STUDYGUIDE JO FLACK

1

SCREEN EDUCATION SCREEN AUSTRALIAN 29 ISSUE AVID GULPILIL: ONE RED BLOOD (2002) IS A DOCUMENTARY BY DARLENE JOHNSON and David Gulpilil that traces the life and work of David Gulpilil, dancer, actor, elder in the Marwuwyu community, family man and, like all Australians, ‘one red blood.’ David Gulpilil ap- Dproached Darlene Johnson to document his life, stressing that there be ‘no bullshit, and to show people my life and how I really live it’. The fi lm is the result of this collaboration.

Gulpilil is internationally recognized . Through this edges the role Gulpilil has played in for his work in Australian fi lms and documentary Gulpilil sought the op- the signifi cant changes occurring in television in a career that spans 30 portunity to communicate an under- this representation over the period of years; he is widely regarded as a rep- standing of his life and his approach his career. resentative of and spokesperson for to the dilemmas of living in two worlds. In addition, the documentary CURRICULUM LINKS explores the representation of Indige- nous Australians in fi lm and television David Gulpilil: One Red Blood will be and acknowl- relevant to students of Indigenous studies, studies of Society and Envi- ronment, Australian History, Cultural studies, English and Media studies. The documentary is suitable for stu- dents in the middle to senior second- ary school. The activities in this guide are developed for these levels.

Teachers should be aware that this documentary contains material that

AUSTRALIAN SCREEN EDUCATION is controversial. Students may need careful guidance to avoid superfi cial

ISSUE 29 judgement and to understand the subtleties of Gulpilil’s message. 2 In addition, there is a segment that, taken out of context, may be able, it would be a good idea to fi nd • Research David Gulpilil’s biogra- interpreted by some students as ad- copies of these. phy. vocating the use of marijuana. • Research David Gulpilil’s fi lmogra- Gulpilil is from the Mandipingu tribal phy. BEFORE WATCHING THE FILM group ( culture) from Ramingin- • Find out about the missions and ing in . how Indigenous Australian chil- Whilst it is possible to gain some un- dren and adults were treated on derstanding of Gulpilil’s work through • Find out where this is, draw a map these missions. the fi lm and television segments and locate Gulpilil’s birthplace on included in the text, the following ac- it. AFTER WATCHING THE FILM tivities are designed to set a context • Research the Yolgnu culture. for studying the documentary. • Research the type of country and Write a list of the themes and issues weather in Arnhem Land. of the fi lm. You may like to categorize David Gulpilil’s extensive body of work these under the following headings: stretches from Walkabout (Nicholas Roeg,1971) to The Tracker (Rolf de • Gulpilil’s traditional life Heer, 2002). Students should watch • Gulpilil’s life outside his commu- some of these works as a class, in nity small groups or for homework in order • Gulpilil’s career in fi lm to see Gulpilil at work and to under- • The confl ict between a traditional ISSUE 29 stand the signifi cant changes in the and western lifestyle. way Indigenous Australians have been • As a class write down a list of AUSTRALIAN SCREEN EDUCATION represented in fi lm over this period. questions that arise as a result of watching the documentary. Suggested fi lms include: Walkabout (Nicholas Roeg, 1971) GULPILIL’S EARLY LIFE Storm Boy (Henri Safran, 1977) Crocodile Dundee (Peter Faiman, David Gulpilil is unsure of the exact 1986) Rabbit-Proof Fence (Phillip year of his birth; ‘I think I’m 48, 50’. Noyce, 2002) The Tracker (De Heer, He was born at Maningrida in Arnhem 2002) Land in the . In his Many reviews of these fi lms are avail- early years he lived a traditional life. 3 • What does the term ‘country’ • Throughout the fi lm Gulpilil shows • What were the effects on tradi- mean when it is used in the con- us aspects of his life at Ramingin- tional life and culture? text of Indigenous Australia? ing. What remains ‘beautiful’ about Gulpilil’s life at Ramingining? What It was at the Maningrida mission I travelled with my mother and my father are the diffi culties of this life? where Gulpilil fi rst encountered Bal- and my family. And when I was young • Who spoiled the traditional life anda (white people) and the English it was different. This land was empty. of the Yolgnu people in Arnhem language, Mandalbingu is one of the You know, it was beautiful ... and then Land? What were the motivations six languages he spoke as a child. somebody came and spoiled (it). of these people? First time I saw white people I didn’t know where they came from. I thought they were ghosts all painted up. I went to mission school as a child after my mother and father died ... I was a lost child.

• What does Gulpilil mean when he describes himself as ‘a lost child’? Look at your research into the mis- sion system to help answer this question.

David Gulpilil came to acting through his skill in dance.

• What does the fi lm tell us about

AUSTRALIAN SCREEN EDUCATION Gulpilil as a dancer? • Research Aboriginal dance and

ISSUE 29 Gulpilil’s role in promoting this art form. 4 SIGNIFICANT FILMS IN GULPILIL’S resentation of Indigenous Austral- CAREER ians illustrated by these two fi lms. • Why do you think that Gulpilil Walkabout is a fi lm in which Gulpilil became the ‘Aboriginal mascot plays a traditional Aboriginal youth for Australian schoolchildren’ as a who helps two English schoolchildren result of Storm Boy? fi nd their way back to their civiliza- • What have been the lasting effects tion, with tragic consequences for of this role on Gulpilil’s life? him. David Gulpilil: One Red Blood devotes some time to a discussion Crocodile Dundee was another turn- of the signifi cance of Walkabout as a ing point in Gulpilil’s career. Enor- fi lm that changed the way the world mously popular around the world, saw Indigenous Australians. Several the fi lm plays on stereotypes as the different views are put about the source of its narrative and humour. representation of Indigenous culture Many characters are stereotyped in Walkabout. whether they be Indigenous or non- Indigenous Australians, Americans, • What does Gary Foley see as the male or female. In the documentary signifi cance of Walkabout? and in numerous interviews Gulpilil • Marcia Langton has a different discusses Crocodile Dundee with view, what is it? undisguised rancour. The fi lm made • ’s analysis tells a great deal of money yet Gulpilil was us much about his view of the paid a very small fee. changing nature of social values in Australia at the time. Research • What is Gulpilil’s view of his role in these values, is Thompson right? Crocodile Dundee? • Walkabout is a fi lm that is often analysed by fi lm historians and cultural researchers. Many of • Which of these changes have af- these analyses are available on the fected him to this day? Internet. What do reviewers and commentators have to say about After the fi lm’s release Gulpilil Walkabout? was asked to speak to many journalists, he says; ‘I couldn’t Walkabout was the fi rst fi lm in Gulpi- speak English. I just couldn’t trans- lil’s career. fer my language to their language.’

I was a bush boy, never speak Eng- • Given the contention of David lish… I thought I was going to be a Gulpilil: One Red Blood this state- cowboy in a movie like John Wayne. ment could be interpreted on more than one level. Discuss the impor- How did Gulpilil come to appear in tance of this quote both literally Walkabout? and as a metaphor for Gulpilil’s beliefs. • How old was he at the time? • What diffi culties did Gulpilil experi- Storm Boy has been said to be the ence in the making of Walkabout? fi lm that ‘ ... departed from the way ISSUE 29 • What does Gulpilil’s comment Aboriginals had been presented on about John Wayne tell us about fi lm.’ Set in the Currong in South AUSTRALIAN SCREEN EDUCATION the impact of American culture? Australia, Gulpilil plays Fingerbone Bill, a young Aboriginal who befriends The documentary has a lot to say a small boy. about the effect of Walkabout on Gulpilil’s life, some of these effects • What does the documentary have were immediate, some long lasting. to say about the signifi cance of Storm Boy? • What changes did Gulpilil experi- • Compare your viewing of Walka- ence in his life after making Walka- bout and Storm Boy, what do you bout? see as developments in the rep- 5 • Use the Internet to fi nd out how sharing a story.’ David Gulpilil: One Red Blood she much was Gulpilil paid for his role. • Find a range of effective examples describes Walkabout as representing • Find out how much the fi lm of Gulpilil’s acting in Rabbit-Proof ‘in that very classical way the social grossed at the box offi ce, in video Fence and from his other fi lms. Darwinist theory of the inevitable rental and in merchandising? Show these examples to the class demise of the native races which was • There are two stories about why and discuss the features of his the catch cry of the Empire through- Gulpilil was paid so poorly, re- technique that make these scenes out the world.’ search these. stand out as exemplars. • Stereotype is a word often used Whilst Walkabout was Gulpilil’s fi rst indiscriminately. Find out the true Gulpilil himself says of his work; ‘Act- fi lm it was certainly not the fi rst fi lm meaning of stereotype and arche- ing to me is a piece of cake. That’s it. in which Indigenous Australians type. Analyse Crocodile Dundee I live on it. Because I can’t do nothing appeared, or were represented by and Gulpilil’s other fi lms for stere- else.’ white actors in blackface. Indeed it is otypes and archetypes. possible to chart the history of white • What does Gulpilil mean? Australia’s attitudes towards its origi- Rabbit-Proof Fence, in which Gulpilil • What other things does the docu- nal inhabitants through their depiction plays Moodoo, a tracker searching mentary show Gulpilil doing? in fi lm, and more recently, television. for three Aboriginal girls who have escaped from the mission and are on The Tracker is the fi rst fi lm of Gulpilil’s • What texts have infl uenced your a long trek home, is a fi lm in which career in which he plays the lead. In understanding of Indigenous Aus- Gulpilil’s acting style is a feature. this fi lm he is once again a tracker, tralians? In what way? David Gulpilil: One Red Blood dis- although this tracker has his own • What do the commentators in the cusses this style at length. agenda. The Tracker is set in 1922 but documentary have to say about its values are those of 2002, it is not the representation of Indigenous • What do the contributors to the a fi lm about characters but about the Australians in fi lm? documentary have to say about system, discrimination, exploitation • Historian Gary Foley describes Gulpilil’s acting? and racial intolerance. Commercially acting opportunities as limited to • What does Justine Saunders successful, it reveals a great deal a few ‘Jacky Jacky’ roles. What is mean when she says of Gulpilil’s about what Australians, fi lm-makers meant by this term and why is it technique that ‘He was not acting and the fi lm going public think. David offensive? ... he was Gulpilil has received rave reviews for • What is Gulpilil’s view on the rep- his role in the fi lm which has won a resentation of Indigenous Austral- number of prestigious awards. ians in fi lm? • Research the history of the repre- • What does Gulpilil think about his sentation of Indigenous Austral- role in The Tracker? ians in fi lm. • Research the Indigenous and • Draw up a timeline that illustrates mainstream press to compare the changing features of this analyses of The Tracker. representation from 1900 to the • Watch the fi lm yourself and com- present day. pare your reactions to those of the • Place each of Gulpilil’s fi lms on the press. timeline. • ‘God respects Aboriginal law as • What does the timeline reveal much as he respects white man’s about changing social values in law—maybe more.’ What Australia? does this quote from The • Can you make some predic- Tracker reveal about tions about the representation of changing values? Indigenous Australians in fi lm and television over the next decade? REPRESENTATION OF INDIGENOUS David Gulpilil asked the writer and AUSTRALIANS IN director of this documentary, Darlene FILM AND TELEVISION Johnson to ‘show people my life and TEXTS how I really live it.’ This fi lm is a repre-

AUSTRALIAN SCREEN EDUCATION sentation of his life. Professor Marcia Langton

ISSUE 29 holds the Foundation Chair • What features of his life and work of Indigenous Studies does Gulpilil want the audience to 6 at Melbourne University. In understand? • Discuss how these features are Textual analysis of the racist stere- Institute. A joint facility of UTS represented in the fi lm through: otypes and mythologies which inform and UNSW Faculties of Law. http: - the selection of shots Australian understanding of Aboriginal //www.austlii.edu.au/au/other/ - the range of interview subjects people is revealing. The most dense IndigLRes/car/1993/3/3.html - editing and the juxtaposition of relationship is not between actual images people, but between white Austral- Most media in Australia is owned and - sound ians and the symbols created by their produced by white Australians for a - music predecessors. Australians do not mass market. Media products that • Gulpilil often uses very subtle know and relate to Aboriginal people. seek to represent Indigenous Austral- humour gently mocking himself They relate to stories told by former ians refl ect this ‘reality’ through bias, and others to make a point, fi nd colonists. stereotyping, selective and inaccu- examples of this in the documen- rate reporting and misrepresentation tary. Why does Gulpilil do this? Australasian Legal Information and, often, racism. This documentary represents Gulpilil as he chooses to Some of the material in the documen- be represented. tary is controversial. It is indeed, ‘no bullshit.’ All media products are constructions. The material in this documentary has • What do you consider to be con- been constructed to reveal a great ISSUE 29 troversial material in this docu- deal about the breadth of David Gulpi- mentary? lil’s life. This material could have been AUSTRALIAN SCREEN EDUCATION • What is the effect of viewing this edited together in different ways to material on you as an audience? produce different messages. • Discuss the possible effect on dif- ferent audiences: Indigenous and • Select a range of shots, interviews non-Indigenous Australians, young and sounds that would portray and old people, city and country Gulpilil in a positive light and a folk. range that would portray him in a • What do you think is Gulpilil’s negative light. Storyboard these purpose in sharing these aspects shots into two 3 minute segments of his life with his audience? that twist the material to portray 7 and entirely ‘good’ and a ‘bad’ are a number of resources that are demanding and contradictory, or as David Gulpilil. available to help those working in the Gulpilil puts it: • Discuss how the material you have media or who wish to work in the me- selected produces a biased view dia to develop their skills. Some you I like living in both worlds. I like being of Gulpilil. may like to look at include: in my home. But these two lives (have) • Find documentary footage of also spoiled me. (On one hand) I can Indigenous Australians that is Indigenous media organizations: http: live free in my world and the other similarly biased. Analyse this foot- //www.ldb.org/oz_m.htm hand in the Western world I have to age in the light of what you now pay the rent ... white man’s world and know about media construction of Message stick, Aboriginal and blackfella’s world. reality. Torres Straight Islanders online: http: • Can there ever be any truth in the //www.abc.net.au/message/ The documentary examines why media? If so, to whom does it Gulpilil is sought after as an actor. belong? Australian Legal Information In- stitute Indigenous resources:http: • Write down the reasons the guests INDIGENOUS MEDIA AND //www.austlii.edu.au/au/other/In- appearing in the documentary give RECONCILIATION digLRes/ for Gulpilil’s appeal to directors and audiences. In recent years Indigenous Australians Reconciliation Australia: http://www.re have sought to control their own me- conciliationaustralia.org/ In November 2002 Gulpilil was dia content and delivery. Communities awarded the IF award for best actor across the country are creating media DAVID GULPILIL, ONE MAN, for his role in The Tracker. As well as products that service their own needs TWO WORLDS this prize, Gulpilil received the Living and provide Indigenous material for Legend IF Award, which goes to an national broadcasters. It is a strength of this documentary individual ‘who has made a signifi cant

AUSTRALIAN SCREEN EDUCATION that it seeks to illustrate the line Gulpi- contribution to the Australian fi lm In addition media organizations lil walks between his commitments to industry, become a role model in their

ISSUE 29 around Australia have set up guide- his community at Ramingining and his area of specialization and who has lines for the representation of Indig- commitment to his career as an actor shown singular dedication to realizing 8 enous Australians in the media. There and dancer. These two lives can be their creative vision.’ • David Gulpilil has received many brought it into our world. awards over the course of his - In the blackfella world we share career, research these. everything. Everything is ours. • What has been the effect of re- In the white fella world it is ceiving awards on Gulpilil’s life? private property and everything belong to someone else. Gulpilil has been described as a ‘ ... - We are the brothers and sisters connection to fi nding our culture for of the world. It doesn’t matter our people living in a city life.’ He sees if you’re bird, snake, fi sh or his responsibilities in this area as a kangaroo. One red blood. major focus of his life. FURTHER RESOURCES AND • Which responsibilities does Gulpilil REFERENCES perform in his role: - As an actor Honouring David Gulpilil (an American - As a dancer fan site): http://www.gulpilil.com/ - As an Australian - As an Indigenous Australian The Internet Movie Database for a - As an elder fi lmography: http://www.imdb.com/ - To his family • In what ways does he fulfi ll these Gary Foley’s Koori history page: http: roles? //www.kooriweb.org/foley/essays/ • What confl icts emerge in the doc- essays_page.html umentary between the confl icting needs of Gulpilil’s responsibilities? Indigenous media organizations http: //www.ldb.org/oz_m.htm During the 1990s David Gulpilil strug- gled with alcohol and depression. Message stick, Aboriginal and This documentary acknowledges this Torres Straight Islanders online: http: period and also gives an explanation //www.abc.net.au/message/ for it. Australian Legal Information Insti- • In what ways has Gulpilil sought to tute Indigenous resources: http: overcome his problems? //www.austlii.edu.au/au/other/In- • Listen to one of several radio inter- digLRes/ views Gulpilil has given that give a more detailed explanation of that Reconciliation Australia:http://www.re time. Search the ABC web site to conciliationaustralia.org/ fi nd them: http://abc.net.au/ This study guide was produced by ATOM. CLASS DISCUSSION AND For more information about ATOM study ESSAY TOPICS guides or The Speakers’ Bureau visit our web site: www.metromagazine.com.au • David Gulpilil has a great deal to or email: [email protected] teach all Australians. Discuss the following quotes from Gulpilil and then use one as the subject of an ISSUE 29 essay. - It’s like a football game what I AUSTRALIAN SCREEN EDUCATION done in Australia.’ - The problem is for me, big name, David Gulpilil, and I done a lot of movies and I didn’t make money, and I live in Arnhem land in a tin shed. - I respect my country, I respect my people, I respect my cul- ture. - Ganga, clothes, alcohol. You 9