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AbstractHistoryArchive Description
Harry Saunders's decision to join the army during the Second World War and fight for his country is largely motivated by his desire to fight for the rights of Indigenous people. Harry hopes that in fighting alongside the white citizens of Australia, he will help Indigenous people to eventually win citizenship. Prejudice and racism, however, are not so easily overcome, as Harry soon finds out.
(Source: Australian Screen.)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Indigenous Films on Show at St Kilda Festival
2019
single work
column
— Appears in: Koori Mail , 19 June no. 703 2019; (p. 3) 'Gunditjmara man and acclaimed filmmaker Richard Frankland will be at the St Kilda Film Festival this week to reflect on his works and the 2019 NAIDOC theme of 'Voice. Treaty. Truth.'' -
Serious Issues for Young Readers
BlackWords : Serious Issues for Young Readers
2015
single work
criticism
— Appears in: The BlackWords Essays 2015; (p. 8) The BlackWords Essays 2019;In this essay Heiss discusses Indigenous-authored works that are targeted for upper-primary and young adult readers, that address issues of identity, self esteem, relationships and peer-group pressure that are available for both educators and students. Heiss recommends that these works discussed in this essay, will not only engage young Indigenous students, but also non-Indigenous students and other readers with a sense of sameness in terms of coming of age, facing friendships, and the growing pains that all teenagers face.
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Rectifying 'the Great Australian Silence'? Creative Representations of Australian Indigenous Second World War Service
2012
single work
criticism
— Appears in: Australian Aboriginal Studies , no. 1 2012; (p. 35-48)'Until the publication of Robert Hall's landmark book The Black Diggers in 1989, Aboriginal and Torres Strait Islander people were essentially 'written out' of Australia's Second World War history. Still, more than 20 years since the publication of Hall's book, Australian Indigenous participation in the war effort as servicemen and women, labourers and scouts, in wartime industries and in various other capacities, continues to be on the periphery of Australia's war history. The Second World War remains part of what WEH Stanner referred to in 1969 as 'the Great Australian Silence' of Indigenous history. Notwithstanding the lack of significant academic histories of Indigenous military history, there have been a few creative depictions of Aboriginal participation in the Second World War. Both Indigenous and non-Indigenous people have used creative mediums, such as poetry, short fiction, film, musical theatre and music, to portray Aboriginal Second World War service. This paper examines these creative cultural representations and how they position Australian Indigenous war service within a wider narrative of the Second World War and Indigenous history. Though the portrayals of Aboriginal service vary, the majority of creative works present the Second World War as central to Australian Indigenous history. Moreover, the creative representations depict Indigenous servicemen's hopes for a better life after the war, only to be crushed when they returned to ongoing discrimination. Even so, the creative depictions use the Second World War as an early marker of reconciliation in Australia, portraying the conflict as a time when ideals of liberty and equality overruled prejudice to unite Australia. Such a message continues to resonate, as creative representations of the Second World War contribute to contemporary understandings of Aboriginal and Torres Strait Islander citizenship and reconciliation.' (Publication abstract)
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Richard Frankland
2007
single work
non-fiction
— Appears in: Dreaming in Motion : Celebrating Australia's Indigenous Filmmakers 2007; (p. 33-35) Contains Richard Frankland's short film biography, his filmography, details on the films: Harry's War and No Way to Forget, and a small commentary by Frankland on filmmaking. -
A Man of Many Talents
2001
single work
biography
— Appears in: Koori Mail , 30 May no. 252 2001; (p. 17)
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Frankland's Focus on 'Harry's War'
1999
single work
review
— Appears in: Koori Mail , 19 May no. 201 1999; (p. 25)
— Review of Harry's War 1999 single work film/TV 'Melbourne-based film-maker Richard Frankland is currently in post-production for his latest short film 'Harry's War'...' -
Richard Frankland
2007
single work
non-fiction
— Appears in: Dreaming in Motion : Celebrating Australia's Indigenous Filmmakers 2007; (p. 33-35) Contains Richard Frankland's short film biography, his filmography, details on the films: Harry's War and No Way to Forget, and a small commentary by Frankland on filmmaking. -
Rectifying 'the Great Australian Silence'? Creative Representations of Australian Indigenous Second World War Service
2012
single work
criticism
— Appears in: Australian Aboriginal Studies , no. 1 2012; (p. 35-48)'Until the publication of Robert Hall's landmark book The Black Diggers in 1989, Aboriginal and Torres Strait Islander people were essentially 'written out' of Australia's Second World War history. Still, more than 20 years since the publication of Hall's book, Australian Indigenous participation in the war effort as servicemen and women, labourers and scouts, in wartime industries and in various other capacities, continues to be on the periphery of Australia's war history. The Second World War remains part of what WEH Stanner referred to in 1969 as 'the Great Australian Silence' of Indigenous history. Notwithstanding the lack of significant academic histories of Indigenous military history, there have been a few creative depictions of Aboriginal participation in the Second World War. Both Indigenous and non-Indigenous people have used creative mediums, such as poetry, short fiction, film, musical theatre and music, to portray Aboriginal Second World War service. This paper examines these creative cultural representations and how they position Australian Indigenous war service within a wider narrative of the Second World War and Indigenous history. Though the portrayals of Aboriginal service vary, the majority of creative works present the Second World War as central to Australian Indigenous history. Moreover, the creative representations depict Indigenous servicemen's hopes for a better life after the war, only to be crushed when they returned to ongoing discrimination. Even so, the creative depictions use the Second World War as an early marker of reconciliation in Australia, portraying the conflict as a time when ideals of liberty and equality overruled prejudice to unite Australia. Such a message continues to resonate, as creative representations of the Second World War contribute to contemporary understandings of Aboriginal and Torres Strait Islander citizenship and reconciliation.' (Publication abstract)
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Frankland Makes an Impact with Audience
2000
single work
column
— Appears in: Koori Mail , 15 November no. 239 2000; (p. 39) -
A Man of Many Talents
2001
single work
biography
— Appears in: Koori Mail , 30 May no. 252 2001; (p. 17) -
First Reading for 'Harry's War'
1998
single work
column
— Appears in: Koori Mail , 3 June no. 177 1998; (p. 22)'Award-winning Indigenous film-maker Richard Frankland has presented his first play reading, titled 'Harry's War' at La Mama's in Melbourne...'
Awards
- 2000 winner International Catholic Film Organisation Award
- 2000 winner Hollywood Black Film Festival, USA — Best Short Film
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cPapua New Guinea,cPacific Region,