| Reference Type |
book
|
| Title |
Well I Heard It On The Radio And I Saw It On The Television An essay for the Australian Film Commission on the politics of filmmaking by and about Abor |
| Author(s) | Marcia Langton |
| State |
Unknown |
| Country |
Unknown |
| Publication Date |
00-00-1993 |
| Citation Date |
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| Comments |
This essay is extremely relevant for anyone studying the politics of Indigenous representation in Australian cinema. Not only does Langton trace the history of representations of Aboriginality in Australian film, she also provides valuable information pertaining to the diversity of Aboriginal cultures and how this impacts on the production techniques, aesthetics and politics of Indigenous film and video productions. Langton's essay provides an interesting and valuable critique of Charles Chauvel's Jedda, Tracy Moffat's Night Cries - A Rural Tradgedy and Bryon Syron's Jindalee Lady.
Despite it not directly referring to Roeg's "Walkabout" (1971), this article offers useful ways of reading this film in terms of its representation of Aboriginal culture from a foreign perspective.
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| Synopsis |
In the first section of her essay, Langton discusses the differences between settled and remote, traditional and contemporary Aboriginal communities and how these distinctions facilitate heterogenous self-representations. Langton provides a critique of the popular discourses which surround the polemics of Indigenous filmmaking. She proposes certain changes which need to be undertaken to ensure that the diversity of Aboriginal cultures is represented in the Australian cinema. In section two, Langton discusses the politics of Indigenous representation in the Australian cinema by examining colonial discourses and the changes which need to be implemented in order to subvert racist representations of Aboriginality. In section three, Langton draws on Charles Chauvel's Jedda to draw distinctions between colonial and anticolonial representational practices by comparing the film with Tracy Moffat's Night Cries. Langton also critiques Brian Syron's Jindalee Lady discussing in detail the employment of essentialist paradigms of race and gender throughout the film. In the final two sections, Langton discusses the politics of the Yuendumu community film and video productions in relation to the work of the late Eric Michaels and Walpiri cultural production.
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