Tapiata, Wheturangi. “The Praxis of Research: What Can Social Services Learn from the Practice of Research in an Iwi Setting?” Social Work Review 15.3 (2003): 25–9. Print. Whale Rider. Dir. Niki Caro. South Pacific Pictures, 2003. Film. White, Jerry. “Zach Kunuk and Inuit Filmmaking.” Great Canadian Film Directors. Ed. George Melnyk. Edmonton: University of Alberta Press, 2007. 347–62. Print. Willemen, Paul. “The Third Cinema Question: Notes and Reflections.” Questions of Third Cinema. Eds Jim Pines and Paul Willemen. London: British Film Institute, 1989. Web. 2 May 2014. Williams, Ken. “Heartbreak ... for a Lousy Zac.” Clarion (5 October 1983): 6. Print. Wilson, Shawn. “Progressing Toward an Indigenous Research Paradigm in Canada and Australia.” Canadian Journal of Native Education 27.2 (2003): 161–78. Print. Wolfgramm, Rachel. “Creativity and Institutional Innovation in Intercultural Research.” MAI Review 3 [Article 6] (2008): n. p. Print. Wong, Gilbert. “The Rise of Pollywood.”Metro [Auckland] 296 (February 2006): 52–7. Print. Wood, Houston. Native Features: Indigenous Films from Around the World. London: Continuum, 2008. Print. Wright, Nancy E. “Models of Collaboration in Ten Canoes (2006).” Screening the Past (August 2011). Web. 3 May 2014. Ziff, Bruce and Pratima V. Rao.Borrowed Power: Essays on Cultural Appropriation. New Brunswick, NJ: Rutgers University Press, 1997. Print.

DOI: 10.1057/9781137411570.0010 Index

Aboriginal people, 16, 48, 53–7, Australian Centre for the 63 Moving Image (ACMI) Aborigines Progressive and collaborative Association, 60 filmmaking, 8–10 Aborigines Protection Board, digital storytelling project, 2 64, 68, 70 symposium, 2, 8, 9 Aotearoa New Zealand, 18, 20, Australian Cinema after Mabo, 52, 69, 70, 76, 79, 83, 93, 64, 65 97, 100, 107 Australian history, 56–9 see also New Zealand see also ‘Stolen Generations’ Apron Strings, 20, 75, 79, Avingaq, S., 24, 37 97–100 Arnait Video Productions, 24, Baillie, R., 89 34, 37–9 Barclay, B., 5, 8, 63, 70, 77, 87, Atanarjuat The Fast Runner, 90, 100, 112 30–1, 40, 43, 46, 48, 84 Bateson, M. C., 6, 104–5, 109 Atanarjuat The Fast Runner Before Tomorrow, 24 trilogy, 19, 29, 31 award nominations for, 35 see also The Fast Runner challenges faced during [Atanarjuat] filming, 36–8 Attwood, B., 67–8, 71 character development, 26–8 Auckland, 75–6, 80, 96–7 cinematography of, 26–7 audiences critics’ views on, 29–32 indigenous, 30, 33–4, 45, 47 the making of, 19, 34–5 national, 67, 87 narrative events in, 27–8 nonindigenous, 4, 7, 33–4, and non-Inuit Canadians’ 45–7, 109, 115 responses, 43–4 responsibility of, 42–8, production design of, 44–5 104–15 and reflection of the Inuit white, 16, 59, 66–7, 69, 77 culture, 40–2 Australia, 18, 20, 53, 56, and the role of children in, 66–7 39–40 Australian Broadcasting screening of, 38 Corporation (ABC), 62 ‘special features’ of, 39–41, 43

 DOI: 10.1057/9781137411570.0011 Index 

Before Tomorrow – continued and relationship, 104–5 story of, 35 and textual and extratextual analysis, and teamwork of the crew, 36–8 28–30, 32–3 textual and extratextual and understanding of indigenous observations, 28–30, 33 cultures, 110–12 Behr, J., 75, 82–3 collaborative curatorial process, 2–3 Benjamin, W., 32–3 Collins, F., 64–5 Black Man Coming, 58 Columpar, C., 8, 10, 24–5 Blake, M., 97 community curators, 2–3 Borroloola community, 2, 9 Cootamundra Girls Home, 56 Bostock, G., 19, 58, 60, 62, 66, 106 Cousineau, M-H., 9, 24, 34–8 Bostock, L., 58, 62 criticism, see collaborative criticism/ Briggs, G., 58 collaborative critics Burger, P., 75, 81–2 Crosbie, T., 32, 43, 47 cross-cultural collaboration Cajete, G., 30 in Before Tomorrow, 35–6 Caldwell, F., 58 films made by, 8–10, 16–20, 60, Canada, 18, 41 75–6, 78, 88 Canadian Southerners, 36 in Lousy Little Sixpence, 60–4 Caro, N., 4, 20, 75, 77, 85, 88–9 problematic aspects of, 12–14, 60–3 Castle-Hughes, K., 89 in The Tattooist, 82 Cavadini, A., 8, 14, 16 in Whale Rider, 88–9 The Chant of Jimmie Blacksmith, 65–6 cross-cultural communication, 6, 7, Coffee, E., 55 9–10, 15 Cohn, N., 26–7, 30–1, 36, 40 cross-cultural prejudice, 54 collaborative cinema, 6 Cumeroogunga Reserve protests, 60 and authorship, 14–15 Curtis, C., 89, 91 contextual materials in, 14 importance of textual analysis in, 10 Dances with Wolves, 77, 90 methodologies used in, 10, 16–18 Davis, T., 9, 19, 64, 68–9, 88, 113 see also cross-cultural collaboration; Dee, R., 96–7 filmmakers; filmmaking; films Dell’oso, A-M., 58, 63 collaborative criticism/collaborative DiNova, J., 25, 29, 36, 43–4, 107, 111, critics, 25, 71 115 and activism, 114–15 Dowell, K., 38, 111 and audience responsibility, 42–8 and engagement, 109–10 Edols, M., 70 and filmmakers’ vision and agency, Evans, M. R., 34 105–6 extratextual elements, 30, 32–3 and immersion, 108–9 The Fast Runner [Atanarjuat], 30–1, 40, and indigenous protocols, 107–8 43, 46, 48, 84 and indigenous truths, 106–7 see also Atanarjuat The Fast Runner and multivocality, 97 trilogy and the ‘not knowing’ state of, 112–13 Figueroa, E., 76, 89 and regeneration, 113–14 Fijians, 20, 75–6

DOI: 10.1057/9781137411570.0011  Index filmmakers Indians [Asian], 11, 79, 98 documentary, 14, 19, 28, 53–5, 65, 69 Indians [North American], 6, 40 ethnographic, 8, 10, 40, 78–9 indigenist criticism, 29–30, 111 indigenous, 2, 38, 41, 63–4, 105, 111 indigenous films nonindigenous, 8, 38, 63–4 challenges of, 83 see also filmmaking; films and cultural hijacking, 76 filmmaking, 2, 19, 31, 35, 38, 78, 85, 87, funding for, 62, 75–6, 79, 85 100, 107 and progress in cinematic see also filmmakers; films history, 93 films see also Apron Strings; Atanarjuat The on Australian Aboriginal Fast Runner; Before Tomorrow; No. communities, 57–9, 70 2; The Tattooist; Whale Rider made by cross-cultural indigenous/minority peoples collaboration, 8–10, 16–20, 75–6, cinematic representations of, 3–5 88–9 and copyright issues, 11–12 made by indigenous peoples, 5, 7, films made by, see indigenous films 16–18 in North America and the Pacific, 5 made by Yanyuwa people, 8, 16–18 perspectives on art, 30–1 multiple identities of, 30–1 and problems arising in see also filmmakers; filmmaking collaboration, 11–15 First Cinema, 5 stifling of self-expression of, 56–7 Fleeting Beauty, 79, 98 use of media by, 15–16 Fourth Cinema, 5–6, 8, 24, 41, 70 Inuit peoples, 19, 24–5, 31, 36–8, 41, Fraser, C., 77 44–5 Fraser, T., 75, 93–4, 96 Inuit women, 34–5, 39 Isuma Productions, 19, 25, 29, 31–2, Gauthier, J., 84 34–6, 44 Ginsburg, F., 10, 11, 41, 78–9 Ivalu, M., 9, 11, 24, 30, 34–9, 44 Griffin, J., 34 Ivalu, P-D., 40

Harjo, J., 29 Jake, 75, 79–82 Hearne, J., 28, 39, 41, 43 Johnson, D., 10, 107 Here Comes the Nigger, 58 The Journals of Knud Rasmussen, 24 Himpele, J., 42 Jutra Awards, 35 historical materialist reception (HMR) studies, 89 Kai’i, T., 76–7, 86–7, 89–90 Hokowhitu, B., 4, 86 Kamu, M., 75, 82–3 Holding, C., 62 Kayapo community, 15–16 Hollywood, 30, 69, 83–4 Koorie Heritage Trust, 2 Huhndorf, S., 31 Kothari, S., 79, 98, 100 Hurley, A., 12, 70 Krupat, A., 25, 30–1, 34, 48 Kuri Productions, 58 Igloolik, 35–6, 38, 45 Ihimaera, W., 75, 88, 91 LaCapra, D., 68 imagineNATIVE Film + Media Arts Lajeunesse, F., 26–7 Festival, 38, 114–6 Lamar, C. C., 3, 12

DOI: 10.1057/9781137411570.0011 Index  language, power of, 29–30 see also Lousy Little Sixpence Lees, N., 93 Morris, M., 8, 16, 60 Lousy Little Sixpence, 58 multivocality, 93, 97 archival materials of, 59, 60, 71 Murray, S., 87 audiences’ response to, 66–9 as educational material in schools, Nanna Maria, 75, 94, 96 69–70 narrative play, 46–7 a means of self-expression for National Museum of the American aboriginal communities, 63–4 Indian (NMAI) obstacles to the making of, 60–3 collaborative exhibition, 2–3, 6–7. purpose of the film, 60 12, 111 reception of, 62–3, 65–8 and the five phase process, 2–3 screening of, 62–3 Native intellectualism, 44 Neville, A. O., 53 Mabo legal decision, 64, 69 New South Wales, 54, 58, 68, 69 MacDonald, D., 60 New Zealand, 18, 20, 52, 69, 70, 76, 79, MacDougall, D., 78 83, 93, 97, 100, 107 Maniq, 24, 26–8, 32, 40 see also Aotearoa New Zealand Māori culture, 4, 63, 77, 84–7, 91–2, New Zealand Film Commission, 76, 107–8 85, 98, 108 Martin, T., 14–15, 48 Ngāti Apa, 5 matai (chiefs), 82–3 Ngāti Konohi, 75, 85, 88, 91 material reparation, 5 Ngāti Porou, 20, 85, 87 McGrady, M., 62 Nicholls, D., 60 media Ningiuq, 24, 26–8, 32 co-creative, 8, 64 No. 2 [a.k.a. Naming Number Two], 20, minority/indigenous, 10, 25, 28, 48, 75–6, 93–7 78–9 Nunavut, Canada, 19, 32, 35, 37, 84 study of, 10–11 use of, by indigenous/minority Once Were Warriors, 83–4, 88 groups, 15–16, 92, 107–8 The Orator, 41 visual, 10–11, 47 Ostrowitz, J., 7 Medved, M., 27 The Pā Boys, 111–12 Melnyk, G., 43–4 Minh-ha, T. T., 93, 96–7 Pacific Islanders, 76, 94, 96, 98 Mita, M., 70, 87, 90, 112 Paikea, 75, 86, 88, 90 Morgan, A., 106 Pākehā, 5, 20, 75, 85, 87–8, 91, 97 biography of, 53–6 Paratane, R., 89 and films on ‘stolen’ Australian Pearson, D., 5, 18 histories, 57–9 Perkins, R., 71, 90 puppet shows of, 53–6 Peters-Little, F., 90 research on Australian Aborigines, Pitts, V., 79, 98, 100 52, 59–60 political autonomy, 5 work with Australian Aboriginal puppet shows, 53–5 communities, 53–6 Puvirnituq-Igloolik collaboration, work with school children, 55–6 36–8

DOI: 10.1057/9781137411570.0011  Index racism, 55–8, 66–7, 95, 107 use of, in critiques, 109 Radstone, S., 59 Third Cinema, 5 Raheja, M., 31, 46–7 Thompson, K., 2 Redfern Aboriginal community, 60 Tookalah, Q., 45 Reid, B., 58 Toomelah, 41 reviews [film/movie], 65–9, 92, 112–3 Torres Strait Islanders, 52, 58 Reynolds, H., 65–6 Tucker, M., 57 Rowse, T., 69 Tuifa’asisina, T., 82 Turner, T., 15–6 Samoan culture, 75, 81–2 Two Laws, 8, 14, 16, 18 Samoans, 75–6, 80–2 ‘two laws’ time, 67 Samson & Delilah, 41, 113 Sanjines, I., 42 United Nations Declaration on the Schiwy, F., 25, 39, 42, 115 Rights of Indigenous Peoples Scholes, R., 77, 84 (2007), 5 Second Cinema, 5 Unsettling Sights: The Fourth World on Seguin, D., 26, 31, 32, 34 Film, 8, 24 Shea, V., 58 Urale, S., 20, 75, 78–9, 94, 97 Simon, A., 41, 44 Uvanga, 38 Simondson, H., 8, 10 Sina, 79, 80, 81 visual anthropology, 10, 78 Smith, L. T., 108 visual sovereignty, 31, 111 Smith, P. C., 6 Spiraling Webs of Relation: Movements Whale Rider, 4 towards an Indigenist Criticism, 29 commentators’ views on, 85–7 Stam, R., 85, 92 criticism of, 4–5 state sovereignty, 5 cross-cultural collaboration in, 88–9, ‘Stolen Generations’, 52, 56–8, 64, 68 91–2 storytelling, 2, 26–7, 34–5, 39, 40–1 funding for, 85 Strachan, C., 8, 14, 16, 18 international reviews of, 92–3 and resistance to the making Tapia, J., 42 of, 85 tatau, 75, 77, 79–80, 82 and progressive features of the film, The Tattooist, 76 89–91 characters in, 79–82 Weaver, J., 113 critical views on, 77, 80–3 Where the Green Ants Dream, 12 cross-cultural collaboration in, 82 White, J., 43 story of, 75, 79–80 white Australians, 52, 57–8, 60, 62, 65, Te Manu Aute, 63 68 Ten Canoes, 9, 24, 32 Wood, H., 110 textual analysis Wright, N. E., 7 in Before Tomorrow, 26–9 Crosbie’s arguments on, 32–4 Yakama community, 12 use of, in media collaborations, 10 Yanyuwa people, 2, 8, 16

DOI: 10.1057/9781137411570.0011