form y separately published work icon Black Man's Houses single work   film/TV  
Issue Details: First known date: 1992... 1992 Black Man's Houses
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'This film is a re-examination of Tasmanian history. In particular it explored the reasons for the deep divide, at the time, between the contemporary Aboriginal and non-Aboriginal communities on Flinders Island in Bass Strait. A symbol of this divide was the dispute over land at Wybalenna, where the remaining tribal Aborigines from the Tasmanian mainland were incarcerated in the mid-19th Century and which is the site of over 120 Aboriginal graves. At the time of filming the Aboriginal community had lost a Land Rights claim to the site and were occupying it 'illegally' in protest.' (Source: http://www.documentaryaustralia.com.au/case_studies/details/32/blackmans-houses)

Publication Details of Only Known VersionEarliest 2 Known Versions of

VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

Tas Film Documents Grave Relocation Jillian Mundy , 2019 single work column
— Appears in: Koori Mail , 30 January no. 693 2019; (p. 3)

'The 25th anniversary of multi-award winning documentary film Black Man's Houses has been celebrated with screenings of a restored digital version and panel discussions, and there are plans for a remake.' (Introduction)
Freedom Stories : What I’ve Learned from Filming Australia’s Asylum Seekers Steve Thomas , 2015 single work autobiography
— Appears in: The Conversation , 14 July 2015;
Remembering a Saltwater Man Called Bennelong Steve Dow , 2013 single work column
— Appears in: The Sydney Morning Herald , 26-27 January 2013; (p. 6)
‘Islands of Possibility’ : Film-Making, Cultural Practice, Political Action and the Decolonization of Tasmanian History Jenny Thornley , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , October vol. 7 no. 2-3 2013; (p. 123-136) This article considers the potential of a decolonizing poetics, evident across Tasmanian Aboriginal arts and cultural works, to contribute to a distinctively Aboriginal film-making practice in Tasmania. The potency of this body of work, alongside the Aboriginal community’s vigorous political campaigns for cultural rights and land rights, has not translated into a distinctively Tasmanian Aboriginal film culture. Apart from several significant documentary films and photographic works that indicate the emergence of a powerful decolonizing poetics there are no fictional feature films by Tasmanian Aboriginal film-makers. Moreover recent feature films produced by non-Indigenous film-makers about Tasmania invoke the ‘Tasmanian Gothic’ trope, imagining an island without any Aboriginal presence. This article considers processes that contribute to decolonizing through the contemporary work of Tasmanian Aboriginal writers and artists, including Jim Everett, Julie Gough, Greg Lehman and photographer Ricky Maynard. I suggest their poetics are more than textual. They are grounded in country and community – linked to another realm beyond the ‘shallow’ time of colonization. Their decolonizing poetics are shared with Maori film-maker Barry Barclay’s ‘Fourth Cinema’, where the camera is firmly in Indigenous hands, based in community and cultural practices.' (Author's abstract)
Remembering a Saltwater Man Called Bennelong Steve Dow , 2013 single work column
— Appears in: The Sydney Morning Herald , 26-27 January 2013; (p. 6)
‘Islands of Possibility’ : Film-Making, Cultural Practice, Political Action and the Decolonization of Tasmanian History Jenny Thornley , 2013 single work criticism
— Appears in: Studies in Australasian Cinema , October vol. 7 no. 2-3 2013; (p. 123-136) This article considers the potential of a decolonizing poetics, evident across Tasmanian Aboriginal arts and cultural works, to contribute to a distinctively Aboriginal film-making practice in Tasmania. The potency of this body of work, alongside the Aboriginal community’s vigorous political campaigns for cultural rights and land rights, has not translated into a distinctively Tasmanian Aboriginal film culture. Apart from several significant documentary films and photographic works that indicate the emergence of a powerful decolonizing poetics there are no fictional feature films by Tasmanian Aboriginal film-makers. Moreover recent feature films produced by non-Indigenous film-makers about Tasmania invoke the ‘Tasmanian Gothic’ trope, imagining an island without any Aboriginal presence. This article considers processes that contribute to decolonizing through the contemporary work of Tasmanian Aboriginal writers and artists, including Jim Everett, Julie Gough, Greg Lehman and photographer Ricky Maynard. I suggest their poetics are more than textual. They are grounded in country and community – linked to another realm beyond the ‘shallow’ time of colonization. Their decolonizing poetics are shared with Maori film-maker Barry Barclay’s ‘Fourth Cinema’, where the camera is firmly in Indigenous hands, based in community and cultural practices.' (Author's abstract)
Freedom Stories : What I’ve Learned from Filming Australia’s Asylum Seekers Steve Thomas , 2015 single work autobiography
— Appears in: The Conversation , 14 July 2015;
Tas Film Documents Grave Relocation Jillian Mundy , 2019 single work column
— Appears in: Koori Mail , 30 January no. 693 2019; (p. 3)

'The 25th anniversary of multi-award winning documentary film Black Man's Houses has been celebrated with screenings of a restored digital version and panel discussions, and there are plans for a remake.' (Introduction)
VIEW ALL WORKS ABOUT (4)
Last amended 30 Sep 2015 13:43:15
Steve Thomas
Subjects:
Settings:
  • Tasmania,
  • Flinders Island, Bass Strait Islands, Tasmania,
Newspapers:
    Powered by Trove
    X