Relevant bibliographies by topics / Aboriginal film

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Academic literature on the topic 'Aboriginal film'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2023

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Journal articles on the topic "Aboriginal film"

Lumby, Bronwyn, and Colleen McGloin. "Re-Presenting Urban Aboriginal Identities: Self-Representation in Children of the Sun." Australian Journal of Indigenous Education 38, no. 1 (January 2009): 27–35. http://dx.doi.org/10.1375/s1326011100000569.

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AbstractTeaching Aboriginal studies to a diverse student cohort presents challenges in the pursuit of developing a critical pedagogy. In this paper, we present Children of the Sun (2006), a local film made by Indigenous youth in the Illawarra region south of Sydney, New South Wales. We outline the film's genesis and its utilisation in our praxis. The film is a useful resource in the teaching of urban Aboriginal identity to primarily non-Indigenous students in the discipline of Aboriginal studies. It contributes to the development of critical thinking, and our own critical practice as educators and offers a starting point to address pre-conceived and stereotypical notions about race and colour. We situate this paper within a theoretical framework of identity and whiteness studies to explore the issue of light skin in relation to the constraints of identity surrounding urban Aboriginal youth, as represented in Children of the Sun. We discuss the usefulness of this film as a self-representational text that subverts and challenges pre-conceived notions of Aboriginal identity.

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Zvegintseva, Irina A. "Two Peoples, Two Worlds." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 125–34. http://dx.doi.org/10.17816/vgik84125-134.

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By the time of the arrival of Europeans in the continent during the second half of the 18th century, the aboriginal tribes that inhabited Australia were under the primeval communal system. Their settlements became an easy conquering for the first aliens. Aborigines of Australia met the invaders quite friendly, providing virtually no resistance and the letters benefited immediately. There appeared a clash of two cultures, two worldviews. On the one hand, the absolute merging with nature, harmonious existence, which for centuries hadnt undergone any changes, and hence a complete tolerance to everything that didnt disturb the established order of the world; on the other hand - consumerist attitude to the land, the desire to get rich, tough competition. Naturally, such polar positions to combine turned out to be impossible, and without a desire to understand the natives who were moved out of their lands, the invaders hastened to announce the aborigines the second-class citizens. Of course, the national cinema couldnt avoid the most urgent problem of the Australian society. But if the first works of filmmakers of the past were focused more on the exotics, mystical rites, dances, daily life of aborigines, in recent years increasingly serious movies are on, and the authors call for a change in attitude to the natives, respect their culture, recognize their equal rights. Analysis of the best movies devoted to these problems, such as Jeddah, Manganese, Fence from rabbits, Charlies land and some others has become the focus of the article. Mainly under the influence of these movies the situation in the country has begun to change for better. Today in the film industry the aborigines have been working, and the movie Samson and Delilah, directed by aborigine Warwick Thornton/ has been a sensation at the Cannes film festival of 2009.

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Langton, Marcia. "Aboriginal art and film: the politics of representation." Race & Class 35, no. 4 (April 1994): 89–106. http://dx.doi.org/10.1177/030639689403500410.

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Frey, Aline. "Resisting Invasions: Indigenous Peoples and Land Rights Battles in Mabo and Terra Vermelha." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 151. http://dx.doi.org/10.5007/2175-8026.2016v69n2p151.

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http://dx.doi.org/10.5007/2175-8026.2016v69n2p151This article examines two feature films, focusing on the link between Indigenous cinema, environmental preservation and land rights. The first film is Mabo (2012) directed by Aboriginal filmmaker Rachel Perkins. It centres on a man’ legal battle for recognition of Indigenous land’ ownership in Australia. The second film is Terra Vermelha (Birdwatchers, Marco Bechis, 2008), which centres on the violence endured by a contemporary Brazilian Indigenous group attempting to reclaim their traditional lands occupied by agribusiness barons. Based on comparative analysis of Mabo and Terra Vermelha, this article discusses the similar challenges faced by Indigenous nations in these two countries, especially the colonial dispossession of their ancestral territories and the postcolonial obstacles to reclaim and exercise self-determination over them.

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Summerhayes, Catherine. "Haunting Secrets: Tracey Moffatt's beDevil." Film Quarterly 58, no. 1 (2004): 14–24. http://dx.doi.org/10.1525/fq.2004.58.1.14.

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Abstract In her vividly textured, complicated, and passionate film, beDevil, Australian Aboriginal artist and filmmaker Tracey Moffatt avoids easy stereotypes of victims and oppressors. She not only inspects some of the repressed stories of indigenous Australians, but also looks at the bewildered, bedeviled ways in which non-indigenous and indigenous Australians live with each other. Moffatt draws on all aspects of her artistic practice in this feature-length film.

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Nugent, Maria. "Sites of segregation/sites of memory: Remembrance and ‘race’ in Australia." Memory Studies 6, no. 3 (June 28, 2013): 299–309. http://dx.doi.org/10.1177/1750698013482863.

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This article considers the interplay between Aboriginal people’s remembrances about race relations in rural mid-twentieth-century Australia and the frames of remembrance provided by the American Civil rights movement. It takes as its focus two key Australian sites of racial segregation – country town cinemas and public swimming pools – to explore the ways in which since, and in no small part due to, the desegregationist politics of the 1960s they have become prominent sites of public memory. Drawing on three examples from a range of media – art, film and published memoirs – the article traces the ways in which different ways of narrating and remembering these ‘twisted spaces’ contributes to and makes possible alternative and at times unsettling interpretations of experiences and histories of relations between Aboriginal and non-Aboriginal people during what is commonly referred to as the ‘assimilation era’.

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Ginsburg, Faye. "The Parallax Effect: The Impact of Aboriginal Media on Ethnographic Film." Visual Anthropology Review 11, no. 2 (September 1995): 64–76. http://dx.doi.org/10.1525/var.1995.11.2.64.

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Rekhari, Suneeti. "The “Other” in Film: Exclusions of Aboriginal Identity from Australian Cinema." Visual Anthropology 21, no. 2 (February 21, 2008): 125–35. http://dx.doi.org/10.1080/08949460701857586.

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Johnson, Colin. "Chauvel and the centring of the aboriginal male in Australian film." Continuum 1, no. 1 (January 1988): 47–56. http://dx.doi.org/10.1080/10304318809359318.

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Park, Shelley M. "Unsettling Feminist Philosophy: An Encounter with Tracey Moffatt's Night Cries." Hypatia 35, no. 1 (2020): 97–122. http://dx.doi.org/10.1017/hyp.2019.11.

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AbstractThis essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between (older) white women and (younger) Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial and neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring.

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Dissertations / Theses on the topic "Aboriginal film"

Althans, Katrin [Verfasser]. "Darkness Subverted : Aboriginal Gothic in Black Australian Literature and Film / Katrin Althans." Bonn : Universitäts- und Landesbibliothek Bonn, 2021. http://d-nb.info/1229086420/34.

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Talavera, Eutimio. "The Unsung Hero Character: A Harbinger Device of Misfortune." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3564.

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This thesis introduces an obscure storytelling device, The Unsung Hero character, as one way of examining how movies function as stories. This character is often overlooked, as it frequently cloaks its idiosyncrasies, thus it lacks any apparent signs of internal conflict. This analysis foregrounds the character’s overall functionality, found only in rare instances and typically in the story of a movie. With effective implementation in a story, as a functional harbinger device, brief appearances of The Unsung Hero character demonstrate flashpoints or disclosures of a forthcoming misfortune in the story. This movie analysis shows how The Unsung Hero character functions effectively as a harbinger device in stories.

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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]

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Rimmer, Matthew. "The Pirate Bazaar: The Social Life of Copyright Law." Thesis, The Faculty of Law, The University of New South Wales, 2001. https://eprints.qut.edu.au/86581/1/fulltext.pdf.

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This thesis provides a cultural history of Australian copyright law and related artistic controversies. It examines a number of disputes over authorship, collaboration, and appropriation across a variety of cultural fields. It considers legal controversies over the plagiarism of texts, the defacing of paintings, the sampling of musical works, the ownership of plays, the co-operation between film-makers, the sharing of MP3 files on the Internet, and the appropriation of Indigenous culture. Such narratives and stories relate to a broad range of works and subject matter that are protected by copyright law. This study offers an archive of oral histories and narratives of artistic creators about copyright law. It is founded upon interviews with creative artists and activists who have been involved in copyright litigation and policy disputes. This dialogical research provides an insight into the material and social effects of copyright law. This thesis concludes that copyright law is not just a ‘creature of statute’, but it is also a social and imaginative construct. In the lived experience of the law, questions of aesthetics and ethics are extremely important. Industry agreements are quite influential. Contracts play an important part in the operation of copyright law. The media profile of personalities involved in litigation and policy debates is pertinent. This thesis claims that copyright law can be explained by a mix of social factors such as ethical standards, legal regulations, market forces, and computer code. It can also be understood in terms of the personal stories and narratives that people tell about litigation and copyright law reform. Table of Contents Prologue 1 Introduction A Creature of Statute: Copyright Law and Legal Formalism 6 Chapter One The Demidenko Affair: Copyright Law and Literary Works 33 Chapter Two Daubism: Copyright Law and Artistic Works 67 Chapter Three The ABCs of Anarchism: Copyright Law and Musical Works 105 Chapter Four Heretic: Copyright Law and Dramatic Works 146 Chapter Five Shine: Copyright Law and Film 186 Chapter Six Napster: Infinite Digital Jukebox or Pirate Bazaar? Copyright Law and Digital Works 232 Chapter Seven Bangarra Dance Theatre: Copyright Law and Indigenous Culture 275 Chapter Eight The Cathedral and the Bazaar: The Future of Copyright Law 319

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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.

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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama. In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms. Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.

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Tran, Therese Truc. "Urban blackfellas." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5663.

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My thesis film for the Master of Fine Arts degree is a 20-minute documentary entitled Urban Blackfellas, a film that explores various lived experiences and issues affecting urban Aboriginals predominantly in and around Sydney. The film engages with a set of characters as they navigate issues of Aboriginal identity within a dominant white Australian cultural landscape. This report traces the evolution of the filmmaking process for Urban Blackfellas, from its creation to completion.
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Debenham, Jennifer Anne. "Representations of Aborigines in Australian documentary film 1901 - 2009." Thesis, 2013. http://hdl.handle.net/1959.13/1038027.

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Research Doctorate - Doctor of Philosophy (PhD)
This thesis examines the ways in which Indigenous Australians have been represented in twelve documentary films made in Australia between 1901 and 2009. As historical artifacts, the films examined provide an emblematic visual representation of the scientific, political and social debates about Indigenous Australians that were in play when they were produced. The purpose of the thesis is threefold: to explore the role of documentary film in representing Australia’s Indigenous peoples to a dominant white Australian audience over a long period of time; to trace the ways changes in film and camera technology, policy making and social attitudes have collectively altered the relationship that Indigenous Australians have with documentary film as a medium of communication; and to demonstrate how changes in the process of making documentary films over the past century has been a force for both change and empowerment for Indigenous Australians. Although, some of the earliest documentary films made in Australia were about Indigenous Australians, as a collection they have not been the subject of serious study. Making films about Indigenous Australians initially had close connections with science, both natural and medical. This helped to re-enforce and sanctify the ‘objectification’ of Indigenous Australians as subjects of scientific enquiry within the context of the discourse of Social Darwinism. The visual images contributed to their positioning as the anthropological Other in which they were considered as outside of history; an image that is now under challenge by contemporary Indigenous filmmakers. It was not until the middle of the twentieth century that Indigenous Australians began to emerge from these ethnographic narratives. Documentary films made from that time began to recognise that Indigenous Australians were living in the political and social present. Public perceptions about how Indigenous Australians were coping with the dispossession of their traditional lands and living at the interface of two ideologically opposed cultures were dramatically challenged. As changes in perception continued to shift in the 1970s and 1980s, astute white documentary filmmakers began to collaborate with Indigenous people to make films about their lives. These filmmakers recognised that Indigenous Australians had a lot to talk about and with access to funding available from recently established public instrumentalities, filmmaking about Indigenous Australians reflected the changing attitudes about Australia’s Aboriginal people. By the latter years of the twentieth century, a vibrant and dynamic Indigenous film industry was emerging in Australia. With Indigenous filmmakers and technical experts in control of film production, white Australians have been witness to further shifts in the ways in which Indigenous Australians are represented on film. Indigenous filmmakers with a more intimate understanding of cultural protocols and with a high degree of social investment are taking on the responsibility of representing the Indigenous perspective on film. They have taken the medium that once positioned them as a people on the brink of extinction and are now demonstrating their acuity and skill with the visual medium. Their innovative and dynamic approach to the craft defies earlier preconceptions of a primitive and static culture unable to participant in a modern Australia.

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Bryson, Ian. "Bringing to light : a history of the Australian Institute of Aboriginal and Torres Strait Islander Film Unit." Master's thesis, 1998. http://hdl.handle.net/1885/144491.

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Milner, Johnny. "Sounding Country: Tracking Cultural Representations in the Soundtracks of Contemporary Australian Landscape Cinema." Phd thesis, 2016. http://hdl.handle.net/1885/118249.

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While recent scholarship demonstrates a significant increase in the level of interest in Australian film music, very little attention has been focused on the soundtracks of contemporary Australian landscape cinema — including films that explore the contentious aspects of Australia’s colonial legacy. This thesis is intended to respond to this research gap, in particular by employing textual and production analysis methodologies to track cultural identifications and representations within four recent landscape films. The films are Rabbit-Proof Fence, The Proposition, Australia and Samson & Delilah; and I look specifically at their sonic dimensions — namely, the amalgam of score, dialogue and sound effects. The study explores the particular aesthetics and ideologies of the soundtracks; it is concerned with codification and how the soundtracks amplify — consciously and subconsciously — new and oppositional insights with respect to contemporary understandings of Australian identity and landscape. The study also argues that the soundtracks are powerful modes of expression and, as such, are themselves engaged in contemporary debates surrounding Australian history such as the ‘history wars’, ‘Mabo’ decision and the Bringing Them Home report. Unlike other important studies on Australian cinema and more specifically Australian landscape cinema, my research suggests that attending to the hitherto neglected soundtrack may present an opportunity not only for achieving a more comprehensive film criticism but also for extending the ways we address Australia’s past. Such a project, focusing on the sonic dimension, may also prove to be of fundamental significance to our present-day challenge of securing a more productive social and psychological engagement with Aboriginal Australia.

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Lyall, John. "The use of digital video as a learning tool for documenting and reflecting aboriginal knowledge with respect to science." Thesis, 2009. http://hdl.handle.net/1828/1752.

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The nexus that exists between Aboriginal ways of knowing and Western modern science provided the setting for this research project. It investigated the process of using digital film as a learning tool in the documentation and reflection of Aboriginal knowledge with respect to science. It used Participatory Action Research (PAR) as the research methodology, specifically students engaged in creating films on topics of their choice with respect to Aboriginal knowledge and science. The findings emerged into two themes; one focused on the traits of Aboriginal knowledge and its knowledge transfer systems; the other on the traits that encompass the use of digital film in the learning process, and the capacity development that accompanies it.

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Books on the topic "Aboriginal film"

Seeking the centre: The Australian Desert in literature, art and film. Cambridge, UK: Cambridge University Press, 1998.

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National Film Board of Canada. Our home and native land: A film and video resource guide for aboriginal Canadians. [Ottawa]: The Board, 1990.

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Commission, Australian Film, ed. "Well, I heard it on the radio and I saw it on the television": An essay for the Australian Film Commission on the politics and aesthetics of filmmaking by and about Aboriginal people and things. North Sydney, NSW: Australian Film Commission, 1993.

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Clelland-Stokes, Sacha. Representing aboriginality: A post-colonial analysis of the key trends of representing aboriginality in South African, Australian and Aotearoa/New Zealand film. Højbjerg, Denmark: Intervention Press, 2007.

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Representing aboriginality: A post-colonial analysis of the key trends of representing aboriginality in South African, Australian and Aotearoa/New Zealand film. Højbjerg: Intervention Press, 2006.

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Lickers, Cynthia. Imagine native: Aboriginally produced film & video. 2nd ed. Montreal: ARTEXTE, 1998.

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Jones, Christianna. Fill it in: Working with forms for Aboriginal students. Owen Sound, Ont: Ningwakwe Learning Press, 2009.

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Malone, Peter. In black and white and colour: Aborigines in Australian feature films : a survey. Leura, NSW: Nelen Yubu Missiological Unit, 1987.

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Media Ethics, an Aboriginal Film and the Australian Film Commission. Writers Club Press, 2002.

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Althans, Katrin. Darkness Subverted: Aboriginal Gothic in Black Australian Literature and Film. V&R unipress GmbH, 2010.

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Book chapters on the topic "Aboriginal film"

Ward, Harriet, Lynne Moggach, Susan Tregeagle, and Helen Trivedi. "Introduction: International Issues and Debates Concerning Adoption." In Outcomes of Open Adoption from Care, 1–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76429-6_1.

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AbstractA history of systemic injustices and a lack of transparency have influenced public perceptions of domestic adoption. This book aims to introduce more empirical evidence into the debate by exploring the value of open adoption, as practised in Australia, as a route to permanence for abused and neglected children in out-of-home care who cannot safely return to their birth families. International evidence about the outcomes of adoption and foster care is discussed. The chapter introduces the Barnardos Australia Find-a-Family programme which has been finding adoptive homes since 1986 for non-Aboriginal children in care who are identified as ‘hard to place’. Regular post-adoption face-to-face contact with birth family members is an integral part of the adoption plan. The methodology for evaluating the outcomes for 210 children placed through the programme included case and court file analysis, a follow-up survey and interviews with adoptive parents and adult adoptees.

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Glowczewski, Barbara. "Beyond the Frames of Film and Aboriginal Fieldwork." In Experimental Film and Anthropology, 147–64. Routledge, 2020. http://dx.doi.org/10.4324/9781003085379-9.

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D'Arcens, Louise. "Ten Canoes and 1066." In World Medievalism, 142–76. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198825944.003.0005.

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This chapter examines the 2006 film Ten Canoes, an acclaimed Aboriginal Australian cross-cultural text in which a ‘Middle Age’ is both invoked and portrayed in an entirely defamiliarizing way. It explores the surprising potential, in the hands of indigenous agents, for invocations of a ‘Middle Age’ that displaces the Western timeline on which the idea of the medieval depends. The chapter raises the question of whether including pre-colonial-contact Aboriginal culture within the scope of world medievalism is an inescapably colonizing gesture that can only reinforce Eurocentric epistemologies, or whether this problem can be offset by bringing perceptions of the global medieval into dialogue with Aboriginal perceptions of time and history. It argues that the complexities of medievalism as a ‘world’ phenomenon are thrown into sharp relief by Ten Canoes as a text that narrates pre-contact time in a way that simultaneously addresses itself to Western and Yolŋu audiences.

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McFarlane, Brian. "A “Master-Work”— The Chant of Jimmie Blacksmith." In The Films of Fred Schepisi, 28–41. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835352.003.0003.

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Praised by critic Pauline Kael as a master-work, The Chant of Jimmie Blacksmith was adapted from Thomas Keneally’s novel. It deals with an Aboriginal youth who declares ‘war’ on Australian racism. He is coming of age at the time when the country itself was declaring its independence. The Chant of Jimmie Blacksmith was a film of harsh realism, much praised by critics but less popular with the public. It occupies an important and uncharacteristic place in the local film revival.

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Mayer, Sophie. "To::For::By::About::With::From:: Towards Solid Women: On (Not) Being Addressed by Tracey Moffatt’s Moodeitj Yorgas." In Female Authorship and the Documentary Image. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419444.003.0011.

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The hybrid nature of Moodeijt Yorgas, which blends talking heads with oral histories presented through dance, music and optically printed effects, effects an imbrication of documentary and experiments through a specifically non-white, queer feminist authorship. The author thus argues that Moffatt’s film presents a challenge to traditional conceptions of the author/auteur, embedded in Euro-Western exceptionalist individualism. “The stakes for the Moodeitj Yorgas project were therefore high: contesting historical erasure, contemporary misrepresentation by settler culture, and … way in in which settler patriarchy had been internalised within Aboriginal communities to devalue women’s law.”

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Thornley, Jeni. "Island Home Country: working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania." In Passionate Histories: Myth, memory and Indigenous Australia. ANU Press, 2010. http://dx.doi.org/10.22459/ph.09.2010.13.

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Althans, Katrin. "Aboriginal Gothic." In Twenty-First-Century Gothic, 276–88. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0020.

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This chapter shows how, by combining European Gothic traditions and elements of Indigenous belief systems, Australian Aboriginal artists reclaim their own cultural heritage and reject the coloniser’s construction of Aboriginal people as the demonised Other. Aboriginal Gothic texts such as Her Sister’s Eye (2002) and ‘The Little Red Man’ (2011) defy their European predecessors’ traditional and stereotypical cast as well as their commodification of Indigenous culture, thus creating a counter-discourse to the master-discourse of European Gothic. This challenge, however, takes place within the plots and in the mode of transmission itself. Therefore, Aboriginal Gothic in the twenty-first century is not limited to the written word, but includes other forms like films, such as Karroyul (2015), and interactive media, such as Warwick Thorton’sThe Otherside Project (2014). In this way, the Gothic’s shape as a literary mode, as opposed to Indigenous oral traditions, is questioned just as much as its history of Othering.

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Nelson, Andrew Patrick. "Don’t Be Too Quick to Dismiss Them: Authorship and the Westerns of Delmer Daves." In ReFocus: The Films of Delmer Daves. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403016.003.0002.

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Andrew Patrick Nelson offers a revaluation of Broken Arrow, which is often credited with helping to inaugurate a cycle of ‘pro-Indian’ Westerns featuring more sympathetic and even heroic portrayals of aboriginal characters. As a counterpoint to reflectionist readings of the pro-Indian cycle, Nelson explores an alternative explanation for the character of the famous Chiricahua leader, Cochise. He argues that Cochise is, in fact, a common character in Daves’ Westerns: the stoic secondary hero who steadies, strengthens, and defers to the mildly neurotic leading man who, rather than being a natural agent, proceeds based on reason. Re-conceiving Cochise as a ‘Davesian’ character is a small step towards reclaiming Daves’ pivotal role of the development of the Western in the 1950s.

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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives." In Indigenising Anthropology with Guattari and Deleuze, 281–96. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0010.

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This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger audience. She designed the CD-ROM Dream Trackers (Yapa Art and Knowledge of the Australian Desert published by Unesco) with 51 elders and artists from the Central Australian community of Lajamanu in the Northern Territory. Quest in Aboriginal Land is an interactive DVD based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aimed to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Reticular or network thinking, Glowczewski argues, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so-called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies. First published in 2002.

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Ashley, Mike. "Postlude: Back to Basics." In Science Fiction Rebels, 189–229. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382608.003.0007.

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Inevitably with so much change and radicalism in the field there were a few editors and magazines that strove to restore some normality and seek to present a more traditional and less angry form of sf. Although some of these had a small measure of success, like ABORIGINAL SF, they lacked funding and generally fell by the wayside. Also it was evident that those who wanted the basic form of SF as represented in many films and TV series had shifted towards the gaming market and so the traditional core of magazine readers were being syphoned away by new forms of entertainment. However, there was also a growth in sf magazine production in colleges and universities, plus the reemergence of magazines as paperback anthologies.

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Conference papers on the topic "Aboriginal film"

Smith, I. Rod. "Data Mining Seismic Shothole Drillers’ Log Records: Regional Baseline Geoscience Information in Support of Pipeline Proposal Design, Assessment, and Development." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64524.

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Assessment and development of pipeline projects in northern Canada, such as the proposed Mackenzie Valley gas pipeline (MGP), are hampered by a lack of baseline terrain geoscience information including drift thickness, sediment type, presence of massive ground ice, and the availability of granular aggregate resources. Clearly there is a need by Industry, Regulators, Aboriginal groups, and others, to understand the nature and character of near-surface earth materials, in order that pipeline proposals can be properly developed, evaluated, and when approved, proceed with the greatest degree of environmental sustainability and economic efficiency. While numerous field-based reports and surficial geology maps have been prepared for the MGP, there are long stretches along the proposed route for which little near-surface geoscience information is available. This is even more apt for areas outside the defined MGP corridor, where the likelihood of tie-in and gathering pipeline systems exist. Drillers’ logs, recorded during auger drilling of seismic shotholes, represent a virtually untapped resource of regional baseline geoscience information. The Geological Survey of Canada recently produced a digital archive of 76,000 shothole records from the Northwest Territories and Yukon, which had originally been collected on file cards in response to the 1970’s MGP proposal. Released in 2007 as a freely downloadable Open File report (#5465), the archive provides users with an Access database of drillers’ logs and derivative GIS maps in which shapefiles of drift isopach thickness, potential granular aggregate resources, geohazards, permafrost and ground ice occurrences, and muskeg thickness can be opened, viewed, and queried, or otherwise incorporated into GIS platforms of the user’s choice. Realizing the amount of additional archival shothole information held by Industry, and the great utility of bringing this forth in a public database and derivative GIS, a subsequent project has focused on capturing and integrating additional data. Receiving near-universal support by the Petroleum Industry, a Version 2 of the database and GIS is currently being assembled, and is scheduled for release in 2009 with some quarter million individual shothole drillers’ records. This presentation highlights the nature, character and distribution of shothole drillers’ logs in northern Canada. It also reviews the derived GIS layers, and how this baseline geoscience information can be beneficially utilized by the Pipeline and related infrastructure development industries, particularly as it may apply to focusing future field studies. It also serves as a key reference tool for those assessing pipeline development proposals.

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