Australian Rules 2002 Essay

Australian Rules 2002 Essay-72
Images, videos and audio are available under their respective licenses. Of the sixty or so a chosen handful of balls are elevated by a protruding tube that elevates them above the others releasing them to the outside world making someone else lucky or rich.Despite these objections, the AFC established a separate indigenous unit in January 1993.

They also hold filmmakers and the talent to the contract forever, protecting the funding body or the broadcasters involved, and they can be ethically fraught because lawyers, for whom they are really written, have little appreciation of the sensitive and intimate relationship between a filmmaker and their talent.

Because the filmmaking process is frequently a long and unfolding process, it is not unusual for even the filmmakers not to know how anyone fares in their film until the fine cut stages.

And issues of appropriation, of respectful cultural representation, of equity and creative control are particularly pertinent to collaborative processes in relation to Aboriginal stories.

The SBS Independent guidelines, which aim to respect indigenous participants while working with indigenous cultural beliefs and values, state that filmmakers must inform indigenous participants of their rights as storytellers, within the filmmaking process; assist non-indigenous filmmakers to respect indigenous participants, while working with indigenous cultural beliefs and values; and respect the integrity of the filmmaking process and facilitate cross-cultural education.

In every case the key principle was to maintain respect for indigenous traditions and heritage.

Australian Rules 2002 Essay

Johnson writes: Development, production and dissemination of films involving Aboriginal issues and stories are subject to ethics common to media practice in all their works.It is not the film’s fault, for this small-town-footy-meets-embedded-racism tale merely aims to scratch the surface of its central issues.This is not to compare one film against the other, but it is to question why some films have been agreeable to Aboriginal protocols than others.The notion to have protocols and guidelines about how film crews must enter and film Aboriginal communities are not new.In fact as early as 1987 the plan to make good representations about Aborigines became bound by legal and cultural protocols when a report entitled Guess Whos Coming To Dinner In Arnhem Land?The result was that the majority of Aboriginal producers did not support a separate indigenous unit because they felt they should compete with non-Aboriginal filmmakers in the industry and be assessed on their merit rather than their Aboriginality.The final report stated; The attention of the AFC is especially drawn to the responses provided by Aboriginal producers.Proud of its engagement with indigenous Australians in film and television production, documentary and drama, SBS declared that both black and white filmmakers could make programs involving indigenous peoples and issues.They stressed their commitment towards supporting Aboriginal people in the film and television industry and culture, and aimed to affirm protocols of moral rights in stories.From Phil Noyces Rabbit Proof Fence to Paul Goldmans Australian Rules, all films have seemingly captured the imagination and sympathy of white interests in Aboriginal drama.It is clear however that some films have become more celebrated than others have; this is inevitable but perhaps for reasons other than those usually cited.


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