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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

Works about this Work

y Rosalie, Marcia and Jedda Beverley Wang , Leona Hameed , Canberra : ABC Radio National , 2017 11313525 2017 single work radio play

'Back in 1955 Rosalie Kunoth-Monks and Robert Tudawali starred in Jedda.

'It was the first film in Australian history to feature actual Indigenous actors in the leading roles.

'Kunoth-Monks played the central character of Jedda, and the film broke new ground in terms of representation.

'But the film's depiction of Indigenous Australians — drawing on romanticised stereotypes — is also problematic.

'Professor Marcia Langton played the character of Jedda in Night Cries, a 1989 response to the original film.

'Langton and Kunoth-Monks talk to It's Not A Race to discuss the legacy of the film, and their experiences playing the iconic character of Jedda.'

(Introduction)

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. ...'
y Finding Queensland in Australian Cinema : Poetics and Screen Geographies Allison Craven , New York (City) : Anthem Press , 2016 11063066 2016 multi chapter work criticism

'‘Finding Queensland in Australian Cinema’ comprises eight essays, an introduction and conclusion, and the analysis of poetics and cultural geographies is focused on landmark films and television. The first section of the book, ‘Backtracks: Landscape and Identity’, refers to films from and before the revival, beginning with the 1978 film 'The Irishman' as an example of heritage cinema in which performances of gender and race, like the setting, suggest a romanticised and uncritical image of colonial Australia. It is compared to Baz Luhrmann’s 'Australia' (2008) and several other films. In the second chapter, ‘Heritage Enigmatic’, 'The Irishman' is also drawn into comparison with Charles Chauvel’s ‘Jedda’ (1955), as films that incorporate Indigenous performances in this heritage discourse through the role of voice and sound. In Part 2, ‘Silences in Paradise’, the first essay, ‘Tropical Gothic’, focuses on Rachel Perkins’s 'Radiance' (1998) as a landmark post-colonial film that questions the connotations of icons of paradise in Queensland. The discussion leads to films, in the next chapter, ‘Island Girls Friday’, that figure women on Queensland islands, spanning the pre-revival and contemporary era: ‘Age of Consent’ (1969), ‘Nim’s Island’ (2008) and ‘Uninhabited’ (2010). Part 3, ‘Masculine Dramas of the Coast’ moves to the Gold Coast, in films dating from before and since the current spike in transnational production at the Warner Roadshow film studios there, namely, 'The Coolangatta Gold' (1984), 'Peter Pan' (2003), and 'Sanctum' (2011). The final section, ‘Regional Backtracks’, turns, first, to two television series, ‘Remote Area Nurse’ (2006), and ‘The Straits’ (2012), that share unique provenance of production in the Torres Strait and far north regions of Queensland, while, in the final chapter, the iconic outback districts of western Queensland figure the convergence of land, landscape and location in films with potent perspectives on Indigenous histories in ‘The Proposition’ (2005) and ‘Mystery Road’ (2013). ‘Finding Queensland in Australian Cinema’ presents the various regions as syncretic spaces subject to transitions of social and industry practices over time.'

Source: Publisher's blurb.

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' 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 31 May 2017 17:37:24
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