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Contemporary Cinema (2109ART)
Semester 1 / 2009

Texts

form y separately published work icon Sadness : A Monologue William Yang , Tony Ayres , ( dir. Tony Ayres ) Lindfield : Film Australia , 1999 Z1000591 1999 single work film/TV (taught in 3 units) Based on photographer William Yang's one-man stage show, Sadness is a journey into the past and a heartbreaking testament to the significant traces people leave behind. Through the use of slides, oral history, and stylised recreations, Yang investigates the murder of his uncle Fang Yuen in the sugar cane fields of northern Queensland. Running alongside this narrative is a series of moving portraits of the many friends and lovers Yang has lost to AIDS. What emerges is a powerful requiem for the dead and a moving portrayal of the legacy that family and friends leave with the living.
form y separately published work icon The Home Song Stories Tony Ayres , ( dir. Tony Ayres ) Australia : Big and Little Films Porchlight Films , 2007 Z1390692 2007 single work film/TV (taught in 4 units)

'This is the true story of Rose, a glamorous Shanghai nightclub singer, who struggles to survive in '70s Australia with two young children. Based on writer/director Tony Ayres' own life, The Home Song Stories is an epic tale of mothers and sons, mothers and daughters, unrequited love, secrets and betrayal.'

Source: Australian Film Commission. (Sighted: 8/10/2014)

form y separately published work icon Ten Canoes Rolf De Heer , ( dir. Rolf De Heer ) Australia : Fandango Australia Vertigo Productions , 2006 Z1262398 2006 single work film/TV (taught in 11 units)

A story within a story and overlaid with narration, Ten Canoes takes place in two periods in the past. The first story, filmed in black-and-white as a reference to the 1930s ethnographic photography of Donald Thompson, concerns a young man called Dayindi who takes part in his first hunt for goose eggs. During the course of several trips to hunt, gather and build a bark canoe, his older brother Minygululu tells him a story about their ancestors and the old laws. The story is also about a young man who had no wife but who coveted one of his brother's wives, and also of the stranger who disrupted the harmony of their lives. It is cautionary tale because Minygululu is aware that Dayinidi desires his young and pretty third wife.

The second story (shot in colour) is set much further back in time. Yeeralparil is a young man who desires the third wife of his older brother Ridjimiraril. When Ridjimiraril's second wife disappears, he suspects a man from another tribe has been seen near the camp. After he spears the stranger he discovers that he was wrong. Knowing that he must face the man's relatives he chooses Yeeralparil to accompany him during the ritual payback. When Ridjimiraril dies from his wounds the tribe's traditions decree that Yeeralparil must inherit his brother's wives. The burden of these responsibilities, however, is more than the young man expects.

form y separately published work icon From Sand to Celluloid Australian Film Commission. Indigenous Branch , Film Australia (publisher), SBS (publisher), 1996 Canberra Australia Lindfield : Australian Film Commission SBS Television Film Australia , 1996 Z1583394 1996 series - publisher film/TV (taught in 3 units)

An initiative of the Indigenous Branch of the Australian Film Commission (AFC), From Sand to Celluloid comprises six films that have been packaged and distributed by Australian Film Institute Distribution (AFID) and Film Australia. The initial conception for the series came from the Indigenous Drama Initiative, set in 1994 with the express intention of advancing the development and production of films created by Indigenous Australians and increasing their participation in all areas of the film and television industry. The first project initiated was the development and production of six ten-minute dramas for television. Expressions of interest were called for from Indigenous Australians nationally. The ten applicants chosen (from forty seven) attended a visual storytelling workshop held in Melbourne in 1995. The Initiative utilised the assistance of all the state film assistance agencies and a pre-sale from SBS with an agreement to broadcast on SBS in July 1996, as well as the full participation of Film Australia through its funding of one of the productions. Five projects were further selected to go into production, along with Sally Riley's film Fly Peewee Fly (produced by Film Australia), and were delivered to the AFC on 30 March, 1996. Indigenous Australians were employed in both cast and crew positions.

In order to encourage a wider recognition and appreciation of the work of Indigenous Australians, the AFC supported the national distribution and exhibition of the films through the Australian Film Institute Distribution (AFID). AFID distributed the films as a package under the title of From Sand to Celluloid and the films screened at twenty-four locations, from as far afield as Cooper Pedy in South Australia to Broome in Western Australia, and were attended by a total of approximately 7,200 people.

As a unified collection, the films offer more than a two-dimensional victim-oppressor approach. They challenge viewers at all levels: as fellow citizens, as parents, as observers, and as fellow members of Indigenous communities. From Sand to Celluloid challenges viewers with many uncomfortable aspects of Australia's too-recent history. These include the active discrimination practised against Indigenous people in public places such as swimming pools and cinemas in country towns around Australia and the 'stolen generation': children taken away without their parents' consent and placed into homes or in white foster homes, with devastating effect on them and their families. The series is an essential resource for Indigenous studies, Australian history film studies, English legal studies, human relationship courses, and social studies.

[Source: Australian Film Commission, http://www.afc.gov.au/archive/annrep/ar95_96/indig.html]

Innocence!$!Paul Cox dir.!$! !$!!$!2000
form y separately published work icon Beneath Clouds Ivan Sen , ( dir. Ivan Sen ) Sydney : Autumn Films , 2001 Z1440560 2001 single work film/TV (taught in 12 units) Blue eyed, fair skinned Lena is the daughter of an Aboriginal mother, living in a small country town. She longs for the romantic ideal of her absent father and his Irish heritage. When her home life feels set to implode, she hits the road with little money, a backpack and a photo of her dad. When Lena misses her bus to Sydney, she meets up with Vaughn, an Aboriginal teenager who has run away from a minimum-security prison in the desperate hope of reaching his ill mother. Vaughn is hardened by his anger at the world. Initially the two reluctant travelling companions are suspicious and wary of each other, but their journey, mostly by foot and the odd lift, builds an understanding between them. -- Libraries Australia
Molokai: The Story of Father Damian!$!Paul Cox dir.!$! !$!!$!2002
A Journey with Paul Cox!$!Gerrit Messiaen, Robert Visser!$!!$!!$!1997
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Description

The course examines the recent trend towards transnationalism in global cinema. It looks at how various nations have attempted to compete and survive in the marketplace by appealing to international audiences while at the same time trying to preserve a sense of their own national identity. The course covers European, Asian and Latin cinemas.

Assessment

Weekly Worksheets 50%

Essay 50%

Other Details

Current Campus: Nathan
Levels: Undergraduate
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