| Reference Type |
The Age
newspaper
|
| Title |
Black Magic-Aboriginal film takes off |
| Author(s) | Phillipa Hawker |
| State |
VIC |
| Country |
Australia |
| Publication Date |
22-05-2005 |
| Citation Date |
|
| Comments |
This article was taken from The Age, written by Phillipa Hawker, it is a reliable resource. The article doesnât discuss Ten Canoe, but Aboriginal films in general, their place in Australian film and their successes. This is an interesting article as it places Ten Canoes on the same level as other Australian films. The review also contains an important interview with Sally Riley, head of the Australian film commissions indigenous unit. It focuses its story on the film Rabbit Proof Fence, a film with an Aboriginal storyline. This film however demonstrates the importance of marketing campaigns and television coverage, with the film grossing 7 million on its opening weekend, however the budget for the film was 8.5 million. This goes into the idea in which my field will explore, that being the lack of government funding for Aboriginal films such as Ten Canoes, and how this effects peoples perception of them as films. Sally Riley describes Aboriginal films as âbeing on the fringe of mainstream,â however the interest in Aboriginal subjects as short films and documentaries seem to be more succesfull than films. The article also lists a variety of Aboriginal films which could be useful within m field to compare against Ten Canoes, and even goes onto site films such as Black Chicks Talking that won awards in both Berlin and at the Tribecca film festival. Similarly, Ten Canoes was also nominated for an award at Cannes festival, demonstrating the high quality of filmmaking done by Rolf De Heer. The most interesting underlying theme within this article is Rileyâs attempt at building an industry that can sustain itself. Riley believes Aboriginal films need to use their stories and subject matter to attract viewers. Rileyâs argument is strong and concise, and even goes on to discuss and establish a variety of training programs and workshops which have been setup in support of the Aboriginal film industry. Riley offers an intelligent argument on Aboriginal film makers as a whole, where they need to be given first contact narratives, or films with bigger contemporary stories to be heard. The development process in the Australian film industry is where its hardest. and budgeted features will be the biggest struggle. This viewpoint is exactly what will be in my field, and focuses on the talent of Aboriginal films, but their lack of funding by the Australian government. |
tags:
add tag Please Wait...
|
|
|
| |
