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Artykuły w czasopismach na temat "Aboriginal film"
Lumby, Bronwyn, i Colleen McGloin. "Re-Presenting Urban Aboriginal Identities: Self-Representation in Children of the Sun". Australian Journal of Indigenous Education 38, nr 1 (styczeń 2009): 27–35. http://dx.doi.org/10.1375/s1326011100000569.
Pełny tekst źródłaZvegintseva, Irina A. "Two Peoples, Two Worlds". Journal of Flm Arts and Film Studies 8, nr 4 (15.12.2016): 125–34. http://dx.doi.org/10.17816/vgik84125-134.
Pełny tekst źródłaLangton, Marcia. "Aboriginal art and film: the politics of representation". Race & Class 35, nr 4 (kwiecień 1994): 89–106. http://dx.doi.org/10.1177/030639689403500410.
Pełny tekst źródłaFrey, 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, nr 2 (7.06.2016): 151. http://dx.doi.org/10.5007/2175-8026.2016v69n2p151.
Pełny tekst źródłaSummerhayes, Catherine. "Haunting Secrets: Tracey Moffatt's beDevil". Film Quarterly 58, nr 1 (2004): 14–24. http://dx.doi.org/10.1525/fq.2004.58.1.14.
Pełny tekst źródłaNugent, Maria. "Sites of segregation/sites of memory: Remembrance and ‘race’ in Australia". Memory Studies 6, nr 3 (28.06.2013): 299–309. http://dx.doi.org/10.1177/1750698013482863.
Pełny tekst źródłaGinsburg, Faye. "The Parallax Effect: The Impact of Aboriginal Media on Ethnographic Film". Visual Anthropology Review 11, nr 2 (wrzesień 1995): 64–76. http://dx.doi.org/10.1525/var.1995.11.2.64.
Pełny tekst źródłaRekhari, Suneeti. "The “Other” in Film: Exclusions of Aboriginal Identity from Australian Cinema". Visual Anthropology 21, nr 2 (21.02.2008): 125–35. http://dx.doi.org/10.1080/08949460701857586.
Pełny tekst źródłaJohnson, Colin. "Chauvel and the centring of the aboriginal male in Australian film". Continuum 1, nr 1 (styczeń 1988): 47–56. http://dx.doi.org/10.1080/10304318809359318.
Pełny tekst źródłaPark, Shelley M. "Unsettling Feminist Philosophy: An Encounter with Tracey Moffatt's Night Cries". Hypatia 35, nr 1 (2020): 97–122. http://dx.doi.org/10.1017/hyp.2019.11.
Pełny tekst źródłaRozprawy doktorskie na temat "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.
Pełny tekst źródłaTalavera, Eutimio. "The Unsung Hero Character: A Harbinger Device of Misfortune". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3564.
Pełny tekst źródłaLang, Ian William, i 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.
Pełny tekst źródłaRimmer, 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.
Pełny tekst źródłaO'Donnell, David O'Donnell, i 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.
Pełny tekst źródłaTran, Therese Truc. "Urban blackfellas". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5663.
Pełny tekst źródłatext
Debenham, Jennifer Anne. "Representations of Aborigines in Australian documentary film 1901 - 2009". Thesis, 2013. http://hdl.handle.net/1959.13/1038027.
Pełny tekst źródłaThis 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.
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.
Pełny tekst źródłaMilner, Johnny. "Sounding Country: Tracking Cultural Representations in the Soundtracks of Contemporary Australian Landscape Cinema". Phd thesis, 2016. http://hdl.handle.net/1885/118249.
Pełny tekst źródłaLyall, 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.
Pełny tekst źródłaKsiążki na temat "Aboriginal film"
Seeking the centre: The Australian Desert in literature, art and film. Cambridge, UK: Cambridge University Press, 1998.
Znajdź pełny tekst źródłaNational Film Board of Canada. Our home and native land: A film and video resource guide for aboriginal Canadians. [Ottawa]: The Board, 1990.
Znajdź pełny tekst źródłaCommission, Australian Film, red. "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.
Znajdź pełny tekst źródłaClelland-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.
Znajdź pełny tekst źródłaRepresenting 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.
Znajdź pełny tekst źródłaLickers, Cynthia. Imagine native: Aboriginally produced film & video. Wyd. 2. Montreal: ARTEXTE, 1998.
Znajdź pełny tekst źródłaJones, Christianna. Fill it in: Working with forms for Aboriginal students. Owen Sound, Ont: Ningwakwe Learning Press, 2009.
Znajdź pełny tekst źródłaMalone, Peter. In black and white and colour: Aborigines in Australian feature films : a survey. Leura, NSW: Nelen Yubu Missiological Unit, 1987.
Znajdź pełny tekst źródłaMedia Ethics, an Aboriginal Film and the Australian Film Commission. Writers Club Press, 2002.
Znajdź pełny tekst źródłaAlthans, Katrin. Darkness Subverted: Aboriginal Gothic in Black Australian Literature and Film. V&R unipress GmbH, 2010.
Znajdź pełny tekst źródłaCzęści książek na temat "Aboriginal film"
Ward, Harriet, Lynne Moggach, Susan Tregeagle i Helen Trivedi. "Introduction: International Issues and Debates Concerning Adoption". W 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.
Pełny tekst źródłaGlowczewski, Barbara. "Beyond the Frames of Film and Aboriginal Fieldwork". W Experimental Film and Anthropology, 147–64. Routledge, 2020. http://dx.doi.org/10.4324/9781003085379-9.
Pełny tekst źródłaD'Arcens, Louise. "Ten Canoes and 1066". W World Medievalism, 142–76. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198825944.003.0005.
Pełny tekst źródłaMcFarlane, Brian. "A “Master-Work”— The Chant of Jimmie Blacksmith". W The Films of Fred Schepisi, 28–41. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835352.003.0003.
Pełny tekst źródłaMayer, Sophie. "To::For::By::About::With::From:: Towards Solid Women: On (Not) Being Addressed by Tracey Moffatt’s Moodeitj Yorgas". W Female Authorship and the Documentary Image. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419444.003.0011.
Pełny tekst źródłaThornley, Jeni. "Island Home Country: working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania". W Passionate Histories: Myth, memory and Indigenous Australia. ANU Press, 2010. http://dx.doi.org/10.22459/ph.09.2010.13.
Pełny tekst źródłaAlthans, Katrin. "Aboriginal Gothic". W Twenty-First-Century Gothic, 276–88. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0020.
Pełny tekst źródłaNelson, Andrew Patrick. "Don’t Be Too Quick to Dismiss Them: Authorship and the Westerns of Delmer Daves". W ReFocus: The Films of Delmer Daves. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403016.003.0002.
Pełny tekst źródłaGlowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives". W Indigenising Anthropology with Guattari and Deleuze, 281–96. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0010.
Pełny tekst źródłaAshley, Mike. "Postlude: Back to Basics". W Science Fiction Rebels, 189–229. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382608.003.0007.
Pełny tekst źródłaStreszczenia konferencji na temat "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". W 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64524.
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