Celluloid Subjects to Digital Directors. Jennifer Debenham

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Celluloid Subjects to Digital Directors - Jennifer Debenham Documentary Film Cultures

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of Anthropology made it the only university in Australia with an anthropology department and its inaugural incumbent, Alfred Reginald Radcliffe-Brown, advocated for a more social approach to anthropological research. Together with a new interest in the Pacific regions and Australia’s colony of New Guinea, Sydney’s convenient location promised new and bountiful anthropological fields to explore. The scientists at Adelaide were sorely disappointed. Although the Rockefeller board had recommended SABAR receive a portion of the funding through the ANRC, the scientists at Adelaide believed what they received was penury. A more direct approach was required.

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      Blood Grouping and the Absorption Policy

      Two Aboriginal Protectors, Cecil Cook in the Northern Territory (1927–1939) and A. O. Neville in Western Australia (1915–1940) were also enthusiastic supporters of an absorption policy. They saw it as a remedy to the inconvenience of having to make special considerations for a minority population group. Others saw it as an opportunity to ensure a unified society. Contrary to what Cleland and his colleagues had in mind, Cook and Neville sought a more structured and methodical approach to how the policy was managed. Sadly, in the hands of these two men it led to the forced separation of families, The Stolen Generations, and today most Aboriginal families still suffer from the familial and cultural dysfunction caused by their interpretation and management of the policy. Although Life in Central Australia makes no specific references to eugenics or policies regarding absorption, the film is ideologically framed by these contemporary ideas. It demonstrates the processes of collecting the biometric data used to support the range of hypotheses proposed by the research group.

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      The Film

      The silent black-and-white film shows how the scientists interacted with the Warlpiri, Ngarti and Anmatjere people who came to the scientists’ camp. It depicts them as test subjects that provide a source of biomedical data with which to test various hypotheses. For example, the audience observes the methods of blood collection used in the field at this time to develop the hypothesis that Aboriginal peoples were “safe” to absorb into the settler Australian population. The film serves as a visual record of the methodology employed in the field, helping to anchor the visual narrative to the scientific circumstances that were in play when the film was produced.

      Establishing the integrity and proficiency of the scientists, the film records the performative display of what the researchers believed to be their scientific objectivity. Each of the researchers engaged their imagined audience by regularly acknowledging the presence of the camera whilst they carried out their tests and experiments and interacted with the Warlpiri, Ngarti and Anmatjere people. They demonstrated how they caste Plaster of Paris face masks, took blood samples from earlobes, measured basal metabolic rates, recorded songs and vocabularies and conducted psychological tests; faithfully recorded to demonstrate their scientific objectivity and proficiency.

      The film’s narrative of one hour, focuses on the scientist’s three weeks round journey from Adelaide to Cockatoo Creek in three stages. The first comprising 00:05:58 minutes, shows the group of scientists leaving Adelaide by train to Alice Springs. The group included:

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