Index

Abbott, Tony, 202, 209
ABC. SeeAustralian Broadcasting Corporation
ABC Radio, 202
Aboriginal and Torres Strait Islander, 217
Aboriginal and Torres Strait Islander Commission (ATSIC), 140, 165, 166, 202
Aboriginal children: protecting, 210; removal of, 133
Aboriginal communities, 31, 53, 55, 61, 78, 104, 126, 129, 132, 192; archiving by, 155; closing, 12, 206, 207–13; colonialism and, 57; creativity in, 135; critical issues in, 83; daily life in, 9, 123, 142–43; defunding, 11, 14, 208; future of, 11–12, 15–20, 24–25; humbug in, 134; media in, 15, 193, 197; representations of, 56; rhetorical reframing of, 200; settler logics and, 142; sovereignty and, 214; state attitudes toward, 202; suffering in, 197–98; sustainable/unsustainable, 208
Aboriginality, 150, 196, 213, 215
Aboriginal Land Rights Act, 200
Aboriginal languages, 8, 85, 132, 194
Aboriginal Laptop, The (Miller), 131
Aboriginal life, 63, 79, 198–99, 251n3; colonial disruption of, 251–52n1; portrayal of, 13, 188–89; resistance and, 216
Aboriginal people, 8, 38, 160, 169, 170, 176; archiving and, 154; assimilation and, 10; concentration of, 129, 133; constitutional recognition of, 217, 222; disempowerment of, 107–8; disparities of, 201; future of, 16, 17, 222; images of, 151; nomadic lives of, 209; reconciliation with, 9; representation of, 12–13, 14, 16–17; settler colonialism and, 213, 254n1; shot angles for, 108; sit-down money for, 66; sovereignty and, 214, 215; treaties with, 5; whitefellas and, 56, 58, 63, 67
Aboriginal Peoples Television Network, 193
Aboriginal rights, 211, 212, 222–23
Aboriginal Tent Embassies, 13, 25, 218, 218–19 (fig.)
acrylic art, 7, 59, 65, 134, 135, 150, 164, 183, 221, 234
activism: Aboriginal, 171, 193, 208, 210, 217, 220; cultural, 196
after-images, 24, 148, 184, 233, 234; agency of, 149; envisioning, 178–79; layers of, 160
agency, Indigenous, 107, 149
Ahmann, Chloe, 223
Albert, Stephen “Baamba,” 153, 207
Alice Springs, 2, 39, 217
Altman, Jon, 256n10
AMAX company, 257n13
Anishinaabe, 216
Anna (film crew), 32, 35, 37
Anne (film crew), 32, 35, 37
annihilation, 191, 202, 203, 218; Aboriginal, 1, 25; cultural, 236
“Anthropologists and Other Friends” (Deloria), 31
anthropology, 43, 179, 186, 253n6, 254n8; dark, 256n9; ethnography and, 47; of the good, 12, 256n9; sovereignty and, 213
Anthropology of Poiesis, The (Popa), 184
Appadurai, Arjun, 106
Aramis transportation, 210
archive room, 152 (fig.)
archives: Aboriginal, 151, 152, 153; of future, 148–55; media organization, 154–55
Arnhem Land, 246n8
art centers, 37, 70, 100, 110, 119, 129, 137, 202, 250n2
assimilation, 10, 150, 195, 201
ATSIC. SeeAboriginal and Torres Strait Islander Commission
Augustine, Henry, 91 (fig.), 93, 94, 94 (fig.), 207; film labor and, 91–92; PAKAM and, 91
Aurelius, Marcus, 43
Australian, The,198
Australian Broadcasting Corporation (ABC), 14, 78, 192–93, 197, 249n2, 250n6
Australian Film Television and Radio School (AFTRS), 107
Australian Football League (AFL), 252n3
Australian Indigenous Communications Association, 256n12
Australian Institute of Aboriginal and Torres Strait Islander Studies (ATATSIS), 152
Australian National University, 46
awakening, 76–79; dreaming and, 3–7
Ayers Rock, 217
Ayoreo communities, 95
Ayoreo Video Project, 178

Balgo, 1, 2, 3, 11, 12, 15, 16, 19, 20, 118, 171; acrylic painting movement and, 164, 183; after-images and, 149; analysis of, 22; broadcasting back to, 113–14; changes in, 165; creative processes in, 83; critical issues in, 83; discontent in, 172; film festival in, 99, 100; filmmaking in, 23, 24, 79, 89, 95, 119, 197; fires in, 122, 139; golden jubilee of, 100, 101, 160, 175; humbug in, 134; incorporation of, 176; living in, 30; map of, 4 (fig.), 52 (fig.); Mark Moora and, 24, 125, 150, 167, 170, 174; paper in, 136; politics in, 125; population of, 177; power relations in, 63; reimagining, 17; screenings in, 60, 61, 90, 96 (fig.), 100, 103; settler logics and, 142; social editing and, 100, 111; social problems in, 164, 165; suicide rate in, 99, 167; technology use in, 131; tires in, 127–28; Tjawa Tjawa premiere in, 98–100, 102, 104; traveling to, 131, 147, 158, 199; troubles in, 71, 164; Yagga Yagga and, 165, 167
Balgo art center, 129, 137, 250n2
Balgo car yard, 126 (fig.)
Balgo community office, 126, 133
Balgo drive-in, 102 (fig.)
Balgo Hills Mission, 173
Balgo recording studio, 228 (fig.)
Balgo shop, 116, 116–17 (fig.), 146
Balgo tree, 170
Barclay, Barry, 41, 255n8
Barker, Mark Bin, 225
Barnett, Colin, 208
Basically Black (Parsons), 250n11
Basso, Keith, 249n1
Bateson, Gregory, 43, 184
Beagle Bay, 91, 92, 93, 171, 207
beginnings, 43–50, 172–78
Behar, Ruth, 48, 70, 232
Bell, Jodie, 113, 203
bella, term, 48
Berlant, Lauren, 56
Bessire, Lucas, 95, 178
Biddle, Jennifer, 49
Bidyadanga, 32, 199
Biidaaban Biidaaban (The Dawn Comes) (Strong), 180
Biidaaban: First Light (Jackson), 180
Bin Bakar, Mark, 139
Black Comedy (Cole and Anderson), 78–79
blackfellas, 171, 173, 182, 252n2
blackness, 148
Black Panther Party, 216, 250n11
“Black Summer,” 252n1
“Block, The,” 13, 219
Bloemen, Antoine, 249n6
bogged, dangers of, 72–73
Bollywood, 206
Bombeck, Erma, 70
Boyer, Dominic, 43
BRACS. SeeBroadcasting for Remote Aboriginal Communities Scheme
Brand New Day (Perkins), 111, 198
Bran Nue Dae,113, 198, 207
Broadcasting for Remote Aboriginal Communities Scheme (BRACS), 194, 195, 207
Broome, 23, 28, 29, 30, 32, 40, 44, 46, 69, 83, 84, 89; described, 22; editing in, 90; fieldwork in, 37–38; ICTV in, 251n6; mediascape and, 51, 111; protest in, 210, 211, 211 (fig.), 212, 212 (fig.), 220; racism in, 170; saltwater cowboys in, 169; visiting, 45, 147; walkabout to, 168
bureaucracy, 112, 137, 143, 206, 211; navigating, 138; whitefella, 119
Buru Energy, 257n13
bush fires, 75, 251n4
Bush Hunt Hand Talk (Lempert), 145, 253n9
bush mechanics, 70–71, 128
Bush Mechanics (Batty), 72, 99
Bush Ranger program, 252n1

CAAMA. SeeCentral Australian Aboriginal Media Association
Cadden, Anna, 249n2
Canadian First Nations, 247n11
Canberra, 7, 8, 13, 25, 46, 152, 215, 218, 219
Cane, Scott, 162–63; on Moora, 166–67; on Yagga Yagga, 164
Canning Stock Route, 173
Cape York, 151
Carty, John, 56, 134, 183, 234
Catch and Cook (Cochrane), 40
cattle stations, 172
CDEP. SeeCommunity Development Employment Projects
celebrities, Aboriginal, 216
Central Australian Aboriginal Media Association (CAAMA), 194, 255n4
Centrelink, 66, 132, 144, 225
Chang, Anita, 83
Chapman, Tracy, 127
Charmawina, Linda, 35, 118, 121, 145, 232
Chatwin, Bruce, 246n3
checking boxes, phrase, 257n14
Cherokee Nation Film Office, 254n2
Chi, Jimmy, 198
Chickasaw TV, 254n2
“child protection” policies, 210
children and schooling, 199, 203
cinema, 19, 82, 90, 122, 186, 214, 235; dynamic becoming and, 185; ethnography and, 42; social life of, 23, 26, 43, 46–47; term, 21; as time machine, 234; understanding, 59
Circuit, The (McKenzie), 106, 250n6
circulation, 82, 148; expanding circles of, 97–98
civil rights, 111, 196
Clague, Pauline, 106, 107, 110–11
Cliffside Reggae, 141
Closing the Gap, 15, 209, 211; funding from, 203; politics of suffering and, 199–201; programs/categories of, 203
Cochrane, Mark, 87, 90, 96; editing and, 89; on film/reality, 88; rough cuts and, 95; translations and, 86
co-creativity, 179, 184, 186–87
Cole, Beck, 198
collaboration, 32, 45–46, 48, 50, 69, 84, 89, 120, 135, 143–44, 181; Aboriginal/anthropologist, 182; imagining, 179
colonialism, 57, 216, 248n14. See alsosettler colonialism
colonization, 16, 99, 209, 210, 217
comedy, 62, 69; Aboriginal, 78, 79; black, 63–64, 71; centering, 58, 59; danger and, 70; ethnographic potential of, 56; humor and, 57; irreconciling, 57–59; power of, 139; social life and, 55–56
Community Development Employment Projects (CDEP), 140, 252n7
Concordia University, 180
Coranderrk Station, 255n3
corroborees, 123, 173, 209
Coulthard, Glen, 7–8
Council for Aboriginal Reconciliation Act (1991), 8
Country, 14, 18, 25, 26, 32, 51, 71, 96, 98, 99, 102, 116, 117, 118; children’s, 19; complex meanings/beings of, 246n4; connection to, 181, 182, 237; dispossession of, 182, 213; driving through, 20, 125, 229; finding the way through, 160; futures of, 22; going back to, 5, 7, 24, 112, 113, 155, 156, 159, 161, 162, 168, 188, 215, 235, 236; meaning of, 183; moving through, 35, 77, 119, 125, 182; relationality and, 104; relationship with, 218; remembering, 77; sitting on, 13, 66, 182; taking care of, 122, 143, 252n1; trips to, 78, 135, 189; visiting, 23, 64, 231; visual expressions of, 134; walkabout in, 254n7
Country of Mangkayi, 3
creativity, 122, 123, 135, 141, 184, 186–87, 252n2
Crocodile Dundee (Faiman), 70
cultural activities, 35, 123, 198, 203–4
cultural futures, 16, 180
culture, 204; Aboriginal, 78, 150, 193; dynamic process of, 148; language and, 120; material, 47; organizational, 104; popular, 216; precontact conceptions of, 196; as representational/constitutive, 185; solidification/rupturing of, 184
Custer Died for Your Sins (Deloria), 55–56

Dampier Peninsula, 91
dances, 59, 64, 81, 123, 255n3
Dancing on Our Turtle’s Back (Simpson), 252n8
Dann, Sandy, 81, 82 (fig.), 83, 98, 227
deadly, slang term, 70
deceased: images of, 148–55; speaking about/seeing, 147
Decolonizing Methodologies (Smith), 252n8
defunding, 11, 192, 208, 211
Deger, Jennifer, 48, 49, 245n3; collaboration by, 178–79; on images, 151; on words/images, 186
de Ishtar, Zohl, 30, 32, 95, 120, 121, 149, 150
Deleuze, Gilles, 83
Deloria, Vine, Jr., 31, 55–56, 78
Derrida, Jacques, 152, 154, 185
Desert Mob, 138
Desert Scorpions, 225
didgeridoos, 128
dignity, 57, 67–70; humor and, 67, 73
Dillon, Grace, 16, 98–99, 179, 215
Dingle, Bob, 97, 115, 116, 117, 118, 145
Diocese of Broome, 100
dispossession, 129, 133, 182, 183, 213, 219, 222, 223, 228; colonial, 14–15, 98, 132
Dixon, Clint, 108, 232
Djingadjingawuy, Kayleen, 183
documentary film, 4, 6, 22, 30, 53, 73, 102, 107, 179, 216
double, art of the, 42–43
Douglas, Mary, 128
Dousset, Laurent, 248n2
Dravidian, 173, 248n2
Dreaming, 1, 26, 30, 51, 164, 173, 214, 230, 236, 246n3; awakening and, 3–7; Country and, 246n4; songs, 141; story, 60, 61, 77; term, 245n3
Dreamtime, 77, 183, 245n3, 246n3
Dunba (Augustine), 90–91, 98, 106, 207

editing, 87, 89, 92, 106; purpose/process of, 90, 95; sessions, 47; video, 83, 84, 88. See alsosocial editing
8MMM Aboriginal Radio (Curtis), 249n2
Elcho Island, 253n3
Elder, Sarah, 179
Elders, 44, 68, 75, 91, 95, 96, 115, 116, 120, 126, 127, 134, 144, 145, 149, 150, 151, 199; cultural knowledge and, 137; Dreaming songs and, 141; Law enforced by, 165; subtitling, 93; term, 249n3; Warlpiri, 104; women, 30, 37, 60, 65, 97, 121, 122, 251n8
emergence, enigma of, 185–86
Emily Springs, 12, 118, 172
English language, 185
envisionings, 15–20, 24, 26, 142, 235, 236; Aboriginal, 22; of after-images, 178–79; cinematic, 25, 148, 179; sovereign, 192, 213–23
Ernabella, 85, 193
ethnofiction,254n8
ethnography, 22, 44, 45, 48, 70, 88, 111, 148, 179, 185, 186, 187; anthropology and, 47; cinema and, 42; conducting, 69; media and, 43

failure, redemptive, 73–76
“Fast Car” (Chapman), 127
favelas, 56–57
Featherstone, Daniel, 105
feedback, 37, 46, 59, 84, 90, 96, 98, 178
fieldwork, 4–5, 21, 28, 36, 37–38, 48, 70, 74, 75, 119, 150, 178; end of, 68; field mates and, 49; film and, 43; primary, 22, 43–44; process of, 44, 50; reality of, 11
film: fieldwork and, 43; meanings of, 21; term, 245n2
film crew, 103 (fig.), 109 (fig.), 130
film festivals, 99, 100, 102, 104, 111–13, 193
filmmaking, 62, 79, 92, 134, 188, 225; Aboriginal, 5, 111; anthropological, 90; co-creative, 187; creative, 186; humor and, 59; Indigenous, 67, 84; as social/relational process, 186; stages of, 82; strategies for, 107–8
film process, 21, 49, 59, 89–90, 94
film projects, 50, 82; Aboriginal, 28, 138; community, 248n20; funding for, 137
final cuts, 82, 87, 97, 100
fires,119, 132, 138, 139, 140, 143, 144, 145, 199, 204, 233; Aboriginal, 252n1; creative, 120–24, 141, 186–87; mass-scale, 251n1; musical, 142; small-scale, 251n1; water and, 187–89
fire-stick farming, 251n1
First Nations, 180, 222
First Nations Media Australia, 222, 251n5, 253n4
First Nations National Constitutional Convention, 217
First Peoples’ Assembly, 222
Fisher, Daniel, 49, 107
Fitzroy Valley, 30, 168
Fong, Kira, 44–45, 206, 256n13
Footprints (Ozies), 107, 108
For Young Futures (Young and Lempert), 144
Four Corners—“Remote Hope” (Everett), 197
Four Faces of the Moon (Strong), 180
“Fourth Cinema,” 255n8
“Fourth Eye,” 255–56n8
framing, 60, 106, 108, 227
friend: mate and, 48; stranger and, 48
futurisms, 16, 179, 215

Gal, Susan, 86
Galiwin’ku, 253n3
Gammage, Bill, 251n1
Ganti, Tejaswini, 206
Gapuwiyak Calling (Miyarrka Media), 246n8
Geddarrdyu, Mary (Mary G), 139, 140, 140 (fig.), 225, 252n6
Gell, Alfred, 248n16
Gill, Allison, 118, 144, 145, 156
Gillard, Julia, 209
Gillen, James Francis, 245n3
Ginsburg, Faye, 119, 154, 198, 254n2
Goldstein, Donna, 56
Goolagong, Evonne, 216
Goolarabooloo, 183
Goolarri Media Enterprises, 38, 46, 49, 51, 106, 108, 111, 113, 139, 153, 183, 192, 194, 206, 227; Broome and, 39, 44; collaboration with, 69; comedy and, 79; funding for, 203; offices of, 40 (fig.), 138; pool party and, 69; production process and, 88–89; shed, 39 (fig.), 45; Songlines and, 89; specialties of, 40; translations and, 88; work of, 22, 50
Goolarri Radio, 193
Goolarri TV (GTV), 193
Gourevitch, Philip, 191, 195
Granites, Kurt, 122
Great Sandy Desert, 2, 6, 30, 44, 64, 173
Gross, Lawrence, 57
growling, term, 249n4
Gundora, Larry, 6, 72, 73, 74, 77–78, 124, 158 (fig.), 159, 162 (fig.), 215, 225, 229, 232; Balgo and, 125; weeping by, 226–27, 236–37; Yagga Yagga and, 161
Gurrumul (Williams), 253
Gurrumuruwuy, Paul, 48, 178–79

Halls Creek, 1, 115, 117, 137, 166, 168
hand signs, 3, 7, 60, 77, 96, 108, 118, 120, 127, 145, 150, 225, 231
Hand Talk Trilogy (Lempert), 145, 253n9
Haraway, Donna, 15
Harney, Yidumduma Bill, 246n3
Haviland, Maya, 179
health issues, 15, 40, 137, 155, 206
Heidegger, Martin, 181, 184
Heraclitus, 187
Hevern, Father Ray, 172, 176
Hinkson, Melinda, 49, 125, 182, 246n5
Hobbes, Thomas, 12
Hogan, Paul, 70
Horse in Motion, The (Muybridge), 255n3
household, 151, 170, 196; Western conception of, 125
housing, 20, 125, 128, 208; concentration of, 129; nuclear family, 128; power cards, 209
Howard, John, 247n13
huffing, 99–100
human rights, violation of, 200
humbug, 134, 135
humming, 185–86
humor, 55, 61–62, 66, 77, 78; background, 93; comedy and, 57; deadly, 70–71; dignity and, 73; filmmaking and, 59; social interactions and, 60; understanding, 56
humpys, 177
Hunter, Terry, 183
hunter/gatherers, 16–17, 173
Hurston, Zora Neale, 147, 163, 181

IAS. SeeIndigenous Advancement Strategy
ICTV. SeeIndigenous Community Television
ICTV Play, 114, 252n4
Igloolik Isuma, 194
images, 42, 148, 150, 186; after-death, 151; movement/storage of, 151
imaginary, 78, 188; national, 57, 142, 213
imagination, 237; imperial, 179, 218; memory and, 7; settler-colonial, 142
imagineNATIVE Film + Media Arts Festival, 53, 106, 113, 180, 193
immigration, 38, 213
Imparja Television, 194
Indian Ocean, 2, 30, 37, 168
Indian residential schools, 9
Indigenous Advancement Strategy (IAS), 25, 191, 201–6, 207, 211; community closures and, 209; funding from, 202; media and, 204; process, 205, 206
Indigenous Annihilation Strategy, 191, 203
Indigenous Community Television (ICTV), 37, 39, 40, 44, 83, 103, 105, 111, 114, 124, 135, 149, 193, 196; broadcasting by, 192; launching of, 251n6
“Indigenous New Wave” (Ginsburg), 198
Indigenous Remote Communications Association (IRCA), 103, 151, 205, 251n5, 256n12
Indigenous Screen Office, 254n2
IndigiTube, 252n4
infrastructure, 42, 143, 165, 166, 193, 205, 206, 211, 254n1; organizational, 103, 251n4
Initiative for Indigenous Futures, 180
IRCA. SeeIndigenous Remote Communications Association
irreconciliation, 7–11, 57–59, 137, 142; Aboriginal/state, 184; sitting with, 11–14
Irwin, Steve, 70
Ishiguchi, Trevor, 256n13

Jackson, Lisa, 180
Jaru, 172, 177
Jimmy Tchooga: Painting Two Snakes (Lempert), 73–74, 145, 250n2
Johnson, Darlene, 216, 250n11

Kapululangu Women’s Law and Culture Centre, 29, 30, 32, 33, 37, 77, 95, 120, 121, 134, 149, 151, 249n3
Karrabing, 183–84
kartiya, 23, 48, 58, 64, 172; bad, 59; cycling through, 63; term, 248n18
“Kartiya Are Like Toyotas” (Mahood), 63
Keane, Webb, 47
Keenan, Sarah, 153
Keeping Culture Knowledge Management System, 152, 153
Kelly, Francis, 122
Kennedy Hill, 170
Kimberley, the, 2, 22, 30, 35, 44, 106, 123, 139, 153, 180; Aboriginal communities in, 208; Aboriginal experiences in, 161; circuit court, 250n6; map of, 4 (fig.); media in, 37–40, 42, 152, 193; Mark Moora and, 177; walkabout, 168–78
Kimberley Girl competition, 69, 256n13
Kimberley Land Council (KLC), 163, 167, 169
Kimberley Profile, cover of, 101 (fig.)
Kingfisher, 2, 171
kinship, 22, 24, 65, 68, 98, 104, 126, 143, 165, 171, 182, 214, 248n2; chart, 36; cinematic, 144–45; networks, 134; relations, 247n9; skin-name, 173
Kiwirrkurra, 72
KLC. SeeKimberley Land Council
knowledge, 40, 229; cultural, 137; ethnographic, 187; generational, 135; linguistic, 85–86; sacred, 97
Kriol language, 245n1
Kukatja, 2, 3, 6, 30, 60, 120, 156, 172, 174, 246n4; attacks on, 159
Kukatja language, 15, 20, 61, 77, 86, 118, 127, 134, 141, 155; learning, 120; translation from, 84, 85
Kumanjayi, 31, 32
Kununurra, 38, 137, 141, 166
Kurrarlkatjanu: The Last Generation (Cadden), 23, 28–31, 35, 46, 51, 90, 97, 115, 126, 133, 145, 156, 236, 249n2; cinematic social life of, 27; shooting, 36–37
Kylie Camp, 127

labor: conceptions of, 143; dignity of, 67; equity, 66; film, 91–92; laughter and, 64–67; media, 136; wage, 128; white, 63–64
Labor Party, 194
labor relations, dynamics of, 67
Labor’s Lot (Povinelli), 67
Lajamanu, 53, 60, 83, 98, 103, 104, 105, 139, 143, 146, 149; screenings in, 111
Lake Mackay, 72, 86
Lamanpanta, 165
land rights, 222; Aboriginal, 196, 247n13
landscapes, 16, 56, 144, 196, 215; changing, 187
languages, 172; culture and, 120; oral, 87
Latour, Bruno, 210
laughing at/with the camera, 57, 58
laughter, 55, 56, 57, 70, 114; degrading, 67; funny, 67; labor and, 64–67; perilous, 71; wordless, 76
Law, 246–47n9; Country and, 246n4; international, 218; traditional, 150
laziness, 23, 123, 130, 252n2
Lea, Tess, 62
Leak, Bill, 198
Levi-Strauss, Claude, 185
Liberal Party, 202
Lorde, Audra, 216
Lurujarri Heritage Trail, 183
Luurnpa (Kingfisher) Dreaming, 171
Lydon, Jane, 255n3

Mabo v. Queensland (1992), 8, 194, 216, 247n12, 247n13
MacDougall, David, 185
Mahood, Kim, 58, 63, 64
mail plane, 136 (fig.)
Manaya, 60, 61, 121
Mandela, Nelson, 247n11
Mangkayi, 6, 7, 14, 17, 18, 78, 118, 159, 163, 171, 173, 175, 230, 233, 234, 235; analysis of, 22; calling of, 25, 161; Mark Moora and, 19, 236
Mangkayi Calling (Lempert and Moora), 7, 36, 145, 148, 155–59, 160, 161, 230, 231, 233, 236; Aboriginal future and, 15; as after-image, 179; contextualizing, 25; purpose of, 162; shooting, 13, 175 (fig.), 181, 227
Māori Television, 40
Margaret Mead Film Festival, 53
Marumpu Wangka: Kukatja Hand Talk (Lempert and de Ishtar), 60, 120, 143, 144, 145, 149
Mary G. SeeGeddarrdyu, Mary
mate, 70, 130; field, 49; friend and, 48
materiality, 47, 125, 128, 129, 131, 143
Mauss, Marcel, 185
Mayer, Vicki, 67
Maza, Bob, 250n11
Mazzarella, William, 47
McAlpine, Lord Alistair, 39
McCarthy, Theresa, 214
McGuire, Father John, 176
McKenzie, Simon Tjiyangu, 105
McLuhan, Marshall, 185
Mead, Margaret, 43, 113, 255n3
media: Aboriginal, 14, 15, 21, 25, 29, 85, 89, 105, 107, 114, 154, 185, 196–97, 200, 203–6, 212, 213, 220; closures and, 210; collective, 122–23; community, 129; ethnography and, 43; facilities, 129; funding for, 205; golden age of, 192–95, 254n1; mainstream, 222; networks, 98; organizations, 152, 154; outside, 122; popular, 223; portals, 179–82; skills for, 45; social, 221; social life of, 69, 250n1; training, 49; visual, 148
media makers, 92, 99, 106, 111, 199
media-making, 22, 27, 131; funding/defunding, 192
media productions, 90, 134, 251n3, 251n4
media projects, 122, 137, 196; money and, 134
mediascape, 51, 195, 196; Aboriginal, 19, 38, 106, 223; Australian, 107, 151; Indigenous, 53, 179–80, 192
mediation, 255n3; importance of, 47; irreconcilable, 195–97; temporal, 216
memory, 81; imagination and, 7
Michaels, Eric, 15, 16, 193, 255n3
Miller, Daniel, 131
Milner, Quinton, 141
Mindirr, 173, 229, 230
missionaries, 173–74
Miyarrka Media, 48, 49, 178, 183, 184, 185, 217
mobility, 125, 127, 143; aphorisms/metaphors of, 90
Mobil Oil, 172
money, 133; central role of, 113, 135; media projects and, 134; shifting dynamics around, 134; sit-down, 249n3
Montoya, Teresa, 210
Mookherjee, Nayanika, 9
Moora, Andrea, 234
Moora, Eric, 73, 75, 76, 234, 235
Moora, Mark, 7, 11, 13, 14, 17, 18, 28, 32, 35–36, 60–62, 72–75, 81, 82 (fig.), 83, 86, 96, 99, 102, 110 (fig.), 111, 112, 112 (fig.), 115, 124, 126, 133, 145, 146, 153, 157 (fig.), 158, 162 (fig.), 168 (fig.), 187, 228 (fig.); Aboriginal experience and, 67; advocacy by, 22; ATSIC and, 166; awakenings/dreams of, 25–26; Balgo and, 24, 125, 150, 167, 170, 174; birth of, 173; cinema and, 21, 214, 228–29, 233–34; cover of magazine, 101 (fig.); death of, 19–20, 232, 234, 235; as director, 77–78; directorial debut of, 23; on dreaming, 1; editing and, 95; envisionings of, 236; film editing and, 24; filming, 109 (fig.); filmmaking and, 4–5, 64, 188, 225, 236; first meeting, 2–3, 5–6, 27; future and, 15, 179; health issues for, 26, 166, 167, 232; humor of, 77; interviews of, 139–40, 175 (fig.); Kapululangu and, 120; life story of, 159–61, 168, 172, 177–78, 181, 182, 231; Mangkayi Calling and, 155, 157, 159, 181, 227, 230, 231, 233, 236; on media, 215; missionaries and, 173–74; narrative of, 19; Old Balgo Mission and, 159, 160, 169, 174–75, 237; past of, 162–63; premiere and, 98; pressure on, 78; production process and, 88; recording sessions and, 141; skin name of, 145; Songlines and, 63, 226; Sydney festival and, 113; Tjawa Tjawa and, 53, 77, 78, 97, 102; transformation of, 188–89; translations and, 84, 85; water emergency and, 188; wife’s death of, 147; Yagga Yagga and, 12, 161–62, 164, 165, 167, 208, 223
Moora, Sophie, 232, 234
Moreton-Robinson, Aileen, 63
Motika Project, 99
Mr. McKenzie Lifetime Achievement Award, 105
Mudrooroo, 106
Muecke, Stephen, 182, 183
Mukjarrawaint ball, 252n3
multiculturalism, 8, 38, 214, 247–48n14
Musharbash, Yasmine, 56, 71, 104, 125
music, 27, 38, 72, 92, 99, 102, 119, 131, 141, 142, 199, 225
Mutitjulu, 217
Muybridge, Eadweard, 255n3
Myers, Fred, 16–17, 150

Naji (West), 89, 111, 113, 183
Nanook, 57
National Black Theatre, 250n11
National Centre for Indigenous Studies, 8
National Film Board, 180
National Indigenous Media Association (NMAI), 194
National Indigenous Radio Service (NIRS), 40, 81, 83, 194–95, 227
National Indigenous Television (NITV), 29, 37, 39, 40, 44, 51, 53, 83, 88, 90, 93, 106, 111, 114, 137, 139, 145, 191, 192, 193, 201, 227; Aboriginal media and, 196; Songlines and, 149; Spirit Award, 143
National Museum of the American Indian, 45
National Museum of the American Indian Festival, 254n2
National Remote Indigenous Media Festival (NRIMF), 44, 53, 60, 83, 97–98, 103–5, 103 (fig.), 106, 139, 143, 149, 204, 207; attending, 124
Native American Film + Video Festival, 254n2
Native American Public Telecommunications, 254n2
Native Apocalypse, 99
Native Title Act (1993), 8, 200, 216, 247n13; claims, 257n16; land rights, 17, 184
Native Title Amendment Act (1998), 247n13
New York City, 36, 53, 83, 113, 236, 254n2
Ngaatjatjara, 177
Ngarti, 177
Ngũgĩ wa Thiong’o, 142, 252n8
Ngurra, 226, 246n4
“Ngurra Yulparirra (This Country South),” 226, 228, 236
Ngururrpa Indigenous Protected Area, 234
Ngururrpa Rangers, 234
Nichols, Bill, 107, 187
Nieass, Warwick, 21, 27, 33, 35, 157 (fig.), 158, 159, 162, 163, 172, 182, 234; Balgo and, 170; Mangkayi Calling and, 157; meeting, 29; Mark Moora and, 30; Toyota Dreaming and, 34
Niezen, Ronald, 9
NIRS. SeeNational Indigenous Radio Service
Nishnaabeg language, 252n8
NITV. SeeNational Indigenous Television
Njamme, Peter, 167
Noonkanbah Station, 163, 216, 256–57n13
Northern Territory National Emergency Response Act (2007), 200
NRIMF. SeeNational Remote Indigenous Media Festival
Nulungu Research Institute, 44, 46
Nunju, Dunba, 91 (fig.), 93, 94, 94 (fig.), 171; story of, 91–92

Old Balgo Mission, 14, 25, 118, 120, 133, 147, 153, 154, 155, 173, 176, 176 (fig.), 177; Aboriginal people and, 175; Mark Moora at, 159, 160, 169, 174–75, 175 (fig.), 237; transfer of, 171
Old Parliament House, 13, 218, 218–19 (fig.)
origin stories, national, 10
Ortner, Sherry, 256n9
Osiyo TV, 254n2
Othernesses, 178
Our Archives, Our Stories program, 253n4
Our Lives (Shannon), 45
Our Stories, Our Way, Everyday program, 106
Ozies, Cornel, 106, 107–8, 110–11

Painting Bush Potato (Pindan and Lempert), 110
PAKAM. SeePilbara and Kimberley Aboriginal Media
Pallottine mission, 19, 173, 174
palya, 22, 24, 68, 83, 96, 106, 111, 118, 144, 145, 148, 181, 199, 226, 232; meanings of, 20; process, 21; project, 119–20, 123, 138, 143; status, 139; values, 27
Pama-Nyungan language family, 85
Pandian, Anand, 5
paper,119, 138, 139, 142, 143, 144, 192, 199, 204, 233; legacies of, 135; pernicious, 132; physical/virtual, 133; time sheets and, 135–36; whitefella, 140
Paris Climate Accords (2015), 220
Parliament, 7, 219; Aboriginal presentation in, 222
Pascoe, Bruce, 247n12, 251n1
Peile, Father Anthony, 176
Perkins, Charlie, 111
Perkins, Rachel, 111, 198
Peterson, Nicolas, 255n3
Petryna, Adriana, 18
Phone & Spear: A Yut̲a Anthropology (Miyarrka Media), 48, 49, 178, 181, 183
Pickering, Joe, 55, 57, 106; “real” film and, 59
Pilbara and Kimberley Aboriginal Media (PAKAM), 23, 26, 30, 32, 34, 37, 38, 39–40, 46, 49, 51, 72, 73, 84, 90–92, 94, 103, 104, 105, 114, 118, 119, 123, 124, 127, 143, 144, 149; archive room at, 152 (fig.); Broome and, 44, 83; collaboration with, 69; as collective, 184; comedy and, 79; crew, 103 (fig.), 109 (fig.), 130; film projects of, 126; funding for, 200, 203; headquarters, 136; independence of, 200; Kurrarlkatjanu and, 29; media workers, 137; production process and, 89; radio network, 42 (fig.), 95, 227; remote communities and, 39; shed of, 39 (fig.), 41 (fig.), 45, 87, 138, 152; social life of, 28, 69; tires/paper and, 139; Tjawa Tjawa and, 53; translations and, 48, 88; work of, 22, 50
Pindan, Mark, 110
Pintupi, 164, 177
Piparr, 165
Pitjantjatjara, 85
Plato, 181
poiesis, 181, 185, 186–87
Poirier, Sylvie, 163, 182, 246n3, 249n4
politics, 98, 172, 192, 223; Aboriginal, 8, 13, 16, 19, 38, 63, 179, 206, 256n10; civil rights, 196; tire, 124–31
“Poorbala Poorbala Me” (Mary G), 140
Popa, Mihai, 184
postproduction, 24, 82, 83–84, 91, 95, 148
Povinelli, Elizabeth, 8, 62, 67, 184, 195
Powdermaker, Hortense, 48, 235
power dynamics, 48, 57, 58, 59, 63; leveling, 49; unequal, 107
preproduction, 47, 51, 82
“Priority Investment Communities—WA,” 208
production process, 82, 88–89, 143
production values, 24; socialization of, 105; Western, 21, 107; workshopping, 105–8, 110–11
public service system, cuts for, 192
Pukatja, 85
Putuparri and the Rainmakers (Ma), 102

Quinton, 142

Rabbit-Proof Fence (Noyce), 198
Racial Discrimination Act, 200
racism, 170
Radcliffe-Brown, Alfred, 245n3
radio, 81, 83, 95, 193, 227
Radio Goolarri, 81, 82 (fig.), 227
radio stations, 130, 193, 194
Raheja, Michelle, 57–58
realism, 62, 187, 198
reconciliation, 8, 9, 10, 195, 223, 247n11
Redfern, 13, 25, 219, 220
Redfern Aboriginal Tent Embassy, 219, 220, 220 (fig.)
Redfern Story, The (Johnson), 216, 250n11
Redmond, Anthony, 70
Regnault, Félix-Louis, 255n3
relations, 47–48, 104, 133, 134, 196; Aboriginal, 7, 19, 38; community, 126; family, 144; power, 63; state, 38
Remote Avant-Garde (Biddle), 49
“Remote Hope” (Four Corners), 197, 198, 200, 255n7
Remote Indigenous Broadcasting Service (RIBS), 194
Remote Indigenous Media Organization (RIMO), 104, 105, 106, 124
Remote Media National Archiving Strategy, 151
Reo, Te, 40
representations: Aboriginal, 12–13, 14, 16–17, 63, 196; ethnographic, 200; mass-media, 200; stereotyped, 17
Reservation Dogs,56
Rifkin, Mark, 16
RIMO. SeeRemote Indigenous Media Organization
rites of passage, 123, 247n9
Robbins, Joel, 12, 256n9
Roe, Patty, 182
Roebourne, 51
Roebuck Bay, 170
Rouch, Jean, 42, 43, 90, 186, 254n8
rough cuts, 87, 89, 92, 94, 95
Rousseau, Jean-Jacques, 12
Rudd, Kevin, 209
Rwandan genocide, 195

Sacred Heart Church, 91
saltwater cowboys, 169
Samson and Delilah (Thornton), 198
Saturday Night Live,78
savage slot, 12
SBS. SeeSpecial Broadcasting Service
SBS TV, 106
Screen Australia, 14, 53, 254n2
screenings, 24, 60, 61, 96 (fig.), 100, 103–4, 111, 113, 180; fix ’em up, 83–84, 90, 92, 93, 95, 96, 103, 226, 232; mid-process, 83, 90; social, 97
See How We Roll (Hinkson), 49, 182
Sen, Ivan, 198
settler colonialism, 8, 10, 56, 142, 196, 201, 223; Aboriginal people and, 213, 254n1; contemporary, 184; impact of, 71
settler time, 16, 67
settler values, 142, 201
Seven Sisters Dreaming, 30, 32, 249n4
Shannon, Jennifer, 45
Shimmering Screens (Deger), 49
Simpson, Audra, 10, 111, 198, 218
Simpson, Leanne, 8, 180, 252n8
singing, 97, 139, 186, 227, 251n3
Sisters of St. John of God, 147
Sisters of St. John of God Heritage Center (SSJG), 152, 153, 154
skin names, 17, 30, 145, 171, 248–49n2
slipstream, term, 179
slowly, slowly, term, 20–22
Smith, Benjamin, 253n5
Smith, Linda Tuhiwai, 178, 252n8
social editing, 24, 83, 84, 98, 100; described, 90–97
social life, 25, 27, 28, 53, 79, 89, 133, 144, 233; cinematic, 23, 26, 42, 43, 46–47; comedy and, 55–56; media and, 69, 250n1
social problems, 164, 165
social relations, 35, 104
social taboos, 60, 134, 148, 193
social worlds, 187, 201
Songlines, 3, 18, 61, 62, 63, 78, 96–97, 173, 230, 245–46n3; Country and, 246n4
Songlines, The (Chatwin), 246n3
Songlines on Screen series, 23, 51, 89, 104, 107, 111, 112, 145, 146, 149, 159, 183, 193, 196, 223, 226
sorry business, term, 253n2
sovereignty, 7, 17, 215, 218, 219; Aboriginal, 9, 10, 163, 195, 217; from/within,214; importance of, 213–14
Special Broadcasting Service (SBS), 51, 106, 193
Spencer, Baldwin, 245n3, 255n3
SSJG. SeeSisters of St. John of God Heritage Center
Standing Rock, 216
Stanner, William, 245n3
Star Blaks,78
“Statement of Eminent Australians,” 256n10
Staying at School in Bidyadanga,199
stereotypes, 17, 56, 69, 78, 185, 249n3
stockman, role of, 169
Stokes, Geoffrey, 216
Stolen Generation, 133, 184, 200, 209
storytelling, 59, 86, 93, 253n5
stranded, dangers of becoming, 72–73
stranger, friend and, 48
Strong, Amanda, 180, 182
Stronger Futures in the Northern Territory Act (2012), 209
suffering, 197–98; politics of, 199–201
suffering slot, 12, 256n9
suicide, 99, 100, 167
Sundance Indigenous Institute, 254n2
Sunfly, Payi Payi, 32, 35, 65, 66, 77, 96, 118, 120, 121, 145, 232, 235; paintings by, 133
Sydney, 83, 87, 111, 146, 180, 215, 219
Sydney Film Festival, 44, 53, 60, 111, 112 (fig.), 113, 159, 223

talk-talk, 183
Tanami Downs Station, 58
Tanami Road, 1, 14, 30, 115
Taussig, Michael, 178, 183, 185–86
Taylor, Lucien, 185
Tchooga, Jimmy, 73–74, 75, 250–51n2
technology, 179; Aboriginal use of, 131; colonial, 255n3; misunderstandings about, 130–31
Teece-Johnson, Danny, 192
Tell My Horse (Hurston), 147
temporality, 15, 16; manipulation, 83–84
Tennant Creek, 191, 192
terra nullius,5, 8, 13, 195, 213, 216, 247n12
Thornton, Warwick, 198
timeline, 84, 85, 89, 227
tires,119, 138, 139, 140, 142, 143, 144, 199, 225, 233; materiality/mobility and, 125, 127; shredded, 124 (fig.)
Tjakamarra, 62
Tjangala, 30, 31, 32
Tjapanangka, 118
Tjapangarti, 145, 173
Tjawa Tjawa (Moora), 27, 30–31, 35, 36, 42, 50–51, 53, 57, 59, 76, 77, 78, 79, 83, 106, 108, 111, 115, 119, 120, 126–27, 146, 149, 155, 156, 159, 163, 183, 188, 193, 199; after-images and, 148; audience for, 97, 135; editing, 95; expanding circles of, 97–98; funding for, 137; kinship relations and, 144–45; map of sites of, 52 (fig.); paper/tires and, 139; premiere of, 23, 98–101, 102; production of, 3, 89; reception of, 102; rough cut of, 95; screenings of, 24, 60, 61, 90, 96 (fig.), 103–4, 113, 180; shooting, 23, 33, 34, 53, 58, 64, 66–67, 66 (fig.), 75, 82, 109 (fig.), 110, 226, 231; stranded during, 72–73; translations for, 84, 86–87, 88
Tjukurrpa, 5, 62, 99, 164, 173, 245n1, 245n3, 246n4
Toronto, 83, 106, 113, 180, 236
Torres, Michelle (Mitch), 107, 220, 221
Town Beach, 221; protest near, 221 (fig.)
Toyota Dreaming, 33–37
Toyota Land Cruisers, 1, 2 (fig.), 3, 29, 63, 77
translations, 83–84, 84–87
Triggs, Gillian, 256n10
troopy, 2 (fig.), 33, 33 (fig.), 34, 34 (fig.), 124 (fig.), 125, 126, 128, 144, 147, 156, 237; tires for, 127
Trouillot, Michel-Rolph, 12, 154
true story/trustori,245n1
Truth and Reconciliation Commission, 9, 247n11
Turner, Neil, 28, 49, 72, 75, 84, 85, 93, 105, 111, 133, 138, 149, 184, 192, 210, 251n6, 255n3; bureaucratic realities, 137; flash production and, 106; PAKAM and, 23; production process and, 88; rough cuts and, 95; seasonal rhythms and, 123; spoken word and, 86; Tjawa Tjawa and, 53; translations and, 86
twilight, as cinematic mirror, 236–37

“Uluru Statement from the Heart,” 217, 219, 221–22
understanding: Aboriginal/Western, 9; ethnographic, 9; types of, 186
United Nations Declaration on the Rights of Indigenous People (UNDRIP), 220
University of Notre Dame Australia, 44, 84

victimry, legacy of, 216
video, 21, 38, 72, 138; digital, 90; editing programs, 108; production, 194; term, 245n2
Video in the Villages, 194
violence, 98; bureaucratic, 132; colonial, 10; paper,192; representational/material/spiritual, 184; sexual/physical, 197; slow-motion, 210
virtual reality (VR), 180
visibility, 20, 22, 40, 223
visibility paradox, 14–15, 25; Aboriginal media and, 192–95
VisionMaker Media, 254n2
Vizenor, Gerald, 216
Voice and Its Doubles, The (Fisher), 49
von Humboldt, Wilhelm, 86

walkabout, 168–78, 254n7
Walkali, 165
Walking the Clouds (Dillon), 179
Walmajarri, 177
Wangkajunga, 177
Warlayirti Artists, 99, 119, 134, 151, 202
Warlpiri, 99, 104, 110, 125, 177, 182
Warlpiri Media Association, 16, 72, 122
water, 125; fire and, 187–89
water tank issue, 188
Wati Kutjarra, 164
Wawili Pitjas, 51, 107
Weiss, Joseph, 9, 215, 247n11
welfare, 66, 133, 170, 249n3
West, Kimberley, 113
Western Australia Aboriginal Lands Trust, 163
We Wish to Inform You That Tomorrow We Will Be Killed with Our Families (Gourevitch), 191
“What’s Love Got to Do with It?” (Turner), 81
Whirlpool (Dann), 106
whitefellas, 48, 56, 62, 64, 71, 75, 87, 99, 110, 111, 114, 134, 136, 138, 140, 143, 150, 165, 166, 167, 169, 173, 182; Aboriginal people and, 58, 63, 65, 67; comedy and, 77; editing and, 89, 90; materialist understandings by, 128, 129; rituals of, 137; technology and, 130–31; term, 248n18; urban, 112
“White Forms, Aboriginal Content” (Mudrooroo), 106
“Whiteman, The,” 249n1
whiteness, conceptions of, 212
Whitlam, Gough, 177
Wik Peoples v. The State of Queensland (1996), 194, 216, 247n13
Wilikinkarra, 86
William (media worker), 31, 32
Winda Film Festival, 106, 180, 193
Wirrimanu Aboriginal Community. SeeBalgo
Wolf Creek, 169
Wolfe, Patrick, 210
Wositsky, Jan, 246n3

Yagga Yagga, 12, 14, 22, 25, 26, 32, 75, 76, 100, 112, 121, 148, 156, 158, 159, 187; acrylic painting movement and, 164; Balgo and, 165, 167; camping in, 6, 35, 188; closing of, 36, 78, 166, 208, 209, 226; living in, 30, 34; Mark Moora and, 35–36; opening of, 19, 172; rebirth of, 18; refuge in, 164; reimagining, 17; returning to, 223; rise/decline of, 161–72, 177
Yarra Ninytirri Kuurlta (Ishiguchi), 199, 200, 204
Yayayi, 164
Yolngu, 178, 183, 186, 245n3, 253n3
Young, David “Shorty,” 18, 32, 35, 74, 117, 118, 132, 133, 138, 144, 145, 156, 199
Young, Eli, 144
Yu, Peter, 169
Yuendumu, 71, 72, 104, 122, 125, 193
Yungngora, 138, 256n13

Zajdman, Anat, 249n5
Zapatista, 194

Author Biography

Notes

Show the following:

Adjust appearance:

Index

Annotate