‘Aboriginality was filtered through a white consciousness that arguably distorted it. Then, beginning in roughly 1980, there were many films that reflected a white social consciousness insofar as they dealt with the injustices that Aboriginal people had experienced. In this essay the author attempts to account for the appearance of Aboriginals behind the camera beginning in the late 1980s. The crucial difference, however, once Aboriginals became artists, not just subjects, was the removal of the filtering white consciousness. Removing that filter had a counterintuitive effect, though: rather than prompting more overt depiction of the story of Aboriginals in white Australia, removing the filter resulted in strategic indirection in the telling of that story. This essay explores that strategic indirection.’ (Introduction)