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Source: www.moviemem.com
form y Jedda single work   film/TV  
Alternative title: Jedda The Uncivilised
Issue Details: First known date: 1955... 1955 Jedda
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AbstractHistoryArchive Description

'On a lonely cattle station in the Northern Territory, a newly born Aboriginal baby is adopted by a white woman in place of her own child who has died. The child is raised as a white child and forbidden any contact with the Aborigines on the station. Years later, Jedda is drawn by the mysteries of the Aboriginal people but restrained by her upbringing. Eventually she is fascinated by a full-blood Aboriginal, Marbuck, who arrives at the station seeking work and is drawn to his campfire by his song. He takes her away as his captive and returns to his tribal lands, but he is rejected by his tribe for having broken their marriage taboos. Pursued by the men from Jedda's station and haunted by the death wish of his own tribe, Marbuck is driven insane and finally falls, with Jedda, over a cliff.'

(Synopsis from the Australian Film, Television and Radio School website, http://library.aftrs.edu.au)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      British Lion ,
      1956 .
      Extent: 60 min.p.
      Description: Colour
      Note/s:
      • A heavily abridged version (by approximately 40 min.).

Works about this Work

What Do Mad Max's Six Oscars Mean for the Australian Film Industry? Vincent O'Donnell , 2016 single work column
— Appears in: The Conversation , 1 March 2016;
'The career of Dr George Miller reminds me of that of Charles Chauvel, one of the greatest showmen of the Australian cinema. Both men – though separated by many decades – have employed epic cinematic forms and nationalistic themes. ...'
The Making of a Classic 2015 single work column
— Appears in: Land Rights News , October no. 4 2015; (p. 12)
'The making of Jedda was a story in itself, a saga of frustration and perseverance...'
Katherine Gorge or The Blue Mountains? 2015 single work column
— Appears in: Land Rights News , October no. 4 2015; (p. 12)

'Mythology and speculation have swirled for years about the creation of the final scene of Jedda, the first Australian feature film shot in colour...'

Jedda Stands Test of Time Katina Vangopoulos , 2015 single work column
— Appears in: NT News , 9 May 2015; (p. 20)
'Rosalie Kunoth-Monks was never a woman in want of success. It found her early in life, when she was approached at 14 by director Charles Chauvel and his wife Elsa at St Mary's Hostel in Alice Springs...'
Jedda Marks 60th at Cannes 2015 single work column
— Appears in: NT News , 5 May 2015; (p. 7)

'Northern Territory-made film Jedda will be screened at the 2015 Cannes Film Festival later this month in honour of its 60th anniversary..'

'Jedda' Is YOUR Film 1954 single work review
— Appears in: Dawn : A Magazine for the Aboriginal People of N.S.W. , vol. 3 no. 9 1954;

— Review of Jedda Charles Chauvel Elsa Chauvel 1955 single work film/TV
The Mirror of Whiteness: Blackface in Charles Chauvel's Jedda Ben Miller , 2007 single work criticism
— Appears in: JASAL , Special Issue 2007; (p. 140-156)
'This article posits that Chauvel's early experience in and with "blackface" was a significant influence for his own films ... This article recounts a history of blackface performances, as well as ways of reading blackface, to fill some critical gaps in an iconic Australian film - Charles Chauvel's Jedda (1955). My reading of Jedda will turn the film back onto itself to reflect not just Chauvel, but also a long history of racial representation, spanning many continents and over 100 years, which was always radical and racist, benevolent and violent. When Chauvel wore and directed blackface he was, perhaps quite unconsciously, reiterating racial fictions that had justified violent colonialism and slavery since the eighteenth century. To understand this, Chauvel's work must be read within a history of blackface.' (p.140-41)
In Darwin They Call Me Bobby Wilson Robert Tudawali , 1991 extract autobiography (The Unlucky Australians)
— Appears in: North of the Ten Commandments : A Collection of Northern Territory Literature 1991; (p. 110-113)
Actor and activist Tudawali recalls some of his experiences as an Aboriginal, in particular his work to promote equal rights for Aborigines.
Desert Hauntings, Public Interiors and National Modernity : From 'The Overlanders' to 'Walkabout' and 'Japanese Story' Brigid Rooney , 2007 single work criticism
— Appears in: Southerly , vol. 67 no. 1-2 2007; (p. 410-422)
Arresting Metaphors : Anti-Colonial Females in Australian Cinema Anthony Lambert , 2005 single work criticism
— Appears in: Postcolonial Text , vol. 1 no. 2 2005;
'This paper attempts to advance new understandings of female cinematic agency by interrogating its connection to patterns of cultural colonialism in Australian film. The visual presence of female Aboriginality in contemporary Australian film undermines, in subtle and explicit ways, the possibility of a truly secure white identity tied to the Australian environment. It does so through the introduction of the complexities of Aboriginal difference, through the subversion of white cinematic narratives and mythologies, and through physical agency and action. In this way, the anti-colonial impulse in the cinema emerges, in films which effectively 'unearth' the continuing cinematic metaphors of colonial power. -- From the journal.
The Land of 'Jedda' Glenville Pike , 2007 single work essay
— Appears in: My Yesterdays : Life of Glenville Pike in North Queensland and the Northern Territory 2007; (p. 81 - 82)
Last amended 20 Jun 2016 13:30:58
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