Phillip Noyce

The narrative code of “The Sapphires” positions the viewer to recognise what it was like for a Aboriginal attempt to succeed in what they enjoy, in this case a singing career. The audience views the struggles of race and prejudice towards Aborigines in the

The filmed portrayed aboriginal youth to be doomed in the current education system, while neglected to show the progression that has already been made. For instance, “Enrollment in post-secondary education have escalated as well, according to Indian and Northern Affairs Canada, from about 200 in the 1960’s to 14,242 in 1987, with a doubling since then to 27, 487 in 1999/2000” (Fleras 172). I believe they could have strengthened their argument by incorporating a counter argument and disproving it rather than just preaching that young aboriginal children are all doomed in the current educational system.

Rabbit Proof Fence is a great film based on the real tale and experiences of three young Aboriginal girls, Molly, Gracie and Daisy, who were taken against their will from their families in Jigalong, Western Australia in 1931. The film puts a human face on the "Stolen Generation", an event which categorized links between the government and Aborigines in Australia for a lot of the 20th century.

What was also very interesting is the shame indigenous people have against their own culture. Especially the children, which Boori describes he saw when preforming in classrooms all over Australia. Children that think they are not really an Aboriginal because they do not life in the outback, do not play the traditional instruments and do not look like the stereotypical aboriginal. Therefore they are more ‘white’ which means that they are normal. This is very similar to black people outside Australia, the mind-set exist that looking white and acting white is considered better. This creates a negative stereotypical version of aboriginals, which goes together with ignorance. For example how Boori describes the reactions of the children in the classrooms he had visited. One chid expressed that after the performance of Boori, he was not afraid anymore of aboriginals. Or other child asking him when he started becoming an aboriginal, I thought this was interesting because it shows how this child, like some children of aboriginal descent, see only one stereotypical abstract of an indigenous person. They only have this figure in their mind, which is that aboriginals are not civilised or educated. A person that is always half naked and plays traditional aboriginal instruments. That is why some children of aboriginal descent try to remove themselves from everything that is linked to the Aboriginal culture, because if you do not act like an

Written during one of the most defining moments in Indigenous Australian history, Enoch and Deborah Mailman’s ‘the 7 stages of grieving’ follows a young Aboriginal woman as she retells some of the hardships and injustices her and her people have and will continue to face. With the quote above in mind, it is clear to see that ‘The 7 stages of grieving’ combines the contemporary conventions of Australian theatre, such as applying multimedia with a decidedly traditional twist. Through the use of stagecraft and symbolism,

Lee makes excellent use of these shots as a way of bringing the viewer into the action of the movie. His use of high and low angle, point of view shots both heighten tension and give the feeling that the characters

From the year eighteen sixty nine to the year nineteen sixty nine Aboriginal children were taken from their homes. The play ‘Stolen’ by Jane Harrison tells the story of five Aboriginal children who were forcibly extracted form their families. The children: Anne, Jimmy, Ruby, Sandy and Shirley all demonstrated the devastating impact that the removal from their families and subsequent institutionalisation had on each of their lives. Furthermore, some of the main characters maintained their hopes and dreams under different circumstances whilst a few displayed a lack of hope.

The pub scene in the Australian Outback helped me understand the consequences of prejudice through the combination of dialogue and cinematography. These film features shows the unfair treatment that Aborigines endured because of their race. The mid shots showed how the white Australian audience at the pub Talent Quest ignore the two Aborigine sisters as they began to sin. A panning shot showed the audience’s disapproving and disgusted looks as they avoided eye contact with the sisters. Clearly contrasting with the warm and enthusiastic cheers given to the white Australian performers before them, as also shown in a panning shot. Noticing the coldness of the crowd, Gail says, “Thanks for the half-heart applause.” The dialogue and camera shots clearly outlined the difference in treatment between Aborigines and White Australians in Australia. This clearly shows the inequality between the two races, as Aborigines were clearly mistreated based on their appearance. At the end of the Talent Quest, after the White Australian performer

Rabbit Proof Fence is a movie directed by Phillip Noyce based on the novel by Doris Pilkington Garimara. In the excerpt, ‘The Stealing of Children,’ it shows the offspring of the indigenous people being taken away from their parents as the white settlers thought they weren’t being treated properly. Events like these occurred from 1910-1970 in Australia’s history. Many aboriginal children didn’t want to be taken away and the fictional story, based on real events, of Rabbit Proof Fence has been created from the point of view of those people living at this time. The director has created many representations of Aboriginal people through the use of language features, visual elements and the audio components.

The different perspectives create interest and draw us into the experiences of others. The two texts, ‘The Tracker’ composed by Rolf De Heer and ‘Bran Nue Dae’ composed by Rachel Perkins explores this notion. Both films are evident to the racial discrimination of Aborigines in Australia. ‘The Tracker’ is a 2002 art house film set in 1922. It is clear that there were no Aboriginal rights and which white settlement had the greatest control. ‘Bran Nue Dae’ is a 2009 musical/comedy/drama film set in 1969 about the beginning of Aboriginal rights.The different perspectives are from Colonial/Indigenous people. The voices were through the role of the characters, the genre, the music and the cinematography.

The film "Rabbit-Proof Fence" conveys the importance of home and country to indigenous peoples. The director Phillip Noyce refers to home in different ways. He has symbolised home by repeatedly showing images of the Spirit Bird and the Rabbit Proof Fence, since it is a connection to their home. The movie shows Molly's determination to get home and back to her family by escaping from Moore River and finding her way back home to her country, Jigalong.

The rabbit proof fence is the central motif. It runs from North to South of Western Australia and was built to keep rabbits away from farmland. It is very symbolic as when it was built it kept the Aboriginals in one place and therefore shows how they were restricted in their movement, unlike the freedom of the spirit bird. It symbolises the division between the Aboriginals and the Europeans. The girls are pictured as frightened rabbits trapped on the wrong side of the fence, the same feeling as

In the Truman show, the theme of audience manipulation is greatly portrayed through the different camera shots used. The director uses many different camera shots to emphasize specific actions throughout the film. Eye-level shots, close-up shots, and high-angle shots are

When planning the escape, Molly knew that the fence ran from the north to the south. Therefore, she was sure it would lead them back home. In this context, the Rabbit fence symbolizes a map that would show them the way home. Throughout the movie the girls’ use the fence as a guide for their journey home. The existence of the fence is of great importance to the girls’ escape mission.

Firstly the directors and their team use a variety of different camera techniques to shape our view on the characters, and ultimately