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The Aboriginal Version of Ken Done... Banal Aboriginal Identities in Australia
This may be the author’s version of a work that was submitted/accepted for publication in the following source: McKee, Alan (1997) The Aboriginal version of Ken Done ... banal aboriginal identities in Aus- tralia. Cultural Studies, 11(2), pp. 191-206. This file was downloaded from: https://eprints.qut.edu.au/42045/ c Copyright 1997 Taylor & Francis This is an electronic version of an article published in [Cultural Studies, 11(2), pp. 191-206]. [Cultural Studies] is available online at informaworld. Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/09502389700490111 "The Aboriginal version of Ken Done..." Banal Aboriginality in Australia This writing explores the ways in which representations of blackness in Australia are quite specific to that country. Antipodean images of black Australians are limited in particular ways, influenced by traditions, and forming genealogies quite peculiar to that country. In particular, histories of blackness in Australia are quite different that in America. The generic alignments, the 'available discourses' on blackness (Muecke, 1982) form quite distinct topographies, masses and lacunae, distributed differently in the two continents. It is in these gaps, the differences between the countries — in the space between Sale of the Century in Australia and You Bet Your Life in the USA — that this article discusses the place of fatality in Australian images of the Aboriginal. -
David Gulpilil, AM
David Gulpilil, AM Born 1953, Gulparil, near Ramingining, Northern Territory. Lives Darwin, N.T. David Gulpilil’s full name is David Gulpilil Ridjimiraril Dalaithngu. Gulpilil is also spelt Gulparil, which is the name of his Country near Ramingining, central Arnhem Land, N.T. When, as a seventeen year-old, David Gulpilil lit up the cinema screen in the film, Walkabout, he did more than play a role. The performance was so strong, so imbued with a new type of graceful naturalism, that it re-defined perceptions of Aboriginality, especially in the field of screen acting. Over the next decade, David became the iconic Aboriginal actor of his generation, paving the way in the resurgence of the Australian film industry for more parts to be written for Aboriginal people, for more Aboriginal stories to be told. His charismatic, engaging and unforgettable performances in films like Storm Boy (1976, dir. Henri Safran), The Last Wave (1977, dir. Peter Weir) and Crocodile Dundee (1986, dir. Peter Faiman) helped bring Aboriginality into the mainstream of the screen arts. In his later work, including Rabbit-Proof Fence (2002, dir. Philip Noyce), The Tracker (2002, dir. Rolf de Heer), Australia (2008, dir. Baz Luhrmann) and the soon to be released Charlie's Country (2013, dir. Rolf de Heer), Gulpilil has brought tremendous dignity to the depiction of what it is to be Aboriginal. Through his art he has brought an incalculable amount of self-esteem to his community. Since the early 1970s, Gulpilil has earned more than 30 film credits, and performed alongside Dennis Hopper, Jack Thompson, Miles Davis, Nicole Kidman, Hugh Jackman, Kenneth Branagh, William Hurt, Richard Chamberlain, Guy Pearce, Paul Hogan, and Ernie Dingo, under acclaimed directors such as Peter Weir, Baz Lurhman, Philip Noyce, Wim Wenders and Rolf de Heer. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world. -
Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. -
October 25, 2011 (XXIII:9) Peter Weir, the LAST WAVE (1977, 106 Min.)
October 25, 2011 (XXIII:9) Peter Weir, THE LAST WAVE (1977, 106 min.) Directed by Peter Weir Written by Peter Weir, Tony Morphett & Petru Popescu Produced by Hal McElroy and James McElroy Original Music by Charles Wain Cinematography by Russell Boyd Film editing by Max Lemon Costume Design by Annie Bleakley Richard Chamberlain...David Burton Olivia Hamnett...Annie Burton David Gulpilil...Chris Lee (as Gulpilil) Frederick Parslow...Rev. Burton Vivean Gray...Dr. Whitburn Nandjiwarra Amagula...Charlie Walter Amagula...Gerry Lee Roy Bara...Larry Cedrick Lalara...Lindsey Hanging Rock, 1974 Between Wars, 1974 Matchless, and 1972 Morris Lalara...Jacko “The Marty Feldman Show”. Peter Carroll...Michael Zeadler RICHARD CHAMBERLAIN (March 31, 1934, Beverly Hills, Los PETER WEIR (August 21, 1944, Sydney, New South Wales, Angeles, California) has 80 acting credits, some of which are Australia) has 30 directing credits, among them 2010 The Way 2011 We Are the Hartmans, 2011 The Perfect Family, 2007 Back, 2003 Master and Commander: The Far Side of the World, “Desperate Housewives”, 2006 “Nip/Tuck”, 2006 “Hustle”, 2005 1998 The Truman Show, 1993 Fearless, 1990 Green Card, 1989 “Will & Grace”, 2004 The Pavilion, 2002 “The Drew Carey Dead Poets Society, 1986 The Mosquito Coast, 1985 Witness, Show”, 2000 “Touched by an Angel”, 1989 The Return of the 1982 The Year of Living Dangerously, 1981 Gallipoli, 1977 The Musketeers, 1988 “The Bourne Identity”, 1987 “Casanova”, Last Wave, 1975 Picnic at Hanging Rock, 1972 The Billiard 1986 Allan Quatermain and the Lost City of Gold, 1985 King Room, and 1969 Stirring the Pool. Solomon's Mines, 1985 “Wallenberg: A Hero's Story”, 1983 “The Thorn Birds”, 1982 Murder by Phone, 1980 “Shogun”, RUSSELL BOYD (April 21, 1944, Victoria, Australia) won a Best 1978-1979 “Centennial” (12 episodes), 1977 The Last Wave, Cinematography Oscar for Master and Commander: The Far 1975 “The Count of Monte-Cristo”, 1974 The Towering Inferno, Side of the World (2003). -
Indigenous Strategy 2018-2025 CONTENTS
~ Our children will walk in two worlds and their culture will be a gift to their country ~ Indigenous Strategy 2018-2025 CONTENTS From the President and Vice-Chancellor 1 From the Director of Nura Gili 11 From the Deputy Vice-Chancellor Academic 2 Strategic Plan 12 From the Pro Vice-Chancellor Indigenous 3 Aboriginal History of the Main UNSW Campus 14 Aboriginal history study: Key Themes 4 Our Story 18 The Three Pillars 5 Timeline: Australian Indigenous History 22 Truth and Reconciliation 7 Indigenous Books 26 Culture and Country 8 Indigenous Films 28 Give Back 9 AIATSIS Map of Indigenous Australia 30 Grow our Own 10 Uluru Statement from the Heart 31 Contact: T. 02 9385 6614 or 02 9385 8966 E. [email protected] W. pvci.unsw.edu.au CRICOS Provider Code 00098G Dune photography: John Hewitt © UNSW 2018 Graphic Designer: Peta Lee, beloved.com.au Editing and proofing: James Smith Photograph pp 3: Andrzej Liguz Content on pp 4 from UNSW Aboriginal History Study by Dr. Paul Irish @ Coast History Photograph pp 21: From the collections of the Mitchell Library, State Library of New South Wales, sl.nsw.gov.au Photographs from Uluru National Convention August 2017: Jimmy Hunt With thanks to: Dr. Paul Irish for the use of his Aboriginal history study of the campus and his continued guidance in the development of this strategy. Nura Gili staff, UNSW Indigenous students, and the UNSW community for their input into the creation of the strategy. Dean Parkin for facilitating consultations on the strategy. John Hewitt for photography of Bedegal country. -
The Double Life of David Gulpilil
The double life of David Gulpilil Byline: Story By Richard Guilliatt Section: Good Weekend Sydney Morning Herald 7 December, 2002 The storyline: young black dancer is discovered by famous director. Movie career follows. Twenty years on, he's still acting - and still living in a humpy. Enter whitefella journalist who goes to the Top End to unravel the enigma of David Gulpilil. Cue crocs... One Red Blood, a documentary about David Gulpilil by indigenous film-maker Darlene Johnson, screens on ABC-TV at 8.30pm on Wednesday night. SCENE ONE: Exterior, night-time in Arnhem Land, northern Australia... Eerie cries and the dull thud of feet drift in on the humid November air from somewhere on the outskirts of Ramingining Aboriginal community, where sacred Yolngu rituals are being enacted tonight amid the paperbarks and palm trees. David Gulpilil has just returned from those rituals to the cluster of humpies, tents and prefab houses he calls home, a wiry, spectral figure darting around barefoot in the darkness, his ink-black skin and black shorts blending so completely with the night that the whites of his eyes and his yellow headband are the only clear markers of his nimble movements. Gulpilil has something big under his right arm which he places on a rusty oil drum near his camp fire. He's fossicking around in the dirt muttering to himself when suddenly the object comes to life in a blaze of electrostatic light. Apparently, we're going to watch television. Having met Gulpilil only minutes before, I have no idea what's going on, a sensation that will become familiar over the ensuing four days. -
Narrative Closures in Representations of Aboriginal Identity in Australian Cinema
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 2007 Return to formula: narrative closures in representations of Aboriginal identity in Australian cinema Suneeti Rekhari University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Rekhari, Suneeti, Return to formula: narrative closures in representations of Aboriginal identity in Australian cinema 2007, 79-101. https://ro.uow.edu.au/artspapers/1674 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] 78 AUSTRALIAN STUDIES 5 Return to Formula: Narrative Closures in Representations of Aboriginal Identity in Australian Cinema SUNEETI REKHARI School ofSocial Sciences, Media and Communication, Arts Faculty, University ofWollongong. Wollongong, New South Wales 2522, Australia. Suneeti is@yahoo. com This article discusses the impact ofnarrative closures on Aboriginal identity representations in the Australian film texts of Jedda. Walkabout and Rabbit-Proof Fence. It argues that filmic represent lations ofAboriginal identity have been framed within the historical, political and social milieu of the time they were produced, which contributes to the placement of narrative closures in film texts that reinforce the status quo and a return to a predictable equilibrium. It concludes with a discussion on the changes that may or may not occur in the representation of the reality of the lives of the Aboriginal ' Other'. Keywords: Aboriginal identity, narrative closures, Australian film, Jedda, Walkabout, Rabbit-ProofFence. -
Early North Queensland
EARLY DAYS IN NORTH QUEENSLAND EARLY DAYS IN NORTH QUEENSLAND BY THE LATE EDWARD PALMER SYDNEY ANGUS & ROBERTSON MELBOURNE: ANGUS, ROBERTSON & SHENSTONE 1903 This is a blank page TO THE NORTH-WEST. I know the land of the far, fa y away, Where the salt bush glistens in silver-grey ; Where the emit stalks with her striped brood, Searching the plains for her daily food. I know the land of the far, far west, Where the bower-bird builds her playhouse nest ; Where the dusky savage from day to day, Hunts with his tribe in their old wild way. 'Tis a land of vastness and solitude deep, Where the dry hot winds their revels keep ; The land of mirage that cheats the eye, The land of cloudless and burning sky. 'Tis a land of drought and pastures grey, Where flock-pigeons rise in vast ark ay ; Where the " nardoo" spreads its silvery sheen Over the plains where the floods have beeh. 'Tis a land of gidya and dark boree, Extended o'er plains like an inland sea, Boundless and vast, where the wild winds pass, O'er the long rollers and billows of grass. I made my home in that thirsty land, Where rivers for water are filled with sand ; Where glare and heat and storms sweep by, Where the prairie rolls to the western sky. Cloncurry, 1897. —" Loranthus." W. C. Penfold & Co., Printers, Sydney. PREFACE. HE writer came to Queensland two years before T separation, and shortly afterwards took part in the work of outside settlement, or pioneering, looking for new country to settle on with stock. -
Stop(The)Gap: International Indigenous Art in Motion
2011 BigPond Adelaide Film Festival and Samstag Museum of Art present Stop(the)Gap: International Indigenous art in motion Curator Brenda L Croft (Gurindji/Malgnin/Mudpurra peoples) 24 February to 21 April 2011 Moving image installations, screenings and discussions featuring works by Warwick Thornton (Australia), Rebecca Belmore (Canada), Dana Claxton (Canada), Alan Michelson (USA), Nova Paul (NZ), Lisa Reihana (NZ), Erica Lord (USA), r e a (Australia) and Genevieve Grieves (Australia) across various Adelaide venues. Stop(the)Gap: International Indigenous art in motion is a major international Indigenous moving image project developed for the 2011 BigPond Adelaide Film Festival (BAFF) in partnership with the Samstag Museum of Art, University of South Australia. The exhibition is a highlight of the Festival’s Art and The Moving Image strand celebrating the moving image in visual art. Stop(the)Gap: International Indigenous art in motion is an ambitious and highly innovative exhibition program, bringing together moving image works by internationally acclaimed Indigenous artists from Australia, Canada, Aotearoa/New Zealand and the USA. The project has been put together by Brenda L Croft, one of Australia’s most esteemed Indigenous curators, who has selected works challenging preconceptions of contemporary Indigenous expression and addressing themes of human rights, environmental concerns, cultural security, and negotiating diversity. Ms Croft said “Some of the most provocative and illuminating moving image work today is being created by Indigenous new media artists – yet there has been no international focus on this work until now. Despite physical distances, Indigenous communities around the globe are linked through their shared colonial histories, each bearing scars borne of dispossession, injustice, inequality, and misrepresentation.” The project explores the fertile ground between cinema and the visual arts, and will feature moving image exhibitions, film screenings, outdoor projections and discussions to be presented across various Adelaide venues. -
The Films of Peter Weir
THE CINEMATIC MYSTICAL GAZE: The films of Peter Weir RICHARD JAMES LEONARD Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy August 2003 Cinema Studies Program School of Fine Arts, Classical Studies and Archaeology The University of Melbourne Abstract Peter Weir is one of Australia’s most critically acclaimed and commercially successful directors. Ever since Weir’s feature film debut with The Cars that Ate Paris in 1974, his work has been explored for unifying themes. Scholars have analysed his films from many perspectives: the establishment of identification and identity especially through binary oppositions in the diegesis;1 the creation of an oneiric atmosphere as a way of exploiting the spectator’s dream experience;2 a clash of value systems;3 the ambiguous nature of narrative structure and character motivations leading to the creation of a sense of wonder;4 the experience of the protagonist placed in a foreign culture wherein conflict arises from social clashes and personal misunderstandings;5 and at the particular ways his films adapt generic codes in service of a discernible ideological agenda.6 To the best of my knowledge there has been no study of the mystical element of Weir’s work in relation to the construction of a cinematic mystical gaze or act of spectatorship. Within a culture defined by its secularity and a national cinema marked by quirky comedies and social realism, almost all of Weir’s films have been described as mystical, arcane or interested in metaphysics. Such an observation could warrant no further investigation if it is held that this critical commentary is but hyperbole in its attempt to grasp what constitutes a Peter Weir film.