DOCSLIB.ORG

Representations of Indigenous Identity Within Australian Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Representations of Indigenous Identity Within Australian Cinema CAMERA OBSCURA: REPRESENTATIONS OF INDIGENOUS IDENTITY WITHIN AUSTRALIAN CINEMA Suneeti Rekhari A Thesis Submitted in Fulfilment of the Requirement for the Degree of Doctor of Philosophy School of Sociology and Anthropology The University of New South Wales March 2006 Abstract Karen Jennings (1993) and Peter Krausz (2003) in their works, written ten years apart, note the changing ways in which the academic world and the media have dealt with representations of Indigenous identity. It was hoped that the latter work would have been discussing the way in which things have already changed. The fact that it does not, initiates the questions addressed in this thesis: whether Australian cinema explores Indigenous issues in sufficient depth and with cultural resonance. Can a study of cinematic representations lead to a better understanding of Aboriginal identity? In representing Aboriginality on screen does the cinema present a representational complex for Indigenous Australia, which is constructed on their behalf by the cinema itself? In this thesis these questions are theoretically framed within a semiotic methodology, which is applied to the examination of the complexities of representation. This is done through an analysis of the connotations and stereotyping of Indigenous identity in filmic narratives; and the operation of narrative closure and myth making systems through historical time periods; and dualisms in the filmic narratives such as primitive/civilised, us/them, self/other; and the presence of Aboriginality as an absent signifier. The four films chosen for comparative analysis are Jedda, Night Cries, Walkabout and Rabbit Proof Fence. These films span a period of fifty years, which allows for an explication of the changes that have occurred over the passing of time in their visual representations of Aboriginal identity. Hence social and cultural filmic identity representations are juxtaposed with the historical and political discourses prevalent at the time of their production. Through such a detailed analysis of the four film texts, the dominant social discourses of Australia are analysed in relation to their operation as representational frameworks for Indigenous Australians. i Acknowledgements During the writing of this thesis I have become indebted to many individuals and academic organisations. The following merit particular attention for the advice, assistance and support they have offered me. Throughout my research I have received guidance and encouragement from my supervisor, Celia Moon. I am extremely grateful for her insight into my work and the manner in which she consistently challenged my thinking to sharpen, focus and improve. I must also thank Sue Green who provided the initial impetus for my questioning and helped me lay down the framework of my research. In addition I must thank other academic and administrative staff of the Nura Gili Indigenous Programs Centre and the School of Sociology and Anthropology for providing a supportive environment in which to conduct research. In particular I would like to thank Frances Lovejoy from the School of Sociology and Anthropology who has provided me with sound advice right from my very early days at the department. I also gratefully acknowledge the assistance of Anne Holmes at Billy Blue Schools for providing me with access to resources at the school and her stalwart surety in my work. Many of my friends have given me unending encouragement during the writing of this thesis and I wish to thank all of them. I would particularly like to thank: Megan McCarthy for her feedback on an incomprehensible first draft of this work, Laura Fisher for listening to my theoretical musings and providing valuable counter- arguments to include in my research, Jamie Quasar for saving me from editing hiccups. I would also like to thank my extended family of friends who have worked with me in the trenches of research and helped me battle through the production of this PhD: Garth Thomas for patiently allowing me to ramble about topics of little interest to him, Liz Wilson for her true and pragmatic judgements on work and life, Angela Bishop for her ability to understand the inner workings of page breaks and for working tremendously fast on my language and expression, Dan Simmonds for quite simply – rocking and Stuart Clegg for his calmness at the crucial end stage of writing up and enriching my academic and non-academic life with happiness. A very special thanks to Shruti Devgan who has provided me with years of friendship, sisterhood and steadfast unfailing belief in my work and self, without which this thesis would never even have been attempted and Sophia Papoutsi, who even from afar acts as a mentor, guide and twin. My final debt of thanks goes to my family. I would not know where to begin to thank them for their lifetime of support. They provided me with the confidence instrumental in my search for academic rigour. My mother for providing me with strength and love; my sister for her brilliance, professionalism I always strive to copy, compassion and guidance; and most importantly my late father who laid the foundations for who I am as a person today and whose excellence in work and family life I endeavour to emulate. I hope through this thesis I have succeeded in acknowledging the hard work and intellectual merit of his achievements in life. ii The terms ‘Indigenous’, ‘Indigenous Australians’, ‘Indigenous people’, and ‘Aboriginal’, ‘Aboriginal Australians’, ‘Aboriginal people’ have been used in this thesis. It recognises that these terms are gaining increasing currency in academia as inclusive terms. This thesis follows the conviction set by Jackie Huggins when she stated: “a” is for apple, agile, anger, another, address, alphabet, but not Aboriginal. It is insulting and destructive to use a small “a”. This spelling is extremely racist, as are the biologically racist definitions of part, quarter, half-caste and full blood Aboriginals. It is indicative of notions of superiority/inferiority of Blacks and whites in this country. On the basis of white superiority it could be presumed that the initiators of a small “a” subconsciously act out their power games in order to further maintain their privileged position, and to keep Blacks in their “subjugated” line. The usual excuse is that there has been a “typo”, but I have yet to see “europeans” or “australians” in Australian books. Why therefore does the typewriter possess an incredibly persistent disability when it comes to Aboriginal? My preference is for the term “Aboriginal” both as a noun and adjective. “Aborigines” has long been a term used to classify and demean Aboriginal people in the repressive state of Queensland, particularly by the old Department of Aboriginal and Islander Advancement. It also assumes an “air of superiority” by a dominant culture and attempts, as does small “a”, to operate as a divide and rule tactic. - Huggins, Jackie (1991) Hecate Vol. XVII, No 2, p 171 1 TABLE OF CONTENTS INTRODUCTION 3 PART I Aboriginality and Film-texts: Literature Review 22 Chapter 1: Aboriginalism and Orientalism……………………………………… 24 Chapter 2: Reality of Film………………………………………………………... 27 Chapter 3: Location of Audiences……………………………………………….. 30 Chapter 4: The Notion of ‘Truth’………………………………………………... 32 Chapter 5: Race and Aboriginality………………………………………………. 35 Chapter 6: Questions on Identity………………………………………………… 38 PART II Cinema and Semiotics: Methodology 41 Chapter 7: Fundamentals of Cinematic Semiotic Analysis…………………….. 44 Chapter 8: Syntagmatic Relations………………………………………………...50 1. Denotation and Connotation………………………………………………... 52 2. Myths and Absent Signifiers………………………………………………... 55 3. Decoding and Audiences…………………………………………………… 60 Chapter 9: Grande Syntagmatique Revisited…………………………………… 62 1. Identification of Initial Concepts…………………………………………… 63 2. Visual Construct of Model………………………………………………….. 66 3. Explanation of Terms used in the Model…………………………………… 69 4. How the Terms Used in the Model Collaborate……………………………. 74 Chapter 10: Method of Film Analysis……………………………………………. 76 2 PART III An Analysis of Film Texts 80 Chapter 11: Beginnings- Jedda ..………………………………………………… 82 Chapter 12: Continuations - Night Cries.……………………………………… 101 Chapter 13: Transitions – Walkabout…………………………………………... 110 Chapter 14: Transformations - Rabbit Proof Fence…………………………… 132 Chapter 15: Comparative Analysis of Film Texts …………………………….. 155 1. Narrative Closure and Historical Time Periods …………………………... 156 2. Myths and Absent Signifiers………………………………………………. 160 3. Binary Oppositions………………………………………………………... 166 CONCLUSION 170 APPENDICES 183 Appendix 1: List of films ……………………………………………………….. 184 Appendix 2: Relations among film theories…………………………………… 187 Appendix 3: Differences between shot and word……………………………… 188 Appendix 4: Camera techniques………………………………………………... 189 BIBLIOGRAPHY 192 3 INTRODUCTION Make visible what, without you, might perhaps never have been seen. (Bresson, 1986: 64) Knowledge is never innocent or neutral. It is a key to power and meaning. It is used to dominate and control. (Moreton-Robinson, 2000: 93) 4 This thesis puts forth an offer of a tour through the expanse between the sociological, cultural, textual and historical channels of film and Indigenous representation. It attempts to examine the representations of Indigenous identity within Australian cinema and investigates whether these filmic representations adequately explore Indigenous issues in depth and with cultural resonance. The interest in conducting such research arose from the observation
Load more

Recommended publications
  • 2016 MOS Program
    FREE MEMBERS ONLY SCREENINGS 2016 First Wednesday of each month. These screenings are exclusively for MFS members. There is no charge to attend. Doors open at 7pm for a 7.15pm Masonic Hall, Tamarind St, Maleny start. There will be a discussion following the screening. Where possible, information on the films will be made available For more details ph: 5429 6951 prior to the screenings via email. Members are invited to bring a contribution for the supper table. All films are from the NATIONAL FILM AND SOUND ARCHIVE - www.nfsa.gov.au DATE FILM DETAILS SYNOPSIS Wednesday Casablanca Humphrey Bogart and Ingrid Bergman star in this classic romance set in 'Rick's Cafe Americain' in Morocco in 3 February 1941, when fascist forces were in charge. Cynical owner Rick Blaine's reunion with ex-lover Ilsa is blighted by English. 1942. the need for escape and a dangerous dilemma. This film has become an icon of cinema history due to its 7.15pm powerful characterisation, evocative lighting, unforgettable music and memorable dialogue. 102 min. Wednesday Dead Poet’s Society Robin Williams plays the charismatic English professor John Keating who arrives at a strict boys' boarding 2 March school where tradtion and expectations from parents run high. With his wit and wisdom, he is a breath of fresh English. 1989. air to his students (including a young Ethan Hawke), inspiring them to pursue individual passions and to make 7.15pm their lives extraordinary. Peter Weir's Dead Poets Society has touched audiences and critics alike with its 124 min. uplifting story, brilliant acting and superb craftsmanship.
    [Show full text]
  • An Actor Prepares: What Brian Told Me by Liza-Mare Syron
    An Actor Prepares: what Brian told me by Liza-Mare Syron “I felt a feeling of shame for not knowing my own heritage, my own history, and my lack of understanding of Culture and its place in performance practice for Aboriginal artists and performers.” An Actor Prepares: what Brian told me by Liza-Mare Syron This original work is published by the Australian Script Centre, trading as AustralianPlays.org 77 Salamanca Place, Hobart 7004 Tasmania, Australia Tel +61 3 6223 4675 Fax +61 3 6223 4678 [email protected] www.australianplays.org ABN 63 4394 56892 © 2011 Liza- Mare Syron MAKING COPIES This work may be copied under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Australia (CC BY-NC-ND 3.0) http://creativecommons.org/licenses/by-nc-nd/3.0/au/ You are free: • to copy, distribute and display the work Under the following conditions: • Attribution — You must give the original author credit. • Non-Commercial — You may not use this work for commercial purposes. • No Derivative Works — You may not alter, transform, or build upon this work. AUSTRALIAN SCRIPT CENTRE The Australian Script Centre has been selectively collecting and distributing outstanding Australian playscripts since 1979. The ASC owns and manages the online portal AustralianPlays.org in collaboration with Currency Press, Playlab and Playwriting Australia. For more information contact the ASC at: Tel: +61 3 6223 4675 Fax: +61 3 6223 4678 [email protected] ww.ozscript.org 2 An Actor Prepares: what Brian told me by Liza-Mare Syron I came to my identity as an Aboriginal person in 1979, I was sixteen.
    [Show full text]
  • Becoming Art: Some Relationships Between Pacific Art and Western Culture Susan Cochrane University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Becoming art: some relationships between Pacific art and Western culture Susan Cochrane University of Wollongong Recommended Citation Cochrane, Susan, Becoming art: some relationships between Pacific ra t and Western culture, Doctor of Philosophy thesis, , University of Wollongong, 1995. http://ro.uow.edu.au/theses/2088 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. BECOMING ART: SOME RELATIONSHIPS BETWEEN PACIFIC ART AND WESTERN CULTURE by Susan Cochrane, B.A. [Macquarie], M.A.(Hons.) [Wollongong] 203 CHAPTER 4: 'REGIMES OF VALUE'1 Bokken ngarribimbun dorlobbo: ngarrikarrme gunwok kunmurrngrayek ngadberre ngarribimbun dja mak kunwarrde kne ngarribimbun. (There are two reasons why we do our art: the first is to maintain our culture, the second is to earn money). Injalak Arts and Crafts Corporate Plan INTRODUCTION In the last chapter, the example of bark paintings was used to test Western categories for indigenous art. Reference was also made to Aboriginal systems of classification, in particular the ways Yolngu people classify painting, including bark painting. Morphy's concept, that Aboriginal art exists in two 'frames', was briefly introduced, and his view was cited that Yolngu artists increasingly operate within both 'frames', the Aboriginal frame and the European frame (Morphy 1991:26). This chapter develops the theme of how indigenous art objects are valued, both within the creator society and when they enter the Western art-culture system. When aesthetic objects move between cultures the values attached to them may change.
    [Show full text]
  • An Ethnography of Health Promotion with Indigenous Australians in South East Queensland
    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/292140373 "We don't tell people what to do": An ethnography of health promotion with Indigenous Australians in South East Queensland Thesis · December 2015 CITATIONS READS 0 36 1 author: Karen McPhail-Bell University of Sydney 25 PUBLICATIONS 14 CITATIONS SEE PROFILE Available from: Karen McPhail-Bell Retrieved on: 25 October 2016 “We don’t tell people what to do” An ethnography of health promotion with Indigenous Australians in South East Queensland Karen McPhail-Bell Bachelor of Behavioural Science, Honours (Public Health) Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy School of Public Health and Social Work Queensland University of Technology 2015 Key words Aboriginal, Aboriginal Medical Service, Australia, colonisation, community controlled health service, critical race theory, cultural interface, culture, ethnography, Facebook, government, health promotion, identity, Indigenous, Instagram, mainstream, policy, postcolonial theory, public health, relationship, self- determination, social media, Torres Strait Islander, Twitter, urban, YouTube. ii Abstract Australia is a world-leader in health promotion, consistently ranking in the best performing group of countries for healthy life expectancy and health expenditure per person. However, these successes have largely failed to translate into Indigenous health outcomes. Given the continued dominance of a colonial imagination, little research exists that values Indigenous perspectives, knowledges and practice in health promotion. This thesis contributes to addressing this knowledge gap. An ethnographic study of health promotion practice was undertaken within an Indigenous-led health promotion team, to learn how practitioners negotiated tensions of daily practice.
    [Show full text]
  • Picture Show Man Music Credits
    Music Composed By Peter Best Music Coach and Location Casting Sandra McKenzie According to the DVD commentary, Sandra McKenzie coached the cast and singing extras in their musical performances, including, most notably, John Ewart pretending to play the piano. She also supervised the recording in the field of the musical performances seen in the film. They were recorded on location rather than in the studio, and performances were then filmed to playback, a reflection of the lack of sophistication in the industry at the time, though it also helps give the numbers a kind of raw "field" energy. Peter Best cut his feature film teeth as a composer by working with feature film producer Phillip Adams on the low budget experimental 1970 drama Jack and Jill: a postscript. Best went on score the two Barry McKenzie films. He would become one of the major contributors to the revival of screen music in Australia, with scores for films such as Muriel's Wedding, the first two Crocodile Dundees and Bliss. He has also had a successful career in the advertising game. He did several scores for Tim Burstall's films, starting with the score for Burstall's The Child episode of the four part portmanteau feature Libido, followed by Petersen and then End Play. He has a short (at time of writing) wiki here, and should not be confused with the original drummer for The Beatles. (Below: Peter Best) The song known as "Tap, Tap" sung in the film by John Ewart and John Meillon became a minor hit after its release on a 45: 45 (Stereo) Albert Productions AP-11423 1977 Also released as Albert Productions AP-720 1977 Produced by Peter Best Side A: Picture Show Man (2:45) (Peter Best) (Albert) Side B: Tap Tap (2:05) (Peter Best) (Albert) Vocals: John Meillon and John Ewart It was also published as a two page printed music score for piano by Albert Publications in 1977.
    [Show full text]
  • Hot Topics Indigenous Dvds May 2015
    Hot topics Indigenous DVDs This guide contains descriptions of DVDs released Redfern now: the complete series since 2013 and an alphabetical listing of older releases. directed by Catriona McKenzie … et al. 761 min. Australian Broadcasting Anzacs: remembering our heroes. Corporation, 2015. DVD RED 11 x 15 min. SBS, 2015. DVD ANZ “Celebrated by audiences and critics alike, A series of 11 15-minute documentaries over two series and one telemovie, the produced by NITV which acknowledges the multiple award-winning Redfern now contributions of Indigenous people to explores powerful stories of contemporary Australia’s military efforts from the time of inner-city Indigenous life.” – Back cover. the Boer War to the present day. Classification : MA (Strong sexual violence and themes) Classification : PG (Mild themes) The Library also holds copies of both series 1 and series 2 as The Central Park five directed by Ken standalone DVDs. Burns, David McMahon and Sarah Burns. 112 min. Sydney: SBS1, 2013. Utopia: an epic story of struggle and DVD THE resistance by John Pilger. 110 min. + extras. Antidote Films, 2013. DVD UTO This film “tells the story of the five black and Latino teenagers from Harlem who were “Utopia is a vast region in northern Australia wrongly convicted of raping a white woman and home to the oldest human presence on in New York City’s Central Park in 1989. earth. ‘This film is a journey into that secret The film chronicles The Central Park country,’ says John Pilger, ‘It will describe Jogger case, for the first time from the perspective of these five not only the uniqueness of the first teenagers whose lives were upended by this miscarriage of Australians, but their trail of tears and justice.” – PBS website.
    [Show full text]
  • Narrative and Co-Existence: Mediating Between Indigenous and Non-Indigenous Stories
    Narrative and Co-Existence: Mediating Between Indigenous and Non-Indigenous Stories Kathryn Angela Trees BA (Hons) Murdoch University A thesis submitted for the degree of Doctor of Philosophy at Murdoch University November 1998 Abstract This thesis demonstrates how theory and praxis may be integrated within a postcolonial, or more specifically, anticolonial frame. It argues for the necessity of telling, listening and responding to personal narratives as a catalyst for understanding the construction of identities and their relationship to place. This is achieved through a theorisation of narrative and critique of postcolonialism. Three sites of contestation are visited to provide this critique: the “Patterns of Life: The Story of Aboriginal People of Western Australia” exhibition at the Perth Museum; a comparison of Western Australian legislation that governed the lives of Aboriginal people from 1848 to the present and, the life story of Alice Nannup; and, an analysis of the Australian Institute Judicial Association’s “Aboriginal Culture: Law and Change” seminar for magistrates. Most importantly, this work calls for strategies for negotiating a just basis for coexistence between Indigenous and non-Indigenous Australians. ii Table of Contents Abstract ii Table of Contents iii Acknowledgements v Introduction 1 Chapter One Maps of Place: Maps of Identity 11 1.1 Who am I? Who are you? 11 1.2 A metaphor of mapping 19 1.3 Mapping “Lines of Flight” 23 1.4 Learning to trace 24 1.5 Irish gold prospector 26 1.6 Child explorer of mangrove swamps
    [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]
  • 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.
    [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]
  • Inside Today 2021 Edition
    Friday, 22 January, 2021 WEATHER PAGE 20 TV GUIDE PAGES 23-24, 49-50 PUZZLES PAGE 21 CLASSIFIEDS PAGES 53-57 borderwatch.com.au | $3.00 BEEF FOCUS INSIDE TODAY 2021 EDITION 12479388-SN05-21 Summer surge THE Penola district hopes to ride the wave of domestic tourists travelling around Aus- tralia, with a new tourism strategy urging travellers to swap California for Coonawar- ra. The Coonawarra Vignerons Association initiative coincides with an influx of visitors to the premier wine region, with some cel- lar doors reporting a busier than ever sum- mer holiday boom. Story page 6 FROM CALI TO COONAWARRA: Balnaves of Coonawarra cellar door sales Georgie Mag- gie in full a with the recent introduction of the Swap California for Coonawarra tourism strategy. Picture: MOLLY TAYLOR Culture bombshell RAQUEL MUSTILLO code of conduct issues has been publicly re- media and its coverage of the internal issues, “This review left staff feeling disillusioned councillors supported engaging an indepen- [email protected] leased. and dissatisfied knowing that their input was The two-hour meeting was called partly in dent mediator and consultant to undertake a not fully documented, taken on board or AN explosive recording of a Grant District response to claims staff members were “ha- cultural review. therefore actioned,” Mr Whicker wrote. Council meeting has revealed a number of rassed and in some cased bullied, disrespect- However, staff received notice a second cul- “As chief executive officer, I am genuinely allegations relating to Mayor Richard Sage’s tural review will be undertaken by council after ed and unsupported” in interactions with Mr sorry for what happened and wish to make a behaviour towards the organisation’s staff, the initial investigation was not fully actioned.
    [Show full text]