The decade from 2010 to 2019 witnessed an extraordinary flourishing of Indigenous Australian film and media. Building on the foundations laid in previous years, Indigenous filmmakers expanded the scope and ambition of their work, producing a diverse array of films, television series, and new media projects that challenged dominant narratives, celebrated cultural resilience, and showcased the rich tapestry of Indigenous experiences. This chapter will explore the key trends, significant works, and emerging voices of this period, with a particular focus on analyzing the codes, conventions, representations, and tropes that define these films as specifically Indigenous Australian.
The beginning of the decade set the stage for the cinematic explosion that was to come. Films like Bran Nue Dae (2010), directed by Rachel Perkins, brought Indigenous storytelling to a broader audience with its vibrant musical energy and celebration of cultural identity. Rachel Perkins' 2010 film "Bran Nue Dae" shines as a landmark achievement in Australian cinema, joyfully celebrating Aboriginal culture and identity through the dynamic and engaging medium of a musical road movie. Adapted from Jimmy Chi's groundbreaking musical, the film's vibrant energy and infectious optimism serve as a powerful vehicle for exploring themes of dispossession and resilience, making these crucial conversations accessible and uplifting for a wide audience. By centering Aboriginal voices and perspectives, "Bran Nue Dae" proudly showcases the immense talent of Indigenous filmmakers and enriches the broader Australian cultural landscape with its unique storytelling and vibrant artistic expression.
The film's genius lies in its ability to weave together the beauty and richness of Aboriginal culture – its music, traditions, and spirituality – with the important narrative of a young man's journey of self-discovery. Willie's coming-of-age story, set against the backdrop of significant social issues, ultimately becomes a testament to the enduring strength and spirit of Aboriginal people. The film's musical and optimistic approach is a strength, allowing it to connect deeply with diverse audiences and foster a greater understanding and empathy for the lived experiences of Aboriginal Australians. "Bran Nue Dae" stands as a significant cultural production that not only entertains but also powerfully promotes pride, celebrates resilience, and offers a unifying vision of Aboriginal culture for all Australians to embrace and appreciate.
Perkins, a key figure in Indigenous filmmaking, continued to be a driving force throughout the decade, with works like Jasper Jones (2017) further demonstrating her versatility and skill in adapting Indigenous stories for the screen. Here I Am (2010) and Mad Bastards (2011) offered powerful portrayals of Indigenous characters grappling with issues of identity, community, and the challenges of navigating a complex and often hostile world.
Television also emerged as a crucial platform for Indigenous storytelling during this period. The groundbreaking series Redfern Now (2012-2015), produced by Blackfella Films, marked a watershed moment in Australian television history. Created by Indigenous writers, directors, actors, and production teams, Redfern Now offered a nuanced and unflinching portrayal of contemporary urban Indigenous life. The series challenged stereotypical representations of Indigenous people, presenting complex and relatable characters dealing with a wide range of issues, from family and relationships to racism and social justice. Each episode of Redfern Now operates as a standalone film. Warwick Thornton directed the Pretty Boy episode in Series 1, and Rachel Perkins directed Raymond in Series 2 and Babe in Arms in Series 3. The series won numerous awards and critical acclaim, both in Australia and internationally, and paved the way for a new era of Indigenous-led television production. Shows like 8MMM Aboriginal Radio (2015) and Black Comedy (2014-2019) further demonstrated the growing diversity and sophistication of Indigenous television, using humor and satire to address serious issues and challenge audience expectations. Black Comedy, in particular, stands out for its self-deprecating humor, incisive social commentary, and willingness to tackle taboo subjects.
Several films during this period focused on the Stolen Generations and their ongoing impact. Documentaries like After the Apology (2017) examined the continued removal of Indigenous children from their families, even after Prime Minister Kevin Rudd's 2008 apology. Films such as these highlight a key trope in Indigenous filmmaking: the insistence on confronting and remembering historical trauma. These films serve as a crucial act of cultural memory, ensuring that the past is not forgotten and that its legacy continues to inform the present.
The theme of language revival and cultural revitalization also emerged strongly in this decade, exemplified by the documentary Buckskin (2013). The film tells the story of Jack Buckskin, the sole teacher of the once-extinct Kaurna language, and offers a powerful portrayal of the importance of language in maintaining cultural identity and connection to Country. This focus on language is a recurring motif in Indigenous film, reflecting a broader movement within Indigenous communities to reclaim and revitalize traditional languages and cultural practices.
The representation of Country, or ancestral land, remains a central and defining element in Indigenous Australian film. Films like Connection to Country (2017) and the documentary/ "slow TV" film Marni (2019) showcase the deep spiritual and cultural connection that Indigenous people have to their land. These films often use stunning cinematography to capture the beauty and power of the Australian landscape, while also emphasizing its sacred significance and the ongoing struggle to protect it from exploitation. The motif of the "return to Country" is a powerful and recurring trope, seen in films like Finding Mawiranga (2017), where actor Tom E. Lewis seeks permission to learn sacred ceremonies.
The emergence of Indigenous superheroes in Cleverman (2016-2017) brought a fresh and exciting dimension to Indigenous storytelling. This television series, set in a near-future Australia, draws on Aboriginal mythology and Dreaming stories to create a compelling narrative about identity, oppression, and resistance. By blending traditional Indigenous mythology with the conventions of the superhero genre, Cleverman offers a unique and innovative example of how Indigenous stories can be adapted and reimagined for contemporary audiences.
‘Sweet Country’, directed by Warwick Thornton, is a profoundly significant film that unflinchingly confronts the brutal realities of race relations and the flawed justice system in 1920s outback Australia. Thornton's masterful non-linear narrative commences with the disquieting image of the Aboriginal stockman, Sam Kelly (Hamilton Morris), in chains, silently nodding to the loaded question, "Do you understand?" This deliberate opening immediately establishes a powerful sense of injustice and narrative suspense, compelling the audience to unravel the events leading to Sam's trial and to confront the inherent biases of the colonial legal system. Sam's silence speaks volumes about the systemic silencing and lack of agency experienced by Indigenous Australians, setting a tone of oppression that permeates the film.
Thornton's cinematic language starkly contrasts the attitudes towards Indigenous people through characters like the seemingly fair Fred Smith (Sam Neill) and the violently racist Harry March (Ewen Leslie). Harry's offer to pay Fred for Sam's labor with alcohol and tobacco immediately reveals his dehumanizing view of Aboriginal people as mere commodities. The insertion of silent, unsettling scenes of Harry's drunken rage foreshadows the impending violence, creating a constant undercurrent of tension. This tension culminates in the film's devastating depiction of Harry's rape of Sam's wife, Lizzie. In a powerful and disturbing directorial choice, Thornton omits the visual depiction of the rape, focusing solely on the horrifying diegetic sounds. This absence of visual representation forces the audience to confront the act on an auditory level, making it inescapable and arguably more impactful than a visual portrayal. This deliberate omission not only respects the sensitive nature of the violence but also underscores the vulnerability and lack of protection afforded to Indigenous women within this brutal colonial context, further amplifying the film's critique of systemic injustice and the devastating consequences of unchecked racism.
Documentaries continued to play a vital role in Indigenous filmmaking, providing a platform for exploring a wide range of social, political, and cultural issues. Films like Gurrumul (2017) celebrated the extraordinary life and music of Dr. Yunupingu, while She Who Must Be Loved (2018) offered a fascinating portrait of the life of activist and media pioneer Freda Glynn.
New forms of media also emerged during this period, expanding the possibilities for Indigenous storytelling. The web series Robbie Hood (2019), a modern reimagining of the Robin Hood legend, showcased the innovative and irreverent style of a new generation of Indigenous filmmakers. The use of virtual reality in Future Dreaming (2019) demonstrated the potential of new technologies to create immersive and engaging Indigenous narratives.
Several key codes, conventions, representations, and tropes define Indigenous Australian films of this period:
Connection to Country: The representation of land as a living entity, deeply connected to Indigenous identity and spirituality, remains a central and defining element.
The Stolen Generations and its Legacy: Films continue to grapple with the historical trauma of the Stolen Generations and its ongoing impact on Indigenous communities.
Language and Cultural Revival: The reclamation and revitalization of Indigenous languages and cultural practices is a recurring theme.
Challenging Stereotypes: Indigenous filmmakers actively work to subvert and challenge dominant, often negative, representations of Indigenous people.
Strong Female Characters: The portrayal of powerful and resilient Indigenous women is a recurring motif, seen in films like Sweet Country and many others.
Reclaiming Genre: Indigenous filmmakers often appropriate and subvert genre conventions, such as the Western or the superhero film, to tell their own stories.
Humor and Satire: Comedy is used as a powerful tool to address serious issues and challenge audience expectations.
The 2010s was a decade of unprecedented growth and artistic achievement for Indigenous Australian film and media. Indigenous filmmakers produced a diverse and compelling body of work that challenged dominant narratives, celebrated cultural resilience, and expanded the boundaries of Australian cinema. The films of this period offer a powerful and essential contribution to Australian culture, and pave the way for an even more vibrant and dynamic future for Indigenous storytelling.
The 2010s represent a significant period of expansion and artistic innovation in Indigenous Australian film and television, characterized by a diverse body of work that actively contests dominant narratives and celebrates cultural resilience. Major themes include the ongoing negotiation of colonial legacies, the revitalization of Indigenous languages and cultural practices, and the assertion of Indigenous sovereignty through self-representation. Key tropes such as the "return to Country" and the reclamation of genre conventions, notably the Western, are employed to articulate Indigenous perspectives and challenge historical erasures. A notable development is the foregrounding of strong Indigenous female characters, offering complex and nuanced portrayals that subvert traditional gendered representations. Codes and conventions of realism are frequently utilized to address social and political issues, while other works experiment with genre-bending, as seen in the emergence of Indigenous superheroes, and the strategic use of humor and satire to critique systematic inequalities. Modern Indigenous Australian perspectives and pedagogy would likely assess these films for their contribution to decolonizing the screen, their amplification of Indigenous voices, and their role in fostering cultural understanding and social change. These films are essential for continued analysis as they constitute a vital intervention in Australian cultural production, paving the way for future Indigenous storytelling.
During this period, a body of analysis and critique of Indigenous Australian films starts to emerge. One perspective argues that analyses of Indigenous cinema often become overly fixated on their political and historical content, particularly themes of injustice and reconciliation, at the expense of appreciating their artistic and cinematic merits within the broader landscape of film history and theory. This approach risks marginalizing these films by treating them solely as cultural or historical documents rather than as significant contributions to global cinema. Conversely, another perspective champions specific Indigenous films as powerful acts of historical reclamation and self-representation, highlighting how they actively challenge dominant narratives and assert Indigenous agency through diverse cinematic styles and thematic explorations, often linking local experiences with broader global movements. While the former critique raises valid concerns about limiting the critical engagement with these films, the latter underscores the vital role of Indigenous filmmakers in shaping historical consciousness and cultural identity. A more holistic approach would embrace both viewpoints by rigorously analyzing the aesthetic and formal innovations within Indigenous cinema as integral to their powerful acts of historical storytelling and cultural expression, thereby enriching both film studies and our understanding of Indigenous experiences.
While the 2010s undoubtedly mark a powerful surge in the volume and diversity of Indigenous Australian screen productions, an Indigenous critical perspective compels us to look beyond mere representation and consider the deeper structures at play. While celebrating the creative brilliance showcased in works like Bran Nue Dae, Redfern Now, and Sweet Country, and acknowledging the increasing control wielded by Indigenous filmmakers, we must also critically examine the extent to which the dominant industry frameworks and funding bodies still subtly shape the kinds of stories that gain prominence and access. Are these narratives always truly on Indigenous terms, or are there still unspoken expectations and limitations imposed by non-Indigenous gatekeepers? Furthermore, while the reclamation of genre and the emergence of Indigenous superheroes offer exciting possibilities, ongoing analysis must ensure that these innovations are not simply palatable adaptations for a mainstream audience, but rather genuine expressions of Indigenous ontology and sovereignty. The focus on historical trauma, while vital, should also be balanced with explorations of the ongoing vibrancy, complexity, and self-determined futures of Indigenous nations. Ultimately, an Indigenous critical lens for this decade acknowledges the significant strides made, but remains vigilant, continually questioning whether the increased visibility translates to genuine systemic change and the uninhibited flourishing of diverse Indigenous storytelling, free from the subtle constraints of a settler-colonial gaze.
References
Film References
Perkins, R. (Director) (2010) Bran Nue Dae.
Perkins, R. (Director) (2017) Jasper Jones.
Various Directors (2010) Here I Am.
Various Directors (2011) Mad Bastards.
Thornton, W. (Director) (2017) Sweet Country.
Various Directors (2017) Gurrumul (Documentary).
Glynn, F. (Director) (2018) She Who Must Be Loved (Documentary).
Various Directors (2017) After the Apology (Documentary).
Buckskin, J. (Director) (2013) Buckskin (Documentary).
Various Directors (2017) Connection to Country (Documentary).
Various Directors (2019) Marni (Documentary).
Lewis, T.E. (Director) (2017) Finding Mawiranga.
Various Directors (2019) Future Dreaming (VR film).
Various Directors (2019) Robbie Hood (Web Series).
Television Series
Various Directors (2012-2015) Redfern Now. Blackfella Films.
Various Directors (2015) 8MMM Aboriginal Radio.
Various Directors (2014-2019) Black Comedy. Australian Broadcasting Corporation (ABC).
Various Directors (2016-2017) Cleverman.
Books & Articles
Holt, L 2009, ‘Aboriginal Humour: a Conversational Corroboree’ in de Groen, F & Kirkpatrick, P (eds.), Serious Frolic: Essays On Australian Humour, UQP, St Lucia.
Murray, S. (2007) The cinema of Australia. Eastgardens, NSW: McGraw-Hill Australia.
Pike, A. & Cooper, R. (1998) Australian film 1900-1977: A guide to feature film production. Revised edition. Melbourne: Oxford University Press.
Smith, R. (2002) Australian film. Melbourne: Schwartz Publishing.
Turner, G. (2006) Film as social practice. 4th edn. London: Routledge.
Academic Articles
Batty, P. (2011). '“We’re not just victims”: challenging representations of Indigenous Australians in documentary film'. Studies in Documentary Film, 5(1), 5-19.
Brennan, C. (2017). 'Genre hybridity and Indigenous identity in Ivan Sen's Mystery Road'. Studies in Australasian Cinema, 11(2), 163-175.
Collins, J. (2018). 'Screening sovereignty: Indigenous film and the politics of self-representation in Australia'. Media, Culture & Society, 40(7), 1023-1039.
Gaunson, S. (2013). Re-reading Indigenous cinema: criticism, white liberal guilt and otherness. Continuum, 27(6), pp.763–769.
Langton, M. (2003) Beyond the burden of history in Indigenous Australian cinema. Film Studies, 20(1), 36-53.
Martin, K. (2018). 'Telling our stories: Indigenous filmmakers and the power of self-representation'. Australian Journal of Indigenous Education, 47(1), 1-9.
Websites
Australian Broadcasting Corporation (ABC): https://www.abc.net.au/
Blackfella Films: https://blackfellafilms.com.au/
Eckersley, M. (2014, May 26). Australian Indigenous Drama on Film. Australian Indigenous Drama. Available from: https://australianindigenousdrama.blogspot.com/2014/05/australian-indigenous-drama-on-film.html
Imparja Television. Available from: https://www.imparja.com/
Krausz, P. (n.d.). Screening Indigenous Australia: An overview of Aboriginal representation on film. [online] Available at: https://kooriweb.org/foley/resources/media/indigenousfilm.pdf.
Message Stick 2010, ‘The story of Bran Nue Dae’, ABC, accessed 16 December 2014 <http://www.abc.net.au/tv/messagestick/stories/s2811578.htm>
Pomeranz, M 2009, Interview with Rachel Perkins, At the Movies, 6 December 2009, accessed 7 June 2014 <http://www.abc.net.au/atthemovies/txt/s2750507.htm>
Punter, J 2010, ‘Bran Nue Dae: a bumpy road movie’, Globe and Mail, 24 September 2010, viewed at <http://www.theglobeandmail.com/arts/film/bran-nue-dae-a-bumpy-road-movie/article4326827/>
Masters Thesis
Hampton, S. (2010) Reorienting the Feminine Other in Australian Film. BA thesis, University of Queensland. Available from: https://espace.library.uq.edu.au/view/UQ:3b58300/s44184267_final_thesis.pdf
Doctoral Thesis
Debenham, J.A. (2013) Representations of Aborigines in Australian Documentary Film 1901 - 2009. PhD thesis, University of Newcastle. Available from: https://nova.newcastle.edu.au/vital/access/services/Download/uon:13508/ATTACHMENT01
Frey, A. (2015) Eco-Fourth Cinema: Indigenous Rights and Environmental Crises. PhD thesis, University of Queensland. Available from: https://espace.library.uq.edu.au/view/UQ:f232a64/s4330872_final_thesis.pdf
