Meet Little J and Big Cuz, Two Indigenous Australian Children Who Live With Their Nanna and Old Dog. With Their Teacher, Miss Chen, the Two Embark on a Series of Adventures Within, or Beyond, Their School Life to Learn About Their Culture and Unfamiliar Scholastic Surroundings.
Rachel Perkins’ “This Land is Mine” musical sequence functions to assert that a denial, or disrespect, of Indigenous Australian Peoples’ epistemes creates aversive, or counterintuitive, real-world ramifications on Australian culture
“Everyone saw the clouds. But the meaning of these events, the historical significance of their spatial appearance was another matter”
“They’re individual people in a minority. The issues are a by-product of the story, not the source” – Daniel Browning (2002) Indigenous Australian filmmaker Ivan Sen’s conception of ‘Indigenous Cinema’ is one that is characterised through “direct experience” (Bunburry 2002) to address a cosmopolitan, albeit networked, audience. ‘Indigenous Cinema’ is that of a cumulative cultivation of Aboriginal Peoples’…
Indigenous Cinema, at its core, is shaken on account of non-Indigenous-controlled, -owned and -produced mass media coverage, whose reflection on, and motivation of, public debates (Jennett 1983) forms a dense record of secondary-sourced, social discourses of Indigenous Australian Peoples (Bullimore 1999). Reinforcing this fortifies distorted representations of Indigenous Australians, including, but not limited to: the violent criminal; the ‘exotic’ other; the…
Discussion of the inter-generational conflicts, sovereignty and hope for younger descendants of the Traditional Owners of this land following the ‘National Apology to the Stolen Generations’ in Warwick Thornton’s mesmerising film ‘Samson & Delilah’.
Welcome to ‘We Are All Visitors’, or W.A.A.V., a social campaign designed to acknowledge and enrich a comprehensiveness of Indigenous Australian cultures, histories and communities present in the pan-regional films of Indigenous Cinema.