This mythical story then takes us to the next layer of the film, which The Storyteller tells us occurred even further back in time. RH: There was a lot—about the photographs and many other things. Over the past two years the number of features made in Australia has dropped to record lows. Año: 2006. My job was to show them how to make what they wanted work for them, and for a cinema audience in the rest of the world. This is the second part of a series of articles on the 2006 Sydney Film Festival, held June 9-25. The Storyteller describes his story as something, ‘Growing like a young tree that is flowering for the first time’. Thomson persuaded the government to send him and told them he could sort the problems out—and he did. No previous local movie about Aborigines—Jedda (1955), Walkabout (1971), The Chant of Jimmy Blacksmith (1978), Women of the Sun television miniseries (1981), Radiance (1998), Yolngu Boys (2001), One Night the Moon (2001) or The Tracker (2002)—has ever tried to recreate pre-European Aboriginal life. Ten Canoes es una película dirigida por Rolf de Heer, Peter Djigirr con Jamie Gulpilil, Crusoe Kurddal. The next major issue was they didn’t want the “old times” portrayed as a period of conflict. At the same time, de Heer’s film does not indulge in suggestions that a return to the “old ways” would provide an answer to the appalling social problems now facing Australia’s aboriginal population, amongst the poorest and most oppressed in the world. But overall it is a sincere and audacious attempt to explore subject matter never before dramatised on film. In fact, the canoe making and hunting sequences are mainly of anthropological interest. Sorry, your blog cannot share posts by email. When the war came he went back up there and organised native patrols. Ten Canoes illustrates the power of storytelling and how it creates a relationship not just between all the characters from the various parts of the film, but with the audience watching the film. I actively avoid analysing what I do, because if I have a special reason in mind for making a film and the themes I want to deal with, it becomes contrived. Richard Phillips: Could you tell me about anthropologist Donald Thomson and how his photos helped inspire Ten Canoes? And this is what Aboriginal people wanted from the film, because most of them have such low self-esteem. Ridjimiraril’s final dance and the traditional ceremonies of fellow tribe members coming to terms with his death, have a luminous beauty. Also available at, http://epress.anu.edu.au/nts02_citation.html, River of Life and Death: Women, Religion, Power and Purity in Water, Film review - We Need to Talk about Kevin (2011), Film review - The Place Beyond the Pines (2012), Film review - The NeverEnding Story (1984). RH: The most recent media campaign started the day I left for Cannes,so I don’t really know all the latest details about what they’ve been saying. This attitude has changed, of course, but it took time. While conventional filmic techniques are used to indicate different time periods and the division between subjective occurrences and objective occurrences, the way these boundaries are collapsed and the way the story is layered reflects the importance of storytelling to the Yolngu people. It is the first ever movie entirely filmed in Australian Aboriginal languages. His description is a combination of legend and myth and introduces magic and spirits as elements that facilitate the logical chain of events within the context of the story. RH: It’s quite different, because it’s not about imposing or hijacking the process. Under conditions where most Australians, let alone the rest of the world, know little about Aboriginal society, this is not a minor issue. Ten Canoes begins with a playful acknowledgement of the type of stories that non-Indigenous Australian audiences are used to seeing. As the unseen Storyteller (David Gulpilil) tells us, ‘It’s not a story like your story, but it’s a good story’. It is terribly important for Aboriginal people to say I have value, have a look at me and listen to my stories, and to show their own kids and the rest of the world. International Committee of the Fourth International. Layered storytelling. Hopefully some of these will be of the same standard as Ten Canoes, a valuable and visually striking film about ancient Aboriginal life, directed by Rolf de Heer and Peter Djigirr. He took thousands of photographs and lots of film of a people who had resisted previous incursions, but were largely an unconquered nation, and whose way of life was still pretty much intact. He has made 11 features since 1984 including, Incident at Raven’s Gate, The Quiet Room, The Old Man Who Loved to Read Stories, Dance to Me My Song, Bad Boy Bubby, The Tracker and Alexandra’s Project. There was no tin, no plastic, everything was degradable. Unauthorised use and/or duplication of this material without express and written permission from this blog’s author is strictly prohibited. His story is from a long time ago but unlike Star Wars it does not follow the linear conventions of a classical Hollywood narrative. It meant that if there was to be any conflict, it had to occur in a much earlier period, so the main part of the film is set in mythical times. Film reviews, criticism and discussion by Thomas Caldwell, [UPDATE: 14 June 2010 – This article is now available online in full here.]. The Dutch-born director, who immigrated to Australia with his family in 1959, worked at the Australian Broadcasting Corporation for seven years before embarking on a filmmaking career. Story-telling traditions are very strong in Aboriginal society and these had to be reflected in some way. I don’t want people to think that it is part of this discussion and not go and see it, which would be a real pity. They’re amongst the most graphically descriptive suffering journey writings that I’ve read. And yet most white people judge them viciously on this issue, which is wrong. This involves the construction of bark canoes to traverse the crocodile infested swampland that surrounds their territory, and lengthy periods spent on raised platforms in the swamp. The structure of Ten Canoes is multi-layered and just like the men on the goose egg hunting expedition who peel the bark off trees to make their canoes, the layers of the story are peeled back for the audience so that we can get to the heart of the story. By contrast, this year has seen a substantial increase, and, over the next three months, 16 local movies will be released, the largest number at any one time in Australian cinemas. So yes, in a way, one of the reasons for making this film was to somehow subvert our skewed views of things, by showing aspects of Aboriginal society and culture, which are largely not understood and falsely judged to be worthless. The dominant culture has told them often enough that they are useless, they don’t work, they don’t get the kids to school, they throw rubbish out, etc., etc. Enter your email address to subscribe to Cinema Autopsy and receive notifications of new posts by email. There had been strife between the tribes and Japanese pearl fishermen, and some police had also been killed. The shot looking down on the ten canoeists in the swamp near the beginning of the film was recreated from one of his classic photos. As the camera records this stunning country, narrator Gulpilil playfully explains to non-Aboriginal audiences: “Once upon a time in a land far, far away.... No, it’s not like that. It is not so much the story itself that is of interest in Ten Canoes but the way the story is presented. It is important to appreciate the immense importance of storytelling to the Yolngu people. The film is partly in … However, like the bark of a tree, each layer has significance and importance to the whole. Over the course of the hunt Dayindi is told a story by his older brother Minygululu (Peter Minygululu), a story set in the mythical times that reflects the situation where Dayindi desires one of Minygululu’s wives. Ten Canoes, which recently won a ... because if I have a special reason in mind for making a film and the themes I want to deal with, it becomes contrived. It’s not like your story—but it’s a good story all the same.”. One of these photographs—a picture of ten men in bark canoes—became the key image around which the film’s story was developed. De Heer’s film is certainly not a revolutionary work and some scenes lack dramatic tension. Thefirst part was posted July 17. He was sent to Arnhem Land in 1937 because there were moves to send a punitive expedition against local Aborigines—in other words a killing party. It is an important film and, I hope, one that people will go along and just enjoy. So I began to realise that I should never judge the situation in Aboriginal camps and dwellings on this level again. The original individuals in that picture have all been identified and there are many people up there related to them. I had the expertise, but they had the power of veto, the power of inclusion and the creative expertise. Other photos weren’t as dramatic—women digging for food, etc—but they were used as the staging point for particular scenes and this is how the film developed. Dr Caroline Josephs, who examined sacred oral storytelling traditions for her doctoral thesis, presents Yolngu storytelling as an all-encompassing event that creates a relationship between all things including self, country and kinsman.
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