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Call No: AUSTRALIAN FILM INSTITUTE FILE - RESTRICTED ACCESS
PhysDes: Clippings
Subject: 1993 INTERNATIONAL YEAR OF THE WORLDS INDIGENOUS PEOPLE

PhysDes: Interview; Illustration(s)
Subject: ABORIGINAL AUSTRALIAN CINEMA; ABORIGINAL AUSTRALIANS AND THE CINEMA; ABORIGINAL AUSTRALIANS IN FILMS; AUSTRALIAN FILM COMMISSION. INDIGENOUS BRANCH; FRANKLAND, RICHARD; SEN, IVAN; HARRY'S WAR (AT, Richard Frankland, 1999); WIND (AT, Ivan Sen, 1998)
Summary: The discussion provides a snapshot history of indigenous film-making in Australia, as well as a perspective of the films and the processes involved in their creation.

Call No: 761(94) FIT
Author: Fitzsimons, Trish; Laughren, Pat; Williamson, Dugald
Source: AT
Place: Port Melbourne, Vic.
Publisher: Cambridge University Press
PubDate: 2011
PhysDes: xvi, 287 pages : illustrations ; 25 cm
Subject: AUSTRALIAN BROADCASTING COMMISSION; AUSTRALIAN BROADCASTING CORPORATION; AUSTRALIAN FILM COMMISSION; AUSTRALIAN FILM FINANCE CORPORATION; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILM AUSTRALIA; FUNDING. AUSTRALIA; INDEPENDENT FILMS; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; PRODUCTION. AUSTRALIA; SCREEN AUSTRALIA; SPECIAL BROADCASTING SERVICE
Summary: "Drawing on interviews with leading industry sources and containing discussion of over 200 documentaries, this book brings to life over a century of documentary making and connects it to international debates in criticism, theory, history and practice." - TAKEN FROM BACK COVER
Notes: Includes bibliographical references and index
ISBN: 9780521167994 (pbk.)
Contents: 1. The documentary field -- 2. Braided channels - documentary voice -- 3. Cinematic scenes of life -- 4. New waves of documentary -- 5. Australian television takes on independent documentary -- 6. Documentary and the Film Finance Corporation -- 7. Changing relations: the Australian Film Commission, Film Australia and documentary in the era of the Film Finance Corporation -- 8. Australian broadcasting cultures and documentary practice since the late 1980s -- 9. Documentary and the edge of reality -- 10. Documentary and civics -- 11. Documentary present and future.

Call No: 024.3(=1-81)(94) COR
Author: Corroboree Films
Source: AT
Place: Randwick, NSW
Publisher: Corroboree Films
PubDate: 1986
PhysDes: 46 pages ; 31 cm
Subject: ABORIGINAL AUSTRALIAN CINEMA; ABORIGINAL AUSTRALIANS IN FILMS; IMPERIALISM AND THE CINEMA. AUSTRALIA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; EORA CORROBOREE (AT, Michael le Moignan & Yuri Sokol, 1985)
Summary: Details of "BLACK FUTURES" series of which 'Eora' is the first. "In the past, many films on Aboriginal themes have painted a pathetic picture of a race and culture on the brink of extinction. The six films in BLACK FUTURES do not whitewash the past, but reflect the new mood of Aboriginal people in the nineteen eighties and the positive forces for change in Aboriginal life." - INTERIOR BLURB
Contents: Listing of the six films in the Black Futures series; Eora Corroboree, Building Dreams, Getting Better, Still Time, Reflections on Silver Screens, The Land Owns Us -- Post production script for Eora Corroboree

Call No: 71(94)(=1-81) BLA
Copy Management: Copy 1; Copy 2
CorpAuthor: Screen Australia
Source: AT
Place: Sydney
Publisher: Screen Australia
PubDate: 2010
PhysDes: 267 p. : ill. (chiefly col.), ports. (chiefly col.) ; 15 x 21 cm
Subject: AUSTRALIA; ABORIGINAL AUSTRALIANS AND THE CINEMA; ABORIGINAL AUSTRALIAN CINEMA; ABORIGINAL AUSTRALIANS AND TV; ABORIGINAL AUSTRALIANS IN FILMS; ABORIGINAL AUSTRALIANS ON TV; INDIGENOUS; HISTORY OF CINEMA; HISTORY OF CINEMA. AUSTRALIA; HISTORY OF TV; HISTORY OF TV. AUSTRALIA
Summary: "Produced by Screen Australia's Strategy & Research Unit, The Black List is an important addition to reference material on Indigenous filmmaking in Australia, cataloguing the work of 257 Indigenous Australians with credits as producer, director, writer, or director of photography on a total of 674 screen productions. It provides descriptive listings of drama and documentary titles where Indigenous Australians have been credited in the key creative roles. Listings go back as far as 1970 for feature films and telemovies, to 1980 for documentaries and mini-series, and to 1988 for shorts and series. Titles are indexed by year and by filmmaker, and the book also features a statistical summary and timeline of key titles and events."--Screen Australia web site.
Notes: "June 2010"--Cover verso; Includes indices; Also available in an electronic version via the Internet. Address as at 19/12/11: http://www.screenaustralia.gov.au/news_and_events/Media-Release-documents/2010/mr_100923_BlackList.pdf
ISBN: 9781920998110
Contents: -- introduction -- chronology of Indigenous film & tv -- key statistics -- titles by year -- features -- tv drama -- documentaries: long -- documentaries: short -- short drama -- title listings -- features -- tv drama -- documentaries: long -- documentaries: short -- short drama -- indexes -- by key creatives -- by titles (A-Z) --

Call No: 71(94) (=1-81) DEB
Author: Debenham, Jennifer
Edition: 2020
Place: Oxford
Publisher: Peter Lang
PubDate: 2020
PhysDes: xv, 230 pages : illustrated
Series: Documentary Film Cultures; 2
Subject: ABORIGINAL AUSTRALIANS AND THE CINEMA; DOCUMENTARIES; ANTHROPOLOGY AND THE CINEMA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; DESERT PEOPLE (AT, Ian Dunlop, 1967); NINGLA A-NA (AT, Alessandro Cavadini, 1972); MY SURVIVAL AS AN ABORIGINAL (AT, Essie Coffey, 1979); LOUSY LITTLE SIXPENCE (AT, Alec Morgan , 1983); LINK-UP DIARY (AT, David MacDougall, 1987); WHISPERING IN OUR HEARTS THE MOWLA BLUFF MASSACRE (AT, Mitch Torres, 2001); WE DON'T NEED A MAP (AT, Warwick Thornton, 2017)
Notes: How did Australia’s Aboriginal and Torres Strait Islander population go from being the objectified subjects of documentary films to the directors and producers in the digital age? What prompted these changes and how and when did this decolonisation of documentary film production occur? Taking a long historical perspective, this book is based on a study of a selection of Australian documentary films produced by and about Aboriginal peoples since the early twentieth century. The films signpost significant shifts in Anglo-Australian attitudes about Aboriginal and Torres Strait Islanders and trace the growth of the Indigenous filmmaking industry in Australia. Used as a form of resistance to the imposition of colonialism, filmmaking gave Aboriginal people greater control over their depiction on documentary film and the medium has become an avenue to contest widely held assumptions about a peaceful colonial settlement. This study considers how developments in camera and film stock technologies along with filmic techniques influenced the depiction of Aboriginal and Torres Strait Islanders. The films are also examined within their historical context, employing them to gauge how social attitudes, access to funding and political pressures influenced their production values. The book aims to expose the course of race relations in Australia through the decolonisation of documentary film by Aboriginal filmmakers, tracing their struggle to achieve social justice and self-representation. -- publisher's web site
ISBN: 9781789974782
Contents: Acknowledgements -- Cultural Warning and Acknowledgement -- Abbreviations -- Introduction -- Aboriginalities -- Media Ecology -- The Longue Durée -- Decolonising the Documentary Film in Australia -- Stages of the Journey -- Part I Exotic Subjects, 1901–1966 -- Chapter 1 The Last of Their Kind: Aboriginal Life in Central Australia (1901) -- Chapter 2 Physical Traits: Life in Central Australia (1931) -- Chapter 3 Benign and Iconic: Aborigines of the Sea Coast (1950) -- Chapter 4 The “Last” of Their Kind, Again: Desert People (1967) -- Part II Voices for Change, 1957–1972 -- Chapter 5 Not Dying Out Quietly: Warburton Aborigines (1957) -- Chapter 6 A Discomforting Assimilation: The Change At Groote (1968) -- Chapter 7 Challenging White Indifference: Ningla-A-Na (Hungry for Our Land) (1972) -- Part III Counting the Cost, 1978–1987 -- Chapter 8 Telling My Story My Way: My Survival As An Aboriginal (1978) -- Chapter 9 On Being Stolen: Lousy Little Sixpence (1983) -- Chapter 10 Picking Up the Broken Pieces: Link-Up Diary (1987) -- Part IV Digital Directors: Decolonising Documentary Film, 2002–2017 -- Chapter 11 Setting the Records Straight: Whispering in Our Hearts: The Mowla Bluff Massacre (2002) -- Chapter 12 The Sounds of Spaces Between: Willaberta Jack (2007) -- Chapter 13 Breaking the Drought at the Sydney Film Festival: We Don’t Need a Map (2017), Occupation Native (2017), In My Own Words (2017)and Connecting to Country (2017) -- Bibliography -- Index

Call No: 451-054(=1=81)(71):(93):(94) THO
Author: Thornley, Davinia
Source: UK/US
Place: Houndmills, Basingstoke, Hampshire ; New York
Publisher: Palgrave Macmillan
PubDate: 2014
PhysDes: xi, 134 pages : illustrations ; 23 cm
Series: Palgrave pivot
Subject: INDIGENOUS PEOPLE'S CINEMA. CANADA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; INDIGENOUS PEOPLE'S CINEMA. NEW ZEALAND; DOCUMENTARIES; BEFORE TOMORROW [JOUR AVANT LE LENDEMAIN, LE](CN Marie-Hélène Cousineau and Madeline Ivalu, 2008); LOUSY LITTLE SIXPENCE (AT, Alec Morgan , 1983); TATTOOIST, THE (NZ/SI, Peter Berger, 2007); WHALE RIDER (NZ/GG, Niki Caro, 2002); NO. 2 (NZ, Toa Fraser, 2006); APRON STRINGS (NZ, Sima Urale, 2008)
Summary: This book is a manifesto for a developing area, one that provides a new model for reading films about indigeneity. Davinia Thornley investigates specific production partnerships in Canada, Australia and Aotearoa New Zealand, using the framework of scholarly and popular criticism to draw conclusions from these collaborative case studies
Notes: Formerly CIP -- Includes bibliographical references and index -- Also issued online
Contents: Machine generated contents note: 1.Introduction -- Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field -- 2."An Instrument of Actual Change in the World": Engaging a New Collaborative Criticism through Isuma/Arnait Productions' Film, Before Tomorrow -- 3."My Whole Area Has Started to Be about What's Left Over": Alec Morgan, "Stolen Histories," and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence -- 4."A Space Being Right on That Boundary": Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema -- 5.Conclusion -- Modelling Collaborative Criticism: What Does It Mean to Collaborate Cross-Culturally in Cinema?

Call No: 71(94) COM
Author: Collins, Felicity; Columpar, Corinn; Rutherford, Anne; Ford, Felicity; Kelada, Odette; Clark, Maddee; Verevis, Constantine; Goldsmith, Ben; French, Lisa; David Marshall, P.; Bennett, James; Grace, Helen; Khoo, Olivia; Yue, Audrey; Bye, Susan; Sandars, Diana; Stadler, Jane; Gaunson, Stephen; Trevisanut, Amanda Malel; Turnbull, Sue; McCutcheon, Marion; Goritsas, Helen; Tiwary, Ana; Lambert, Anthony; Gibson, Ross; Cunningham, Stuart; Swift, Adam; Williams, Deane; Smaill, Belinda; Neumark, Norie
Source: US/UK
Place: Hoboken, New Jersey
Publisher: Wiley-Blackwell
PubDate: 2019
PhysDes: xxii, 581 pages ; 26 cm
Series: Wiley Blackwell companions to national cinema
Subject: AUSTRALIA; FILM; INDUSTRY, FILM; INDUSTRY, FILM. AUSTRALIA; INDIGENOUS; ABORIGINAL AUSTRALIAN CINEMA; TRANSNATIONAL CINEMA; HISTORY OF CINEMA; HISTORY OF CINEMA. AUSTRALIA; TELEVISION AND THE CINEMA; TELEVISION AND THE CINEMA. AUSTRALIA; AUTEUR THEORY; GENRES; THEORY; CAMPION, JANE; CHARLIE'S COUNTRY (AT, Rolf de Heer, 2013); SPEAR (AT, Stephen Page, 2015); MAD MAX (AT, George Miller, 1979); MAD MAX: FURY ROAD (AT/US, George Miller, 2015); MAD MAX BEYOND THUNDERDOME (AT, George Miller & George Ogilvie, 1985); MAD MAX II (AT, George Miller, 1981); LEGO MOVIE, THE (US/AT/DK, Phil Lord and Christopher Miller, 2014); ROCKET, THE (AT/TH/LS, Kim Mordaunt, 2013); SERANGOON ROAD [TV] (AT/SI, 2013 -); KETTERING INCIDENT, THE [TV](AT, 2015-); BACK OF BEYOND, THE (AT, John Heyer, 1953)
Summary: The essays assembled here address six thematically organized propositions - that Australian cinema an Indigenous screen culture, an international cinema, a minor transnational imaginary, an auteur-genre-landscape cinema, a televisual industry and a multiplatform ecology. Offering fresh critical perspectives and extending previous scholarship, case studies range from The Lego Movie, Mad Max and Australian stars in Hollywood, to transnational co-productions, YouTube channels, transmedia and naturecam documentaries. New research on trends such as the Blak Wave, the convergence of television and film, digital transformations of screen production and the shifting roles of women, on and off-screen, highlight how established precedents have been transformed by new realities beyond both cinema and national borders. -- Written in an accessible style that does not require knowledge of cinema studies or Australian studies. -- Presents original research on Australian actors such as Cate Blanchett and Chris Hemsworth, evaluating their training, branding and path from Australia to Hollywood. -- Explores the films and filmmakers of the Blak Wave and their challenge to Australian settler-colonial history and white identity. -- Introduces readers to founding texts in Australian screen studies. -- Felicity Collins is Reader/ Associate Professor in Screen Studies, La Trobe University, Melbourne, Australia -- Jane Landman was Senior Lecturer, Victoria University, Melbourne, Australia -- Susan Bye is Education Programmer, Australian Centre for the Moving Image, Melbourne, Australia. --Book Jacket
Notes: Includes bibliographical references and index -- signed by Felicity Collins
ISBN: 9781118942529
Contents: You Are Here: Living Maps of Deep Time, Clock Time / Felicity Collins -- Charlie's Country, Gulpilil's Body / Corinn Columpar -- Ivan Sen's Cinematic Imaginary: Restraint, Complexity, and a Politics of Place / Anne Rutherford -- Shadowing and Disruptive Temporality in Bangarra Dance Theatre's Spear / Felicity Ford -- Beyond the Wonderland of Whiteness: The Blak Wave of Indigenous Women Shaping Race on Screen / Maddee Clark / Odette Kelada -- Another Green World: The Mad Max Series / Constantine Verevis -- Is Everything Awesome?: The LEGO Movie and the Australian Film Industry / Ben Goldsmith -- Jane Campion: Girlshine and the International Auteur / Lisa French -- Constructing Persona: Mediatisation, Performativity, Quality, and Branding in Australian Film Actors's; Migration to Hollywood / P. David Marshall -- Interpreting Anzac and Gallipoli through a Century of Anglophone Screen Representations / James Bennett -- Unsettling the Suburban: Space, Sentiment, and Migration in National Cinematic Imaginaries / Helen Grace -- The Rocket: Small, Foreign-Language Cinema / Olivia Khoo -- Serangoon Road: The Convergent Culture of Minor Transnationalism / Audrey Yue -- An Independent Spirit: Robert Connolly as Auteur-Producer / Susan Bye -- Disruptive Daughters: The Heroine's Journey in Four Films / Diana Sandars -- Atopian Landscapes: Gothic Tropes in Australian Cinema / Jane Stadler -- Spirits Do Come Back: Bunyips and the European Gothic in The Babadook / Stephen Gaunson -- Between Public and Private: How Screen Australia, the ABC and SBS have shaped Film and Television Convergence / Amanda Malel Trevisanut -- Quality vs Value: The Case of The Kettering Incident / Marion McCutcheon / & Sue Turnbull -- The Evolution of Matchbox Pictures: A New Business Model / Helen Goritsas & Ana Tiwary -- Schapellevision: Screen Aesthetics and Asian Drug Stories / Anthony Lambert -- CHURN: Cinema Made Sometime Last Night / Ross Gibson -- Over the Horizon: YouTube Culture Meets Australian Screen Culture / Adam Swift & Stuart Cunningham -- Digital Transmedia Forms and Transnational Documentary Networks / Deane Williams -- Ecological Relations: FalconCam in Conversation with The Back of Beyond / Belinda Smaill -- Where Am I?: The Terror of Terra Nullius / Norie Neumark

Call No: 639(94)-054(=995.1) ALT
Author: Althans, Karin
Edition: 2010
Place: Goettingen
Publisher: V&R unipress GMBH
PhysDes: 214 p. : illus. ; 25 cm
Subject: WATSON, SAM; NIGHT CRIES : A RURAL TRAGEDY (AT, Tracey Moffatt, 1990); BEDEVIL (AT, Tracey Moffat, 1993); COLE, BECK; INDIGENOUS; LITERATURE AND THE CINEMA
Summary: At the heart of the Gothic novel proper lies the discursive binary of »self« and »other«, which in colonial literature was quickly filled with representations of the colonial master and his indigenous subject. Contemporary black Australian artists have usurped this colonial Gothic discourse, torn it to pieces, and finally transformed it into an Aboriginal Gothic. This study first develops the theoretical concept of an Aboriginal Gothic and then uses this term as a tool to analyse novels by Vivienne Cleven, Mudrooroo, Kim Scott, Sam Watson, and Alexis Wright as well as films directed by Beck Cole and Tracey Moffatt. It centres on the question of how a genuinely European mode, the Gothic, can be permeated and thus digested by elements of indigenous Australian culture in order to portray the current situation of Aboriginal Australians and to celebrate a recovered cultural identity. -- publisher's blurb
ISBN: 9783899717686
ID2: 247

Author: Turk, Rachael (interviewer)
PhysDes: Article
Subject: ABORIGINAL AUSTRALIAN CINEMA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; THORNTON, WARWICK; SHELPER, KATH; SAMSON AND DELILAH (AT, Warwick Thornton, 2009); NANA [TV] (AT, Warwick Thornton, 2007); GREEN BUSH (AT, Warwick Thornton, 2004)
Summary: Director Warwick Thornton and producer Kath Shelper discuss creating a distinct 'voice' in cinema projects, in particular in the feature film Samson and Delilah.

Call No: 761 BEA
Author: Beattie, Keith
Source: UK
Place: Houndmills, Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2004
PhysDes: 276 p ; 21cm
Subject: DOCUMENTARY FILMS; DOCUMENTARY DRAMAS; IMPERIALISM AND THE CINEMA; CINEMA VERITE; CINEMA-DIRECT; JOURNALISTS, FILM; POPULAR CULTURE AND TV; REALITY TV; TABLOID JOURNALISM; POPULAR CULTURE AND THE CINEMA; AUSTRALIAN BROADCASTING CORPORATION; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; NATIONAL FILM BOARD OF CANADA; NATIONAL INDIGENOUS DOCUMENTARY FUND; NBC TELEVISION NETWORK; PUBLIC BROADCASTING SERVICE; NETWORK TEN; VIDEODISCS; GRANADA; IMAX; INDEPENDENT TELEVISION COMMISSION; INTERACTIVE TV; MUSIC TELEVISION; TELEVISION JOURNALISTS; BUERK, MICHEAL; CAVADINI, ALESSANDRO; DE ANTONIO, EMILE; DREW, ROBERT; DYLAN, BOB; FLAHERTY, ROBERT; GRIERSON, JOHN; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT; MAYSLES, DAVID; MCELWEE, ROSS; MOORE, MICHAEL; MORIN, EDGAR; O'ROURKE, DENNIS; PENNEBAKER, D. A.; PILGER, JOHN; ROUCH, JEAN; RUTTMAN, WALTER; TAJIRI, REA; VERTOV, DZIGA; ATOMIC CAFE, THE (US, Kevin Rafferty & Jane Loader & Pierce Rafferty, 1982); CHEQUER-BOARD [TV] (AT, 1969-1975); [FOUR] 4 CORNERS [TV] (AT, 1961-); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); BIG BROTHER [TV] (AT, 2001-); BIGGIE AND TUPAC (US, Nick Broomfield, 2001); BILL, THE [TV] (UK, 1984-); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BOWLING FOR COLUMBINE (US/CA, Michael Moore, 2002); BUENA VISTA SOCIAL CLUB (GG/US, Wim Wenders, 1999); CAMBODIA: YEAR ZERO (AT, John Pilger, 1989); CANE TOADS : AN UNNATURAL HISTORY (AT, Mark Lewis, 1987); CANNIBAL TOURS (AT, Dennis O'Rourke, 1987); CATHY COME HOME (UK, Ken Loach, 1966); COPS AND ROBBERSONS (US, Michael Ritchie, 1994); CROCODILE DUNDEE (AT, Peter Faiman, 1986); CUNNAMULLA (AT, Dennis O'Rourke, 2000); DEATH OF A PRINCESS [TV] (UK/US/NZ/AT/NE, Antony Thomas, 1980); DISMISSAL, THE [TV] (AT, George T. Miller & others, 1983); DON'T LOOK BACK (US, D.A. Pennebaker, 1967); GOOD WOMAN OF BANGKOK, THE (AT, Dennis O'Rourke, 1991); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MONTEREY POP (US, D. A. Pennebaker, 1968); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); POLICE STATE (AT, Chris Noonan, 1989); SYLVANIA WATERS [TV] (AT, Brian Hill & Kate Woods, 1993); WALKING WITH DINOSAURS[TV] (UK, 1999); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: Documentary Screens is a comprehensive and critical examination of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. [Taken from back cover].
ISBN: 033374117X
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Call No: 205 FIL
Author: Moran, Albert
Place: New York
Publisher: Routledge
PubDate: 1996
PhysDes: xvi, 285 p
Subject: GOVERNMENT CONTROL; STATE AND THE CINEMA; INDUSTRY, VIDEO. USA; DISTRIBUTION; INDUSTRY, FILM; COPRODUCTION. FRANCE; COPRODUCTION. UK; INDUSTRY, FILM. UK; INDUSTRY, FILM. AUSTRALIA; INDUSTRY, FILM. CANADA; INDUSTRY, FILM. LATIN AMERICAN COUNTRIES; INDUSTRY, FILM. INDIA; INDUSTRY, FILM. INDONESIA; INDUSTRY, FILM. SINGAPORE; ABORIGINAL AUSTRALIAN CINEMA; MAORI CINEMA; INDIGENOUS PEOPLE'S CINEMA. CANADA
Notes: Includes bibliographical references and index
ISBN: 0415097916 (pbk.); 0415097908 (hardcover)
LON: 12158074

Author: Buesst, Nigel
PhysDes: Article
Subject: COME OUT FIGHTING (AT, Nigel Buesst, 1973); BUESST, NIGEL; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; BOXING FILMS; INDUSTRY, FILM. AUSTRALIA
Summary: Article by filmmaker Nigel Buesst on filming COME OUT FIGHTING. Discusses technical and thematic elements of the film.

Call No: 71(943) CRA
Author: Craven, Allison
Source: UK/US
Place: London ; New York
Publisher: Anthem Press
PubDate: 2016
PhysDes: xii, 158 pages ; 24 cm
Series: Anthem studies in Australian literature and culture
Subject: QUEENSLAND; LOCATION SHOOTING. AUSTRALIA: QUEENSLAND; LANDSCAPES IN FILMS. AUSTRALIA; ABORIGINAL AUSTRALIANS IN FILMS; ABORIGINAL AUSTRALIANS AND THE CINEMA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; SEA IN FILMS; IRISHMAN, THE (AT, Don Crombie, 1978); JEDDA (AT, Charles Chauvel, 1955); AGE OF CONSENT (AT, Michael Powell, 1969); NIM'S ISLAND (US, Jennifer Flackett and Mark Levin, 2008); UNINHABITED (AT, Bill Bennett, 2010); COOLANGATTA GOLD, THE (AT, Igor Auzins, 1984); PETER PAN (US, P.J. Hogan, 2003); REMOTE AREA NURSES [TV] (AT, David Caesar/Catriona Mackenzie, 2005); STRAITS, THE [TV] (AT, 2012-); PROPOSITION, THE (AT/UK, John Hillcoat, 2005); MYSTERY ROAD (AT Ivan Sen, 2013)
Summary: This book comprises a collection of essays exploring aspects of gender, race and place in selected Australian films in various phases of Australian cinema: from Charles Chauvel’s 'Jedda' (1955), to the ‘period’ films of the New Wave in the 1970s, to the emergence of Indigenous filmmakers in the late 1990s, and the contemporary era of transnational productions in Australia. The spectacle of Australian cinema in these essays suggests the transitional energies of a growing industry and the regional nuances of gender, place and culture. The book draws on a range of scholarly sources and an extensive filmography in investigating Australian cinema history in the latter twentieth century, and in highlighting recent trends in promotion of Australia as a film-production destination
ISBN: 9781783085491
Contents: Introduction: regional features -- Backtracks: landscape and identity. Period features, heritage cinema: region, gender and race in The Irishman -- Heritage enigmatic: the silence of the dubbed in Jedda and The Irishman -- Silences in paradise. Tropical gothic and the music of the Cane Fields in Radiance -- Island girls friday: women, adventure and the Tropics -- Masculine dramas of the coast. The sunshine boys: Peter Pan and The iron man in the coastal cinemas of Queensland -- A Pacific parable: cave and coastal masculinities in Sanctum regional backtracks -- Unknown Queensland in Torres Strait television: RAN and The straits -- Back to the back: genre Queensland and Westerns in Winton -- Conclusion

Call No: 79FIR FIR
Author: Atkinson, Wayne; Boyce, James; Kimber, RG; Kinnane, Steve; Langton, Marcia (ed.); Loos, Noel; Pascoe, Bruce; Perkins, Rachel (ed.)
Source: AT
Place: Carlton, Vic.
Publisher: The Miegunyah Press
PubDate: 2010
PhysDes: xxvi, 286p. : 24cm
Subject: INDIGENOUS; ABORIGINAL AUSTRALIANS AND TV; FIRST AUSTRALIANS, THE [TV] (AT, Beck Cole, Rachel Perkins, 2008)
Summary: "This book is the dramatic story of the collision of two worlds that created contemporary Australia. Told from the perspective of Australia's first people, it vividly brings to life the events that unfolded when the oldest living culture in the world was overrun by the world's greatest empire. Seven of Australia's leading historians reveal the true stories of individuals-both black and white- caught in an epic drama of friendship, revenge, loss and victory in Australia's most transformative period of history. Their story begins in 1788 in Warrane, now known as Sydney, with the firendship between an Englishman, Governor Phillip, and the kidnapped warrior Bennelong. It ends in 1993 with Koiki Mabo's legal challenge to the foundation of Australia. " -- BOOK BLURB
Notes: "Based on the bestselling, award-winning SBS series"--Cover; Includes bibliographic references (p. 251-278) and index
ISBN: 9780522857269 (pbk.)
Contents: -- contents -- prologue: Marcia Langton -- Ngura Barbagai: country lost -- Towlangany: to tell lies -- Wurrbunj Narrap: lament for country -- Altyere: dreaming -- Marda-Marda: two bloods -- Ngariarty: speaking strong -- Kara Ged: homeland -- epilogue -- notes -- acknowledgments -- index --

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: INDIGENOUS

Call No: DIGITAL CLIPPINGS FILE
PhysDes: Press kit
Subject: INDIGENOUS (US, Alastair Orr, 2014)
Cross Reference: INDIGENOUS

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: INDIGENOUS PEOPLE AND THE CINEMA
Notes: import_Batch10C_simon Strong

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: INDIGENOUS TELEVISION WORKINGS GROUP

Call No: 737.66 (94) (=1-81) DUT
Author: Dutto, Matteo
Edition: 2019
Place: Oxford
Publisher: Peter Lang
PubDate: 2019
PhysDes: x, 244 pages : illustrated ; 23cm
Series: Australian studies: interdisciplinary perspectives
Subject: ABORIGINAL AUSTRALIAN CINEMA; INDIGENOUS; FIRST AUSTRALIANS, THE [TV] (AT, Beck Cole, Rachel Perkins, 2008); PEMULWUY: A WAR OF TWO LAWS (AT, Grant Leigh Saunders, 2010); JANDAMARRA'S WAR (AT, Mitch Torres, 2011); KEEPERS OF THE STORY: JANDAMARRA (AT, Mitch Torres, 2010); CONFESSIONS OF A HEADHUNTER (AT, Sally Riley, 2000); YAGAN (AT, Kelrick Martin, 2013)
Summary: This book explores the ways in which Australian Indigenous filmmakers, performers and writers work within their Indigenous communities to tell the stories of early Indigenous resistance leaders who fought against British invaders and settlers, thus keeping their legacies alive and connected to community in the present. It offers the first comprehensive and trans-disciplinary analysis of how the stories of Pemulwuy, Jandamarra and Yagan (Bidjigal, Bunuba and Noongar freedom fighters, respectively) have been retold in the past forty years across different media. Combining textual and historical analysis with original interviews with Indigenous cultural producers, it foregrounds the multimodal nature of Indigenous storytelling and the dynamic relationship of these stories to reclamations of sovereignty in the present. It adds a significant new chapter to the study of Indigenous history-making as political action, while modelling a new approach to stories of frontier resistance leaders and providing a greater understanding of how the decolonizing power of Indigenous screen, stage and text production connects past, present and future acts of resistance. -- publisher's web site
ISBN: 9781788745413
Contents: Contents -- Acknowledgements -- Introduction Story One Pemulwuy -- Chapter 1 Pemulwuy as a pan-Aboriginal hero -- Chapter 2 Legacies of resistance in Rachel Perkins’ First Australians and Grant Leigh Saunders’ Pemulwuy: A War of Two Laws Story Two Jandamarra -- Chapter 3 The three lives of Jandamarra: Archivists, copycats and custodians -- Chapter 4 Performing resistance -- Chapter 5 “Keeping story alive”: Screening the voice of Bunuba Country in Mitch Torres’ Jandamarra’s War and Keepers of the Story Story Three Yagan -- Chapter 6 Defacing colonial sovereignty in Sally Riley’s Confessions of a Headhunter -- Chapter 7 Breaching into the settler colonial city: Re-enacting crosshatch history in Kelrick Martin’s Yagan -- Conclusion Reflections from Yagan Square -- Bibliography -- Index

Author: Hughes, Peter
PhysDes: Review; Illustration(s)
Subject: REAL WILD CHILD! [MM] (AT, 1997); MOORDITJ : AUSTRALIAN INDIGENOUS CULTURAL EXPRESSIONS ON CD-ROM [MM] (AT, 1998?); TALES FROM THE KANGAROO'S CRYPT : 4 BILLION YEARS OF EXTRAORDINARY AUSTRALIA [MM] (AT, 1998?)

Call No: 45:93 LIM
Author: Limbrick, Peter
Edition: 1st ed.
Source: US
Place: New York
Publisher: Palgrave Macmillan
PubDate: 2010
PhysDes: xiv, 272 p. : ill. ; 22 cm
Subject: CULTURE AND THE CINEMA; INDIGENOUS; CULTURAL IMPERIALISM
Summary: " In Making Settler Cinemas, Peter Limbrick argues that the United States, Australia, and New Zealand share histories of colonial encounters that have shaped their cinemas in distinctive ways. Going beyond readings of narrative and representation, this book studies the production, distribution, reception, and reexhibition of cinema across three settler societies under the sway of two empires. Investigating films both canonical and overlooked, Making Settler Cinemas not only shows how cinema mattered to settler societies but affirms that practices of film history can themselves be instrumental in encountering and reshaping colonial pasts. " -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 9780230102644
Contents: Making a settler cinema in the United States. Playing empire : settler masculinities, adventure, and The four feathers (1929) -- Imperial production, settler colonialism, and the Argosy Westerns -- Empire and settler cinema in Australia. Ealing's Australian Westerns -- Film history and settler cinema in Aotearoa/New Zealand. Hei Tiki (1935) : film histories past and present -- Unsettled histories : The seekers (1954).

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 26 x 21 cm
Subject: INDIGENOUS; MILLI MILLI (AT, Wayne Barker, 1993)
Summary: Black and white photograph of senior Aboriginal lawman, David Mowaljarli, painted up

Call No: 451-055.52 MOT
Author: Mayer, So; Columpar, Corinn
Edition: 2022
Place: Detroit, Michigan
Publisher: Wayne State University Press
PubDate: April 2022
PhysDes: 368 pages : illustrated ; 23 cm
Series: Contemporary approaches to film and media
Subject: BASHU, GHARIBETH KOUCHAK (IR, Bahram Beiz'i, 1986); COVID NINETEEN; DOCUMENTARIES; EXPERIMENTAL FILMS; GENRES; INDIGENOUS PEOPLE AND THE CINEMA; MOTHERS IN FILMS; REPRODUCTION IN FILMS; SPECTATORSHIP; WOMEN AND THE CINEMA
Summary: Mothers of Invention: Film, Media, and Caregiving Laborconstructs a feminist genealogy that foregrounds the relationship between acts of production on the one hand and reproduction on the other. In this interdisciplinary collection, editors So Mayer and Corinn Columpar bring together film and media studies with parenting studies to stake out a field, or at least a conversation, that is thick with historical and theoretical dimension and invested in cultural and methodological plurality. In four sections and sixteen contributions, the manuscript reflects on how caregiving shapes the work of filmmakers, how parenting is portrayed on screen, and how media contributes to radical new forms of care and expansive definitions of mothering. Featuring an exciting array of approaches—including textual analysis, industry studies, ethnographic research, production histories, and personal reflection—Mothers of Invention is a multifaceted collection of feminist work that draws on the methods of both the humanities and the social sciences, as well as the insights borne of both scholarship and lived experience. Grounding this inquiry is analysis of a broad range of texts with global reach—from the films Bashu, The Little Stranger (Bahram Beyzai, 1989), Prevenge (Alice Lowe, 2016), and A Deal with the Universe (Jason Barker, 2018) to the television series Top of the Lake (2013–2017) and Jane the Virgin (2014–2019), among others—as well as discussion of the creative practices, be they related to production, pedagogy, curation, or critique, employed by a wide variety of film and media artists and/or scholars. Mothers of Invention demonstrates how the discourse of parenting and caregiving allows the discipline to expand its discursive frameworks to address, and redress, current theoretical, political, and social debates about the interlinked futures of work and the world. This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies. -- publisher's web site
ISBN: 9780814348529
Donation: Senses of Cinema

Call No: TITLE STILLS AUSTRALIA
Source: AT
Publisher: Ronin Films
PhysDes: 1 photograph : b&w ; 21 x 26 cm
Subject: INDIGENOUS
Summary: Black and white photograph of Ernie Dingo and another Aboriginal man standing on the porch of a house

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 26 x 21 cm
Subject: INDIGENOUS; ABORTION IN FILMS; MUNDA NYURINGU: HE'S TAKEN THE LAND HE BELIEVES IT IS HIS HE WON'T GIVE IT BACK (AT, Robert Bropho & Jan Roberts, 1983)
Summary: Photographs relating to the film Munda Nyuringu
ID2: 195

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: NATIONAL INDIGENOUS TELEVISION

Call No: SUBJECT CLIPPINGS FILE; INDUSTRY, TELEVISION. AUSTRALIA
Author: Idato, Michael
PhysDes: Clippings File Article
Subject: INDUSTRY, TELEVISION. AUSTRALIA; NATIONAL INDIGENOUS TELEVISION; JUNGLE [prod. co.]; ANDERSON, WIL; EDWARDS, JOHN; EUROVISION SONG CONTEST [TV] (1956 - )
Summary: Snippets on various aspects of the Australian television industry including: Emma Freedman to host program Winning Post, Australia to enter the 2016 Eurovision song contest, Sherlock: from Script to Screen to provide illumination into the going's on of the TV show Sherlock, John Edwards commentary on the state of Australian drama production, production company Jungleboys to rename themselves Jungle, League Nation Live - a show about the National Rugby League will debut on NITV in 2016

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 12 x 16 cm
Subject: INDIGENOUS; NIGHT PATROL (AT, Pat Fiske & Valerie Martin, 1997)
Summary: Black and white photograph of an Aboriginal man and woman

Call No: SUBJECT CLIPPINGS FILE; NATIONAL INDIGENOUS TELEVISION
Author: Brook, Stephen
PhysDes: Clippings
Subject: NATIONAL INDIGENOUS TELEVISION; ABORIGINAL AUSTRALIANS AND TV
Summary: NITV is discussed as it celebrates it's 10 year anniversay

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 22 x 30 cm
Subject: INDIGENOUS; KELLY, PAUL; FAIRFAX, KAARIN; ONE NIGHT THE MOON (AT, Rachel Perkins, 2001)
Summary: 1 A4 page divided into 4 black and white photographs. Includes Aboriginal content, Debra McKenzie, Ruby Hunter, Kelton Pell.

Call No: 435(94) (=1-81) JAN
Author: Janke, Terri
Source: AT
Place: Sydney
Publisher: Screen Australia
PubDate: 2009
PhysDes: 123 p. : col. ill. ; 21 cm
Subject: INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; ABORIGINAL AUSTRALIANS ON TV; LAW AND THE CINEMA, AUSTRALIA
Summary: "This practical guide is essential reading for all filmmakers shooting in Australia. Research and written by lawyer Terri Janke, Pathways & Protocols provides advice about the ethical and legal issues involved in transferring Indigenous cultural material to the screen. Whether shooting in country or city, with an Indigenous cast or not, practitioners of film, TV and digital media projects are encouraged to recognise and respect Indigenous people's images, knowledge, stories and land in the production of audiovisual material."--Back cover.
Notes: Two copies. One each in stacks and at front desk.
ISBN: 978-1-920998-09-7
Contents: Preface -- How to use this guide -- 1: Introduction -- 1.1: Indigenous Australians -- 1.2: Filmmaking and Indigenous culture -- 1.3: What are protocols -- 2: Principles for protocols -- 2.1: Respect for Indigenous culture and heritage -- 2.2: Respect for Indigenous individuals and communities --3:Implementing protocols within flim practice -- 3.1: Overview - protocols for documentary versus drama -- 3.2: Initial research and project development -- 3.3: Script development -- 3.4: Pre-production and production -- 3.5: Editing and post-production -- 3.6: Screening and broadcasting -- 3.7: Footage archiving -- 3.8: Summary Checklist -- 4: Communication, consultation and consent -- 4.1: Consultation and consent -- 4.2: When consent is required -- 4.3: When consent is recommended -- 4.4: Tips for successful consulatation -- 5: Film and the law -- 5.1: Copyright -- 5.2: Perfomer's rights -- 5.3: Moral rights -- 5.4: Indigenous communal moral rights -- 5.5: Contracts -- 5.6: Defamation -- 5.7: Trade practices -- 5.8: Environmental legislation and national parks -- 5.9: Western Australian Heritage Regulations 1974 -- 5.10 Where to go for more legal information -- 6: Contacts and appendices -- 6.1: Directories -- 6.2: Indigenous media associations and broadcasters -- 6.3: Remote Indigenous Media Organsiations (RIMOS) -- 6.4: Industry agencies with Indigenous components -- 6.5: Indigenous cultural advisers and script consultants-- 6.6: Land Councils -- 6.7:Permit Offices -- 6.8: National Parks -- 6.9: Libraries and archival sources -- 6.10: Media law and copyright -- 6.11: regulation --6.12: Industrial Agreements -- Appendix 1: Sample clauses -- For ICMR in a director's contract -- Screen Australia ICIP Clause in Production and Investment Agreements -- Appendix 2: Background research on other protocols

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 13 x 18 cm
Subject: INDIGENOUS; PROMISE (AT, Mitch Torres, 1998)
Summary: Black and white photograph of Aboriginal mother and girl?

Call No: SUBJECT CLIPPINGS FILE; AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL
Author: Blake, Elissa
PhysDes: Clippings File Article
Subject: AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL; AFTRS INDIGENOUS CREATIVE FELLOWSHIP; AFTRS CREATIVE FELLOWSHIP; PERKINS, RACHEL; BARTON, DEL KATHRYN; BRAITHWAITE, SARI
Summary: The new Indigenous Creative Fellowship, awarded by the Australian Film, Television and Radio School has been given to Rachel Perkins, whilst the AFTRS Creative Fellowships have been awarded to Del Kathryn Barton and Sari Braithwaite

Call No: SUBJECT CLIPPINGS FILE; AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL
Author: Bodey, Michael
PhysDes: Clippings File Article
Subject: AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL; AFTRS INDIGENOUS CREATIVE FELLOWSHIP; AFTRS CREATIVE FELLOWSHIP; PERKINS, RACHEL; BARTON, DEL KATHRYN; BRAITHWAITE, SARI
Summary: The new Indigenous Creative Fellowship, awarded by the Australian Film, Television and Radio School has been given to Rachel Perkins, whilst the AFTRS Creative Fellowships have been awarded to Del Kathryn Barton and Sari Braithwaite

Author: Davis, Therese
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS AND THE CINEMA; ABORIGINAL AUSTRALIANS IN FILMS; ABORIGINAL AUSTRALIAN CINEMA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; GULPILIL, DAVID; DE HEER, ROLF; TEN CANOES (AT, Rolf De Heer, 2006)
Summary: In 2000, maverick Australian director Rolf de Heer began a collaboration with Australian Aboriginal screen legend David Gulpilil to make a film set in Gulpilil's traditional lands in North Eastern Arnhem Land. The result of the collaboration is the new feature Ten canoes (2006). For Culpilil the project represented an opportunity to launch careers in film for members of his community including his son Jamie Gulpilil (who plays the lead role). He has also stated that ' the film will allow people from the community and around the world to know how our ancestors lived and to understand them'. In order to try to achieve this, de Heer took on the challenging task he describes as 'fusing two very different storytelling traditions'. Drawing on the documentary Balanda and the bark canoes (2006) (also known as Making ten canoes) and other sources this article goes behind the scenes to examine processes of cross-cultural collaboration and intercultural fusion. It argues the film shows that while stories have different forms and functions in different societies, one story can be made to serve two different cultural requirements and, further, in doing so can expand possibilities for both cross-cultural recognition and cinema.-- Abstract

Call No: 19 IMP BEL
Author: Bell, Wendy
Source: AT
Place: Alice Springs, N.T
Publisher: IAD Press
PubDate: 2008
PhysDes: 361 p. : ill. ; 23 cm
Subject: BROADCASTING. AUSTRALIA; INDIGENOUS
Summary: "When the Central Australian Aboriginal Media Association (CAAMA) decided to apply for a remote television satellite licence twenty years ago, success seemed a remote possibility. Winning the licence would make Imparja the first Aboriginal-controlled commercial television station, not only in Australia but the world, with a transmission footprint larger than Western Europe. CAAMA, a very new community organisation, had a battle on its hands to satisfy remote communities, two governments, the Australian Broadcasting Tribunal, the media and to convince the wider public that it had the capacity to set up and run a television station. It was a big leap from community radio and recording the music of Aboriginal artists into the world of media moguls like Kerry Packer. The challenges continue to the present day, managing social and cultural integrity within one of the toughest commercial environments in Australia, along with the need to meet community expectations regarding language and cultural programming. This is a struggle against all odds, a story of heroes, densely populated with strong characters, both for and against Imparja's existence and its survival.Wendy Bell tells the story with all its twists, reversals and passions. " BOOK JACKET
Notes: Includes index.; Bibliography: p. 349-[355]
ISBN: 9781864650976
Donation: Donated by Senses Of Cinema, 2009

Call No: 744.6 CLE
Author: Clelland-Stokes, Sacha
Source: NZ
Place: Hojbjerg, Denmark
Publisher: Intervention Press
PubDate: 2007
PhysDes: 217 p. ; 21 cm
Subject: INDIGENOUS; MAORI CINEMA; SOUTH AFRICA IN FILMS; ABORIGINAL AUSTRALIAN CINEMA; GREAT DANCE: A HUNTER'S STORY, THE (US, Craig Foster & Damon Foster); LAST WAVE, THE (AT, Peter Weir, 1977); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994)
Summary: The book looks at aborigines in Australia, South Africa, and New Zealand, and examines the social, and political attidudes of the rest of society towards these peoples. It attempts to show how film reflects these values , and concentrates on three films: The great dance - a hunter's story, The last wave, and Once were warriors.
Notes: Bibliography: p. 207-217
ISBN: 9788789825151

Call No: 451-054 (=1-81)(71):(93):(94) REV
Author: Pearson, Wendy Gay (ed.); Knabe, Susan (ed.)
Source: CN
Place: Waterloo, Ontario, Canada
Publisher: Wilfred Laurier University Press
PubDate: c2015
PhysDes: xi, 372 pages : illustrations ; 23 cm
Series: Film and media studies series; Film + media studies
Subject: CRITICISM; MEDIA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; INDIGENOUS PEOPLE'S CINEMA. CANADA; INDIGENOUS PEOPLE'S CINEMA. NEW ZEALAND; INDIGENOUS; AUSTRALIA; NEW ZEALAND; NEW ZEALAND MAORI CINEMA; NORWAY; CANADA; DIGITAL TECHNOLOGY; ABORIGINAL AUSTRALIAN CINEMA; ABORIGINAL AUSTRALIANS AND THE CINEMA; ABORIGINAL AUSTRALIANS AND TV; ABORIGINAL AUSTRALIANS IN FILMS; ABORIGINAL AUSTRALIANS ON TV; ETHNIC GROUPS IN FILMS
Summary: "From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity. The contributors to Reverse Shots offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway. " --BOOK BACK COVER
Notes: Formerly CIP; Includes bibliographical references and index; Also issued online
ISBN: 9781554583355
Contents: -- pt. I dream makers -- Introduction Globalizing Indigenous Film and Media / Susan Knabe -- One: He Who Dreams: Reflections on an Indigenous Life in Film / Michael Greyeyes -- pt. II decolonizing histories -- Two: Speakin' Out Blak: New and Emergent Aboriginal Filmmakers Finding Their Voices / Ernie Blackmore -- Three:Taking Pictures B(l)ack: The Work of Tracey Moffatt / Susan Knabe -- Four.The Journals of Knud Rasmussen: Arctic History as Post/Colonial Cinema / Kerstin Knopf -- Five: Australian Indigenous Short Film as a Pedagogical Device: Introducing Wayne Blair's The Djarn Djarns and Black Talk / Colleen McGloin -- Six."Once upon a Time in a Land Far, Far Away": Representations of the Pre-Colonial World in Atanarjuat, Ofelas, and 10 Canoes / Wendy Gay Pearson -- pt. III mediating practices -- Seven: Ka Whawhai Tonu Matou: Indigenous Television in Aotearoa/New Zealand / jo smith and Sue Abel -- Eight: Superhighway across the Sky ... Aboriginal New Media Arts in Australia: A Remix and Email Conversation between Adam Szymanski and Jenny Fraser / Jenny Fraser and Adam Szymanski -- Nine: On Collectivity and the Limits of Collaboration: Caching Igloolik Video in the South / Erin Morton and Taryn Sirove -- pt. IV documentary approaches -- Ten: The Prince George Metis Elders Documentary Project: Matching Product with Process in New Forms of Documentary / Stephen Foster and Mike Evans -- Eleven: "Whacking the Indigenous Funny Bone": Native Humour and Its Healing Powers in Drew Hayden Taylor's Redskins, Tricksters, and Puppy Stew / Ute Lischke -- Twelve: Situating Indigenous Knowledges: The Talking Back of Alanis Obomsawin and Shelley Niro / Maeghan Pirie -- Thirteen:"I Wanted to Say How Beautiful We Are": Cultural Politics in Loretta Todd's Hands of History / Gail Vanstone -- pt. V other perspectives --Fourteen: Filming Indigeneity as Flanerie: Dialectic and Subtext in Terrance Odette's Heater / Tanis MacDonald -- Fifteen: Playing with Land Issues: Subversive Hybridity in The Price of Milk / Davinia Thornley -- glossary -- bibliography -- index --

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 12 x 18 cm
Subject: INDIGENOUS; SERPENT AND THE CROSS, THE (AT, Chris Hilton, 1991)
Summary: Black and white photograph of main character, Aboriginal man, Hector Ojondahe and film maker, Chris Hilton, at the film's launch at the Syndey Opera House.

Author: Elliot, Bonnie
PhysDes: Article
Subject: SPEAR (AT, Stephen Page, 2015); INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; ELLIOT, BONNIE
Summary: Cinematographer Bonnie Elliot talks about working on the Australian film Spear directed by Stephen Page. She talks about the unusual process of funding the film and working with a non-traditional narrative. Bangarra and dance's relationship with the film is also discussed.

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 3 photographs : b&w ; 12 x 18 cm ; 2 photographs : col. ; 13 x 18 cm
Subject: INDIGENOUS; STRIKE YOUR HEART (AT, Wayne Barker, 1997)
Summary: 3 black and white photographs and 2 colour photographs of Aboriginal actors in the Western Australian film Strike your Heart.

Call No: 408.3 TRA
Author: Ezra, Elizabeth (ed.) Rowden, Terry (ed.)
Source: UK
Place: Abingdon, Oxon, UK
Publisher: Routledge
PubDate: 2006
PhysDes: 244 pages ; 25 cm
Series: in focus: Routledge film readers
Subject: TRANSNATIONAL CINEMA; TRANSNATIONALISM AND THE CINEMA; NATIONAL IDENTITY AND THE CINEMA; DIASPORIC CINEMA; TERRORISM AND THE CINEMA; INDIGENOUS; MIGRATION; GLOBALISATION; WORLD CINEMA
Summary: "Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema. Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community. The reader is divided into four sections: From National to Transnational Cinema / Global Cinema in the Digital Age / Motion Pictures: Film, Migration and Diaspora / Tourists and Terrorists." -- PUBLISHERS WEB SITE
ISBN: 9780415371589
Contents: Introduction: What is Transnational Cinema? / Elizabeth Ezra and Terry Rowden -- Introduction to Section I: From National to Transnational Cinema -- The Limiting Imagination of National Cinema? / Andrew Higson -- Africans Filming Africa: Questioning Theories of an Authentic African Cinema / David Murphy -- Post-Third-Worldist Culture: Gender, Nation, and the Cinema / Ella Shohat -- Bombay Boys and Girls: Transnational Gender and Sexual Politics in the New Indian Cinema in English / Jigna Desai -- Introduction to Section II: Global Cinema in the Digital Age -- The Instantaneous Worldwide Release: Coming Soon to Everyone, Everywhere / Robert E. Davis -- Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies Between the Internet and Media Entertainment Culture /Elana Shefrin -- Transnational Documentary: A Manifesto / John Hess and Patricia R. Zimmermann -- Introduction to Section III: Motion Pictures: Film, Migration, and Diaspora -- Situating Accented Cinema? / Hamid Naficy -- Beur Cinema and the Politics of Location: French Immigration Politics and the Naming of a Film Movement / Peter Bloom -- Diaspora and National Identity: Exporting 'China' through the Hong Kong Cinema / David Desser -- Migrancy and the Latin American Cinemascape: Towards a Post-National Critical Praxis / Ann Marie Stock -- Introduction to Section IV: Tourists and Terrorists -- Romance And/As Tourism: Heritage Whiteness and the (Inter)National Imaginary in the New Woman's Film? / Diane Negra -- Four Forms for Terrorism: Horror, Dystopia, Thriller, and Noir / John S. Nelson -- Terror and After... / Homi K. Bhabha --

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 4 photographs : b&w ; 21 x 26 cm
Subject: INDIGENOUS; TWO LAWS (AT, Alessandro Cavadini & Carolyn Strachan, 1981)
Summary: 4 black and white photograph of filmmaker, Carolyn Strachan, with Borroloola Aboriginal woman.
Notes: 1 duplicate

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 2 photographs : b&w ; 26 x 21 cm
Subject: INDIGENOUS; UP FOR GRABS (AT, Curtis Levy, 1984)
Summary: 2 photographs/still images from the film.
ID2: 192

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 12 photographs : b&w ; 13 x 18 cm
Subject: INDIGENOUS; STANTON, JOHN; WILKINSON, LINDEN; RABE, PAMELA; VACANT POSSESSION (AT, Margot Nash, 1995)
Summary: 12 black and white photographs. Includes Rita Bruce, Toni Scanlon, Graham Moore, Simonnne Pengelly, Olivia Patten.`
Notes: 2 duplicates

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 11 photographs : b&w ; 13 x 18 - 21 x 16 cm ; 7 transparencies : b&w ; 11 x 7 cm ; 1 transparency : col. ; 6 x 6 cm ; 11 slides : col. ; 5 x 5 cm
Subject: INDIGENOUS; GULPILIL, DAVID; AGUTTER, JENNY; JOHN, LUCIEN SEE ROEG, LUC; WALKABOUT (AT, Charles Chauvel, 1958)
Summary: 11 black and white photographs and transparencies and slides of scenes from the film. Aboriginal.
Notes: Duplicates. Image donated by Brian McFarlane.

Call No: TITLE STILLS AUSTRALIA
Source: AT
Publisher: Barron Films
PhysDes: 2 photographs : b&w ; 13 x 18 cm
Subject: INDIGENOUS; DINGO, ERNIE; O'HERLIHY, DAN; WALTZ THROUGH THE HILLS, A (AT, Frank Arnold, 1987)
Summary: 2 black and white photographs of scenes from the television drama. Stars Aboriginal actress, Mawuyul Yanthalawuy.
ID2: 193

Call No: PERSONALITY CLIPPINGS FILE; THORNTON, WARWICK
Author: Rule, Dan
PhysDes: Clippings File Article
Subject: INDIGENOUS; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; THORNTON, WARWICK
Summary: A review of indigenous filmmaker and artist, Warwick Thornton's recent exhibition (2015) in Melbourne.The exhibition includes photgraphic portraits and video.

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : col. ; 21 x 26
Subject: INDIGENOUS; WE ARE THE LANDOWNERS, THAT'S WHY WE'RE HERE (AT, Ian Dunlop, 1985)
Summary: Colour photograph of two Aboriginal men standing in sand in front of a cross and the bush.

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 16 photographs : b&w ; 13 x 18 cm.- 21 x 26 cm ; 1 transparency : col. ; 6 x 6 cm
Subject: INDIGENOUS; PUNCH MCGREGOR, ANGELA; DIGNAM, ARTHUR; BARRY, TONY; VAUGHAN, MARTIN; LEWIS, TOM; JARRATT, JOHN; WE OF THE NEVER NEVER (AT, Igor Auzins, 1982)
Summary: 16 black and white photographs of labelled scenes from the film and 1 colour transparency.
Notes: 2 images donated by Brian McFarlane

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 21 x 26 cm
Subject: INDIGENOUS; WHO KILLED MALCOLM SMITH? (AT, Nicholas Adler & Caroline Sherwood, 1992)
Summary: Black and white photograph of Aboriginal people living in poverty.

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 24 x 31 cm
Subject: INDIGENOUS; WIFE AMONG WIVES : NOTES ON TURKANA MARRIAGE, A (AT, David & Judith MacDougall, 1981)
Summary: Black and white photograph of David & Judith MacDougall with members of a Turkana family in 1973.

PhysDes: Article
Subject: WOMEN AND THE CINEMA. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN IN FILMS; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; FESTIVALS
Summary: Article on what the 'Women & Arts festival' is and deadlines for entrants. Categories include women in Aboriginal and ethnic communities, dance, film, writing, theatre, music, etc.

Call No: TITLE STILLS AUSTRALIA
Source: AT
PhysDes: 1 photograph : b&w ; 15 x 22 cm
Subject: INDIGENOUS; YIRAWALA - THE PICASSO OF ARNHEMLAND (AT, Sandra Holmes, 1982)
Summary: Photograph of Aboriginal art.