Stop(The)Gap: International Indigenous Art in Motion
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STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series. -
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. -
David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor -
Sweet Country Justice Itself Is Put on Trial
IN co,o,m,oN ) <., ��-,,'"""""--,.,, - HAMILTON BRYAN MORRIS BROWN A FILM BY WARWICK THORNTON {SAMSON & DELILAH} SWEET COUNTRY JUSTICE ITSELF IS PUT ON TRIAL INSPIRED BY TRUE EVENTS ::u1J11,r:JUIII\' ,:Hll'li,i1::,11J, .,, ,·,,·:111'\'il. 1:1· U :11,11111,· H II; 1:111111:: · 1-L<'O •lilll j iF:1:r:•·r "II 'l!Hi f'lillill '•illi\' ,::: r>:; II" 1·.':' ''" :1::1.:-111·:1, III +.;;1"i:ll'\:11111.i:i:IJ •111:ilil:. •�•.·-:ir11· ':XLI 'i:=• ·.:11'.:II: ,�JFIH::·-: iS:-.r•:=1,_ ,:: ':'.:W :C:I\soU\ :''li li· ,"::l'.llii:I,��l"I :, ··li(I �: 111.1\'I\ �:•,illl; ;;c·,i 1+1: :-1 ;·\11:,i::, T,::i:,1::- 11;;\ j_L) : i. ·':I ;p· , i ·11:1 ,:,,·: il" :··111]J ••,:1,: ill;: u: :·:1:\h'" "' w � •cc.liiil <l"-'==- e•- •i<'"1:r111i11:.11;:, :11;u·-0rn 'E"""" l!I"·"' ::::o:-----::-, * Ein Film von Warwick Thornton Australien - Format: Scope - Ton: 5.1 - Dauer 112 Min. AB DEM 7. JUNI IM KINO VERLEIH PRESSE Praesens-Film AG Olivier Goetschi Münchhaldenstrasse 10 Pro Film GmbH 8008 Zürich [email protected] [email protected] +41 44 325 35 24 +41 44 422 38 32 Pressematerial unter www.praesens.com SYNOPSIS SWEET COUNTRY beruht auf wahren Begebenheiten und spielt 1929 im tiefsten australischen Outback. Der Aborigine Sam Kelly bestellt das Land für Fred Smith, einen wohlwollenden Prediger, bei dem er in gegenseitigem Respekt lebt. Nachdem der Trunkenbold Harry March neu in die Gegend kommt und eine Farm bezieht, die ihm für geleisteten Kriegsdienste überlassen wird, greift er Sam im Alkoholrausch an, der ihn aus Notwehr tötet. -
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. -
Dr Ruth Harley, CEO Screen Australia Address to 37° South, Melbourne International Film Festival 2013 Thursday 25 July 2013
Ruth Harley 37° South address, Melbourne International Film Festival 2013 ‘The Power of Australian Film’ Dr Ruth Harley, CEO Screen Australia Address to 37° South, Melbourne International Film Festival 2013 Thursday 25 July 2013 I am very pleased to be here for the fifth year in a row to address the 37° South market. As many of you know, this will be my last as CEO of Screen Australia as my term ends in November. Now then, is an opportunity to reflect and to look forward. I will take you through some of the things I’ve learned in my time with the agency and some thoughts for the future. There is much to be proud of in Australian screen production over the last five years. We’ve seen the successful introduction of the Producer Offset and concurrent increase in overall film and TV production, up 58% to just under $3 billion according to ABS data released last month. We’ve seen an increase in employment in the sector of 23% to 13,414 people. 1 Ruth Harley 37° South address, Melbourne International Film Festival 2013 We’ve seen an increase of local box office of 64% compared to the previous five year average. And we’ve seen some amazing screen stories. I’d like to share with you now a reel of some of the Screen Australia slate from the past five years, with some familiar faces from our sector describing Australian content matters. The Power of Australian Storytelling clip [CLIP] We’ve also seen, in the last five years a shift in some of the commentary about Australian screen stories. -
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). -
Sydney Film Festival Award Winners Announced at Closing Night Gala 19/06/2016
MEDIA RELEASE EMBARGOED UNTIL 08:30PM SUNDAY 19 JUNE 2016 SYDNEY FILM FESTIVAL AWARD WINNERS ANNOUNCED AT CLOSING NIGHT GALA The 63rd Sydney Film Festival tonight awarded Aquarius, directed by Kleber Mendonça Filho, the prestigious Sydney Film Prize, out of a selection of 12 Official Competition films. The $63,000 cash prize was awarded at the Festival’s Closing Night Gala awards ceremony and event: the Australian premiere screening of Whit Stillman’s Love & Friendship, held at the State Theatre. Sydney filmmaker Dan Jackson was awarded the Documentary Australia Foundation Award for Australian Documentary, a $15,000 cash prize, for In the Shadow of the Hill; with a special mention going to Destination Arnold directed by Sascha Ettinger Epstein. The Dendy Awards for Australian Short Films were announced; awarding Slapper, directed and written by Luci Schroder, The Dendy Live Action Short Award; The Crossing, directed and written by Marieka Walsh, The Yoram Gross Animation Award; and Goran Stolevski, the Rouben Mamoulian Award for Best Director, for You Deserve Everything. The Event Cinema Australian Short Screenplay Award was awarded to Spice Sisters, written and directed by Sheila Jayadev, who received a $5,000 cash prize, with a special mention to Matthew Vesely for My Best Friend Is Stuck On The Ceiling. The new annual Sydney UNESCO City of Film Prize was awarded to Ms Lynette Wallworth, who received $10,000 prize awarded by Screen NSW, presented by Margaret Pomeranz AM. Sydney Film Festival CEO Leigh Small said, “Cinemas were full again this year with an average of 73% capacity across all sessions and more sellouts than ever before. -
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned from Selected Jurisdic- Tions and a Strategy for Growth
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned From Selected Jurisdic- tions and a Strategy For Growth PREPARED FOR SUBMITTED BY imagineNATIVE Maria De Rosa 401 Richmond St. West, Suite 446 Marilyn Burgess Toronto, Ontario M5V 3A8 Communications MDR 503 Victoria Avenue Westmount, Québec H3Y 2R3 www.communicationsmdr.com December 5, 2018 1 Pathways to the International Market for Indigenous Screen Content Contents ACKNOWLEDGEMENTS ............................................................................................... 2 FOREWORD ................................................................................................................... 3 INTRODUCTION ............................................................................................................. 4 I. THE NEW CONTEXT: A RISING TIDE OF INDIGENOUS PRODUCTION ................. 6 II. SUCCESS STORIES: CASE STUDIES OF CANADIAN AND INTERNATIONAL FILMS, TELEVISION PROGRAMS AND DIGITAL MEDIA .......................................... 14 III. LESSONS LEARNED FROM THE SUCCESS OF INTERNATIONAL INDIGENOUS SCREEN CONTENT ..................................................................................................... 43 IV. PATHWAYS TO THE INTERNATIONAL MARKET FOR CONSIDERATION BY THE INDIGENOUS SCREEN SECTOR IN CANADA ................................................... 57 ANNEX 1: SELECTED BIBLIOGRAPHY ..................................................................... 71 ANNEX 2: SUMMARY OF RESULTS OF ON-LINE QUESTIONNAIRE