DOCSLIB.ORG

“Blackfella Talk”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Blackfella Talk” “Blackfella talk” An attitudinal study on the linguistic portrayal of Australian Aboriginal characters in Australian films Kristine Skarsvåg Master´s thesis in English Linguistics Department of Foreign Languages University of Bergen May 2020 Photo: The Australian Dedicated to the great Yolngu traditional dancer, actor and artist David Gulpilil. We will never forget you. Summary in Norwegian Formålet med denne oppgaven har vært å se på fremstillingen av australske aboriginer i australsk film. 12 filmer ble analysert for å se hvorvidt det fantes en korrelasjon mellom karaktertrekk og uttalevarianter blant australsk aboriginske karakterer. Videre har et av målene ved oppgaven vært å avdekke mulige endringer i fremstillingene, og undersøke om det er mulig å knytte disse opp mot endringer som har skjedd i samfunnet og australsk filmindustri. I tillegg sammenligner oppgaven resultatene for eldre og nyere filmer. Oppgaven er i stor grad inspirert av kjente språkholdningsstudier som Lippi-Green (1997) og lignende masteroppgaver som Fjeldsbø (2013) og Urke (2019). Filmene i oppgaven er «live action» filmer, altså er det ekte mennesker som spiller karakterene, og disse vil ikke være like ensidige som karakterer i animerte filmer. Sjangeren som ble valgt for oppgaven er drama, noe som gjør det enda mer utfordrende å analysere karakterene da de er mer komplekse og sjeldent har like ensidige egenskaper som enten gode eller onde. Likevel gjør dette på mange måter studien mer interessant fordi det kan gi publikum i større grad en følelse av realisme, noe som potensielt kan bidra til at stereotypiske fremstillinger kan bli en del av deres virkelighetsbilde. Dette igjen kan føre til negative holdninger til ulike grupper i samfunnet. Med utgangspunkt i de underliggende hypotesene var det forventet å finne en systematisk korrelasjon mellom språkbruk og karaktertrekkene etnisitet, kjønn, sosial klasse og karakterenes rolle. Det var forventet at australske aboriginske karakterer ble fremstilt som lav-status karakterer, men at det var mer toleranse for aboriginske varieteter av engelsk i de nyere filmene enn de eldre, da samfunnet i dag har en mer inkluderende holdning til australske aboriginer utad. I tillegg var det forventet å finne systematiske forskjeller mellom kjønn når det kommer til språkbruk. Til slutt ser oppgaven også på karakterer som skifter mellom ulike lingvistiske varieteter gjennom filmen. I oppgaven konkluderes det med at australske aboriginere er i større grad representert i de nyere filmene, og det er mer bruk av aboriginske varianter av engelsk i de nyere filmene, noe som reflekterer endringer i samfunnet mot mer tolerante holdninger til australske aboriginere. Likevel er de fortsatt fremstilt som lav-status karakterer, og de få karakterene som er en del av middelklassen eller arbeiderklassen snakker stort sett standard australsk engelsk, noe som kan bidra til vedvarende fordommer mot australske aboriginere som bruker aboriginsk engelsk. i Acknowledgements The first and biggest thanks goes to my supervisor Bente Hannisdal for taking on and believing in my project, for her thorough feedback and constant positive attitude. I have learned a lot, and the thesis would not have been anywhere near as good without your expertise and support. I would also like to thank my friends and fellow students for keeping me socialized and sane throughout the process. Thank you to Phuong, for helping me with the films, for rooting for me and for all the hugs and kisses I so desperately needed. Finally, I am truly grateful for the love and support I received from my family the past year, especially my sister Ingrid (aka. IngoP) who read and commented on my thesis and came to do my laundry during the final week. Kristine Skarsvåg Bergen, May 2020 ii Table of contents Summary in Norwegian ........................................................................................................... i Acknowledgements ................................................................................................................. ii List of figures .......................................................................................................................... v List of tables .......................................................................................................................... vi 1 INTRODUCTION ............................................................................................................ 1 1.1 Aim and scope ........................................................................................................... 1 1.2 Delimiting the project: some clarifications about terminology ............................ 2 1.3 The variables studied ............................................................................................... 3 1.4 Research questions and hypotheses ........................................................................ 4 1.5 Structure of the thesis .............................................................................................. 5 2 THEORETICAL BACKGROUND ................................................................................ 6 2.1 Sociolinguistics .......................................................................................................... 6 2.2 Language Attitudes .................................................................................................. 7 2.2.1 The field of language attitudes ........................................................................... 7 2.2.2 Researching language attitudes .......................................................................... 9 2.3 Ethnicity, gender and social class ......................................................................... 10 2.3.1 Ethnicity ........................................................................................................... 10 2.3.2 Gender .............................................................................................................. 12 2.3.3 Social class ....................................................................................................... 14 2.4 Social change ........................................................................................................... 15 2.5 Attitudes towards varieties of English .................................................................. 17 2.6 Previous Research .................................................................................................. 19 2.6.1 Lippi-Green (1997) .......................................................................................... 19 2.6.2 Dobrow and Gidney (1998) .............................................................................. 20 2.6.3 Gallois, Callan & Johnstone (1984) ................................................................. 22 2.6.4 Master theses by Urke (2019) and Fjeldsbø (2013) ......................................... 24 2.6.5 Dragojevic, Mastro, Giles & Sink (2016) ........................................................ 25 2.7 The language situation in Aboriginal Australia .................................................. 26 2.8 Aboriginal Australians in popular culture ........................................................... 28 3 DATA AND METHODOLOGY ................................................................................... 32 3.1 Methodology ........................................................................................................... 32 3.1.1 The direct method ............................................................................................. 32 3.1.2 The indirect method ......................................................................................... 33 3.1.3 Societal treatment method ................................................................................ 35 3.2 The present study ................................................................................................... 37 3.3 The films .................................................................................................................. 37 iii 3.4 Linguistic varieties ................................................................................................. 40 3.4.1 RP ..................................................................................................................... 41 3.4.2 Australian English ............................................................................................ 42 3.4.3 Aboriginal Australian English .......................................................................... 43 3.4.3.1 Light Aboriginal Australian English ....................................................................... 44 3.4.3.2 Heavy Aboriginal Australian English ..................................................................... 46 3.4.4 Aboriginal traditional languages ...................................................................... 49 3.4.5 Bidialectal ......................................................................................................... 49 3.4.6 Challenges with the linguistic varieties ............................................................ 50 3.5 Character variables ................................................................................................ 50 3.5.1 Ethnicity ........................................................................................................... 51 3.5.2 Gender .............................................................................................................. 51
Load more

Recommended publications
  • Bruce Beresford's Breaker Morant Re-Viewed
    FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam.
    [Show full text]
  • 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.
    [Show full text]
  • 1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
    1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth.
    [Show full text]
  • 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.
    [Show full text]
  • Australian Aboriginal Verse 179 Viii Black Words White Page
    Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care
    [Show full text]
  • 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.
    [Show full text]
  • NYUNTU NGALI (You We Two) by Scott Rankin
    Education Resources Pre‐Production STC Ed presents a Windmill and Big hART production NYUNTU NGALI (You We Two) by Scott Rankin PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 About Windmill 3 About Big hART 3 Synopsis 4 Themes 4 Historical and social background of the play 5 Interview with the playwright 6 – 7 PRE‐PRODUCTION EXERCISES Storytelling 8 – 9 We are going 10 Photo: Tony Lewis Pijantjatjara 11 – 12 Education Resource compiled by Education manager Naomi Edwards, Education Coordinator Toni Murphy, Editor Lucy Goleby, Contributors Georgia Close, Kerreen Ely Harper and DiAnne McDonald KEY AIM of exercise or section + Extension Exercises Download and watch Drama Exercises English Exercises Play online NYUNTU NGALI Sydney Theatre Company Education Resources 2010 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about “PETROL: You can’t live without him. ABOUT STCED EVA: Can’t live without him. www.sydneytheatre.com.au/stced/about ROAM: We don’t care if you kill us, do we little one. Nyuntu Ngali Scene Five – Who are you? ” CREATIVE TEAM Writer and Director – Scott Rankin Musical Director and Community Producer – Beth Sometimes Lighting Designer – Nigel Levings Choreographer – Gina Rings Objects Designer – Elliat Rich AV
    [Show full text]
  • I. KUNST UND KULTUR DER ABORIGINES Art+
    FILME I. KUNST UND KULTUR DER ABORIGINES Art+Soul. A Personal Journey into the World of Aboriginal Art, DVD, Arthouse Films, Richmond, 2010 (mit Episoden zu Warlimpirrnga Tjapaltjarri, Yukultji Napangati und Doreen Reid Nakamarra) – ARTKELCH TIPP Art from the Heart, DVD, Ronin Films, Canberra, Australien, 1999 Battle of the Bands Live in Irrunytju, DVD, Ngaanyatjarra Media, Alice Springs, Australien, 2009 Benny and the Dreamers, DVD, National Film and Sound Archive, Acton, Australien, 2007 Bobtales, DVD, Film Australia, Lindfield, Australien, 1997 – ARTKELCH TIPP FÜR KINDER Colin Jones: A History of the Australian Aboriginal, Aboriginal Art… A Written Language, DVD, Harborne, Erskineville, Australien, 2005 Crocodile Dreaming, DVD, Ronin Films, Canberra, Australien, 2006 Culture Warriors, DVD, National Gallery of Australia (mit Episode über Maringka Baker) Darby. Stories and Songs, DVD, ABC Books, Sydney, Australien, 2006 Desert Country, DVD, Art Gallery of South Australia, Adelaide, Australien, 2011 Desert Heart, DVD, Rebel Films, Melbourne, Australien, 2007 (Film über die Kunstbewegung in Bidyadanga) Dreamings. The Art of Aboriginal Australia, DVD, Film Australia, Lindfield, Australien, 1988 First Australians, DVD, The Sydney Morning Herald, Sydney, Australien, 2008 Going Bush, DVD, Force Entertainment, Melbourne, Australien, 2005 Jack Dale Mengenen, DVD, 2010 Jedda, DVD, ScreenSound Australia, Sydney, Australien, 2004 Jila. Painted Waters of The Great Sandy Desert, DVD, Rebel Films, Melbourne, Australien, 2000 (Film über die Künstler in Fitzroy Crossing) – ARTKELCH TIPP Kanyini, DVD, Sand Hill Road Pictures, Melbourne, Australien, 2006 – ARTKELCH TIPP Kungkarangkalpa: Seven Sisters Songline, DVD, National Museum of Australia, Australien, 2013 Kunst und Mythos, DVD, Arte, Frankreich, 2011 (Film über die Künstlerin Ningura Napurulla in dt. Sprache) – ARTKELCH TIPP Lantana, DVD; Palace Films, Sydney, Australien, 2001 Luurnpa Dreaming.
    [Show full text]
  • DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University
    Film & Culture edited by: DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University | Faculty of Humanities | School of English and American Studies 2016 Film & Culture Edited by: DOROTTYA JÁSZAY, ANDREA VELICH Layout design by: BENCE LEVENTE BODÓ Proofreader: ANDREA THURMER © AUTHORS 2016, © EDITORS 2016 ISBN 978-963-284-757-3 EÖTVÖS LORÁND TUDOMÁNYEGYETEM Supported by the Higher Education Restructuring Fund | Allocated to ELTE by the Hungarian Government 2016 FILM & CULTURE Marcell Gellért | Shakespeare on Film: Romeo and Table of Juliet Revisioned 75 Márta Hargitai | Hitchcock’s Macbeth 87 Contents Dorottya Holló | Culture(s) Through Films: Learning Opportunities 110 Géza Kállay | Introduction: Being Film 5 János Kenyeres | Multiculturalism, History and Identity in Canadian Film: Atom Egoyan’s Vera Benczik & Natália Pikli | James Bond in the Ararat 124 Classroom 19 Zsolt Komáromy | The Miraculous Life of Henry Zsolt Czigányik | Utopia and Dystopia Purcell: On the Cultural Historical Contexts of on the Screen 30 the Film England, my England 143 Ákos Farkas | Henry James in the Cinema: When Miklós Lojkó | The British Documentary Film the Adapters Turn the Screw 44 Movement from the mid-1920s to the mid-1940s: Its Social, Political, and Aesthetic Context 155 Cecilia Gall | Representation of Australian Aborigines in Australian film 62 Éva Péteri | John Huston’s Adaptation of James Joyce’s “The Dead”: A Literary Approach 186 FILM & CULTURE Eglantina Remport & Janina Vesztergom | Romantic Ireland and the Hollywood Film Industry: The Colleen
    [Show full text]
  • Marriageability and Indigenous Representation in the White Mainstream Media in Australia
    Marriageability and Indigenous Representation in the White Mainstream Media in Australia PhD Thesis 2007 Andrew King BA (Hons) Supervisor: Associate Professor Alan McKee Creative Industries, Queensland University of Technology Abstract By means of a historical analysis of representations, this thesis argues that an increasing sexualisation of Indigenous personalities in popular culture contributes to the reconciliation of non-Indigenous and Indigenous Australia. It considers how sexualised images and narratives of Indigenous people, as they are produced across a range of film, television, advertising, sport and pornographic texts, are connected to a broader politics of liberty and justice in the present postmodern and postcolonial context. By addressing this objective the thesis will identify and evaluate the significance of ‘banal’ or everyday representations of Aboriginal sexuality, which may range from advertising images of kissing, television soap episodes of weddings, sultry film romances through to more evocatively oiled-up representations of the pin- up-calendar variety. This project seeks to explore how such images offer possibilities for creating informal narratives of reconciliation, and engendering understandings of Aboriginality in the media beyond predominant academic concerns for exceptional or fatalistic versions. i Keywords Aboriginality Indigenous Marriageability Reconciliation Popular Culture Sexuality Relationships Interracial Public Sphere Mediasphere Celebrity ii Table of Contents Introduction ………………………………………………………………………….
    [Show full text]
  • The Silent Narrative You May Have Missed in Jedda
    NEW: Emerging Scholars in Australian Indigenous Studies The silent narrative you may have missed in Jedda Kellie Dillon University of Technology Sydney, Faculty of Arts and Social Sciences, PO Box 123, Ultimo NSW 2017, Australia. [email protected] DOI: https://doi.org/10.5130/nesais.v4i1.1523 Jedda, directed by Charles Chauvel and written by his wife Elsa Chauvel, was a landmark film for Australian cinema because of its groundbreaking firsts: it was the first film to cast Indigenous actors in lead roles, the first to be shot in colour, and the first Australian film to compete in the Cannes Film Festival. Jedda is largely of Australian historical interest as it offers an insight into race relations of the 1950s, ideas of Aboriginal assimilation, and inadvertently, the Stolen Generations. Jedda is set on a buffalo station in the Northern Territory that is run by Sarah and Douglas McMann. Following the death of her own baby, Sarah McMann informally ‘adopts’ an orphaned Aboriginal baby girl whose mother died at birth. The baby’s father is Bulu, an Aboriginal drover who works for Douglas McMann. Bulu brings the baby to the station in the hopes one of the Aboriginal women on the station will take her. The baby was named Jedda, meaning ‘little wild goose’, by the group of Aboriginal women. After being reluctant to take her in at first, Sarah warms up to Jedda and raises her as her own daughter. The first part of the film deals with Jedda’s childhood and development into a young woman.
    [Show full text]
  • Resume Wizard
    Indigenous Australian Art: An Analytical Survey Class code ANTH-UA 9038 or SCA-UA 9836 Instructor Details Professor Sabra Thorner [email protected] 02 8016 8214 (office) 0415 850 392 (mobile) Office Hour: Wednesdays 5-6pm Class Details Indigenous Art: An Analytical Survey Wednesdays, 2pm-5pm Room 304 NYU Sydney Academic Centre Science House, 157 Gloucester St, The Rocks Prerequisites None Class Description This course is a survey of the principal themes and issues in the development of Indigenous art in Australia. It focuses on some of the regional and historical variations of Aboriginal art in the context of the history of a settler nation, while considering the issues of its circulation and evaluation within contemporary discourses of value. Topics include the cosmological dimensions of the art, its political implications, its relationship to cultural identity, and its aesthetic frameworks. Students will visit some of the major national collections of Indigenous Australian art as well as exhibitions of contemporary works. There will also be guest presentations from Indigenous artists and Indigenous art curators. Desired As a result of successfully completing this course, students will be able to: Outcomes • Demonstrate knowledge of the diversity of Indigenous arts in Australia—ranging from acrylic paintings of the Western Desert to bark designs of Arnhem land to urban, politically motivated works in various media (including photography, sculpture, print-making, etc) • Think about these works both as objectifications of cultural expression
    [Show full text]