Film Fix: Half-truths dispelled by Half Light
Baz Luhrmann’s Australia (2008) has got us all thinking. One movie that
claims to have everything: a budget of over $150 million; stars;
history; love; cattle and the Stolen Generations. But what about point
of view? Kylie Boltin investigates some alternatives.

- 5 Comments | Join the discussion
I value that Indigenous people are represented in Luhrmann’s film as an integral part of Australia’s history. This is a recognition that our story as a nation cannot be told without an Indigenous perspective, but I have concerns about that very representation and the film’s appropriation of Indigenous culture and history. I don’t believe that one should use the ‘Stolen Generations’ as a framing device, which is what Australia does, while steadfastly revealing its inability to move beyond ‘sanctioned’ representations of Indigenous people as traditional, magical and/or childlike. The voiceover of Nullah is a ruse. This is a story told from the outside looking in.
It’s a stark contrast to the current exhibition at Art Gallery of New South Wales, Half Light: Portraits from Black Australia curated by Hetti Perkins and Jonathan Jones, Curators of Aboriginal and Torres Strait Islander Art. In this first major survey of the work of Indigenous artists engaging with the photographic medium and the portrait, Vernon Ah Kee, Tony Albert, Brook Andrew, Richard Bell, Mervyn Bishop, Brenda L Croft, Destiny Deacon, Genevieve Grieves, Dianne Jones, Peter Yanada McKenzie, r e a, Ricky Maynard, Michael Riley, Darren Siwes and Christian Bumbarra Thompson offer alternatives to the fixed version of Indigeneity propagated in Australia. The works that make up the exhibition are both masterful and bold.
In Grieves’ Picturing the Old People (2005), a five-panelled, award winning video and sound installation,the artist uses the opportunities afforded by digital technology to undermine the constructed representation of Aboriginal people as established by studio photographers of the 19th century. Grieves intelligently uses a contemporary eye to re-write these ethnographic images, destabilising the static poses found in the archive. Jonathan Jones writes in the exhibition catalogue, the work triggers “questions of frontier relationships from a Koori perspective.” Says Grieves, “my work finds different ways to explore Aboriginal history and bring that to a wider audience.”
What this shows us are flaws in historical representation of Indigenous people. With the artists exhibited in this show revealing how far we should have travelled by now, how can we endorse anything less?
The Art Gallery of New South Wales hosts the exhibition, Half Light: Portraits from Black Australia from 21 November 2008 - 22 February 2009.
See http://www.artgallery.nsw.gov.au/events for floor talks and related events. Admission is FREE.
Comments (5)
Director, Producer, Writer - Disaster
'Australia' is, in my opinion, a good example of the problem that can arise when one person has too much control over production. Simply, there was nobody looking over his shoulder saying 'Are you sure mate?' or anyone with the guts to tell him things that he should of heard, like 'I think you're crossing the schmultz factor here mate'. To make matters worse, the only people with the power to question his decisions, the lead actors, seemed to think he was a god. The result, tragically - disaster
10 Jan 2009 7:54 AEST
From: Springwood
Something Different
Viewing the film was an arm-wrestle for me. Finally, I found myself affected emotionally by it, without wanting to be. On reflection I came to the view that it's a story first and foremost. It's fairy-story like rather than melodrama, a 'once-upon-a-timer'. At times, we are asked to suspend aspects of reality, there's a prince and a princess, a wonder-child, a black and a white wizard (black is good!), the lighting is surreal - Shrek like, and 'they lived happily ever after'. I'll see it again.
04 Jan 2009 20:37 AEST
From: northam
it asks questions
For me "Australia" was a variation on the "Western" genre of John Wayne period with a sophisticated transitions to the cultural dualities. Spears replace guns, economic attrition buys time. One could easily dismiss the effusion of stolen generation as economic lubricant. To be fair the treatment serves to evoke and respect our native population pricking my particular curiosity and giving little away and acknowledging. Gulpilli 's restraint angles the aboriginal "political inertia"
30 Dec 2008 22:44 AEST
From: Hastings
A film with a high cringe factor
"Australia" is a confused, derivative and cliche piece of nonsense. It cannot decide what it should be. Is is a western, or a piece of aboriginal mysticism or a war film? Characters were muddled and confusing and the iconic humour typical of a Luhman film was missing. Three hours of confused plotting and lack of believability. It played lip service to the stolen generation and was full of factual errors. Nicole Kidman was truly awful, and Jackman was wooden. I cringed throughout the whole film.
29 Dec 2008 11:29 AEST
From: Alice Springs
Australia/Baz - Genius
Thank you Baz: Australia was romantic, funny and brilliantly cast. I understand the need to have Australian actors portray the events that unfold in the film. I enjoyed the strong correlation the actors all obviously have with Australia. The film showed respect for Aboriginal culture: David Gulpillil and Brandon Walters were excellent; as was the story line for the stolen generation and the white australia policy. It was even better the second time around. I cannot wait to have my own copy!
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14 Jan 2009 22:45 AEST
Gary
From: Marrickville