y separately published work icon Studies in Australasian Cinema periodical issue   peer reviewed assertion
Issue Details: First known date: 2007... vol. 1 no. 2 2007 of Studies in Australasian Cinema est. 2007 Studies in Australasian Cinema
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Contents

* Contents derived from the , 2007 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Thomson Times and Ten Canoes (de Heer and Djigirr, 2006), Louise Hamby , single work criticism

'Ten Canoes (de Heer and Djigirr, 2006) is a collaboration between Rolf de Heer and members of the Ramingining community in eastern Arnhem Land. The film ostensibly has two time frames: a 'mythical past' which could be called 'the Dreaming' and the historical time in which the protagonist, Dayindi, lives, which is given as '1000 years ago' (Vertigo 2006: 3). The development of Ten Canoes drew upon the writings of Donald Thomson and his collection of over 2500 ethnographic photographs, 1500 natural history photographs and 5500 objects from Arnhem Land, now held at Museum Victoria in Melbourne. One fourth of the material culture items consist of objects worn on the body, which I have termed 'bodywear' (Hamby 2006). In tracing community use of, and responses to, the Thomson Collection, I argue that members of the Ramingining community understand one strand of the Ten Canoes plot, Dayindi's story, to take place in the time of those relatives who had met and worked with Thomson: in both their production and reception of Dayindi's story, it takes place not 1000 years ago but in 'Thomson Times'.'

Source: Abstract.

(p. 127-146)
Whose Dreaming? Intercultural Appropriations, Representations of Aboriginality, and the Process of Film-Making in Werner Herzog's Where the Green Ants Dream (1983), Andrew W. Hurley , single work criticism

'In 1983, the German film-maker Werner Herzog realized a decade-long ambition to create a film thematizing the struggles of Aboriginal groups against mining companies in Northern Australia. Where the Green Ants Dream (1984) was ultimately reviled by Australian pundits and also disappointed international critics. However, the film and the story behind its making raise important issues, not only about the creative appropriation of Aboriginal mythology, and the filmic representation of Aboriginality and of the struggle for Aboriginal land rights, but also about the intricacies of cross-cultural collaboration. This article reveals how Herzog relied upon the first land rights court case (Milirrpum v Nabalco) in writing his film script. In doing so, he came up with a hybrid ambiguously situated between documentary and feature film, something which proved uncomfortable for the lead Aboriginal actors Wandjuk and Roy Marika, who had both been players in Milirrpum v Nabalco. This article analyses Herzog's mix of documentary and fiction, examines the film's reception-both by white Australian critics and by Aboriginal Australians-and argues that, while the film may be flawed, it is valuable because it threw (and continues to throw) light on the processes and pitfalls of cross-cultural collaboration.'

Source: Abstract.

(p. 175-190)
Reconsidering Fred Schepisi's The Chant of Jimmie Blacksmith (1978) : The Screen Adaptation of Thomas Keneally's Novel (1972), Janet Wilson , single work criticism (p. 191-207)
Liminality, Temporality and Marginalization in Giorgio Mangiamele's Migrant Movies, Gaetano Rando , single work criticism
This article approaches Giorgio Mangiamele's work is a rare example of Culturally and Linguistically Diverse [CALD] involvement in the early development of Australian cinema in the post-war period. His feature film Clay (1965) was the first Australian film to be invited to enter the competition at the Cannes Film Festival.

It outlines his significant yet largely ignored contribution to the emerging Australian cinematic culture, particularly to the development of 'art' cinema. Over a thirty-year period Mangiamele made fourteen films as director or director/producer that present themes related to the Italian migration experience in Australia in the 1950s.

Rando suggests that Mangiamele's focus on dislocation, alienation, loneliness, and nostalgia for the home country constitutes the experience of his emblematic characters struggling to make sense of a society that is in many ways unaccepting. This article proposes to apply the concepts of liminality and temporality elaborated by Hamid Nacify (2001) to the analysis of the themes related to the Italian-Australian diaspora in the films of Giorgio Mangiamele.

Source: Author's abstract
(p. 209-221)
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