Subjects, 1901–1966
The Last of Their Kind: Aboriginal Life in Central Australia (1901)
Physical Traits: Life in Central Australia (1931)
Benign and Iconic: Aborigines of the Sea Coast (1950)
The “Last” of Their Kind, Again: Desert People (1967)
PART II Voices for Change, 1957–1972
Not Dying Out Quietly: Warburton Aborigines (1957)
A Discomforting Assimilation: The Change At Groote (1968)
Challenging White Indifference: Ningla-A-Na (Hungry for Our Land) (1972)
PART III Counting the Cost, 1978–1987
Telling My Story My Way: My Survival As An Aboriginal (1978)
On Being Stolen: Lousy Little Sixpence (1983)
Picking Up the Broken Pieces: Link-Up Diary (1987)
PART IV Digital Directors: Decolonising Documentary Film, 2002–2017
Setting the Records Straight: Whispering in Our Hearts: The Mowla Bluff Massacre (2002)
The Sounds of Spaces Between: Willaberta Jack (2007)
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I wish to thank my husband Graeme for his continued support in all my endeavours and for his patience and forbearance through the long gestation period of writing this book. To my three daughters, Felicity, Katie and Imogen, who were children at the beginning and are now grown women who have found their ways in the world. And to my four-legged companion, Alfie, who reminded me to take breaks from my desk. Many thanks and much appreciation goes to my mentor, the fabulous Professor Lyndall Ryan, who believed in the worth of the project. Her support and academic advice and companionship have always been inspirational. I feel privileged to be one of her students. Many thanks to the amazing Dr Wendy Michaels, friend and mentor who, like Lyndall, gave patient advice on numerous drafts. Advice on earlier drafts was enhanced by input from Dr Michael Kilmister, colleague and friend.
I have benefited from the advice and help of the librarians at the Ourimbah Campus of the University of Newcastle (Australia), Fiona Neville; Julie Mundey-Taylor; Narelle Lawrence; Lorraine Millar; Jenny Shephard; Catherine Moffat and Ruth Talbot-Stokes. They are all great colleagues and friends who provided a very supportive environment.
I would like to acknowledge the assistance of Lea Gardam and staff at the Museum of South Australia, Robin McWilliams, and staff at Museum Victoria who provided some salient information and access to films, crucial in writing this history. The crucial support of the staff, including Graham Shirley and Sam Bateman at the National Film and Sound Archive in Canberra played an important role.
I gratefully acknowledge the generosity of Warwick Thornton, David Tranter, Dena Curtis, Mitch Torres, Troy Albert, Stephen Albert, Henry Augustine, Miriam Corowa and Ian Dunlop for their interviews. Without their personal insights into filmmaking and television experiences the study would lack depth in its treatment of the films.
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I would also like to thank Andrew Pike at Ronin Films and Martha Ansara, Ballad Films for their time in responding to my inquiries.
Although not responsible in any way for my interpretations, I would like to acknowledge the influence of academics, including Russell McGregor, Geoffrey Gray, Christine Cheater, Nancy Cushing and James Bennett. Each have drawn me into their circle for lively discussions and teaching. The academics Marcia Langton and Frances Peters-Little have also influenced the way I have reasoned the arguments in this book.
To my much neglected friend Dianne Sallee. We started our adventures at uni together and formed a strong bond of friendship that still holds us together. Thanks for your patience.
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Cultural Warning and Acknowledgement
Readers of this book should be aware that if members of some Aboriginal
