Claiming the Centre - Indigenous Storytelling in the 1990s

 Claiming the Centre - Indigenous Storytelling in the 1990s

The 1990s witnessed a significant acceleration in the assertion of Indigenous voices and perspectives in Australian film and media. Building upon the foundational work of the previous decades, this era saw a surge in Indigenous filmmakers directing their own stories, challenging dominant narratives, and exploring a diverse range of genres and themes. While collaborations with non-Indigenous filmmakers continued, the decade marked a powerful shift towards Indigenous self-representation and a confident claiming of the centre stage.

Tracey Moffatt’s 1990 short film, Night Cries: A Rural Tragedy, exemplifies her continued deconstruction of colonial representations. As a potent, almost dreamlike, sequel to Jedda, the film subverts expectations by focusing on the complex and often fraught relationship between a middle-aged Indigenous woman and her dying white mother. Moffatt’s signature visual style and her willingness to embrace ambiguity and emotional resonance create a powerful commentary on the lingering legacies of colonialism and the intimate, often unspoken, tensions within interracial relationships. Marcia Langton’s magnificent performance, alongside the poignant presence of Jimmy Little in a different context than his earlier roles, underscores the film’s nuanced exploration of identity, care, and the shadows of the past in the Australian landscape. Moffatt’s work consistently challenged viewers to confront the social constructs that had long defined Indigenous representation, pushing beyond simplistic narratives of victimhood or exoticism.

The 1991 documentary Dance Your Land offered a vibrant and celebratory portrayal of Indigenous cultural continuity and exchange. Following the epic journey of dancers, singers, and storytellers from the Lardil and Borroloola communities as they connected with people from the Gulf of Carpentaria and the Kimberley, the film beautifully illustrated the enduring strength and diversity of Indigenous cultural identity. By centering the dances and songs as the carriers of ancient stories and knowledge, Dance Your Land provided a powerful counterpoint to narratives of cultural loss and assimilation, highlighting the agency and resilience of Indigenous communities in maintaining and reinforcing their traditions.

Gillian Coote’s 1991 documentary Island of Lies, while directed by a non-Indigenous filmmaker, offered a critical examination of colonial history and the devastating impact on Indigenous populations, specifically focusing on the tragic fate of the Aboriginal people of Fraser Island. By interweaving a diary-like road movie format with sequences from Allan Marett’s Noh theatre treatment of the Eliza Fraser myth, the film created a multi-layered exploration of historical denial and the enduring consequences of colonial violence. Coote’s film, by directly confronting massacres, genocide, and cover-ups, contributed to a growing public discourse about the unacknowledged truths of Australian race relations.

The issue of Aboriginal deaths in custody, a deeply urgent and tragic reality, was brought to the forefront in Esben Storm’s 1992 feature film Deadly. While directed by a non-Indigenous filmmaker, the film’s unflinching portrayal of a police cover-up following an Aboriginal death in custody, and Lydia Miller’s powerful performance, served as a potent indictment of systemic racism and injustice within the Australian legal system. Deadly contributed to a growing consciousness within the broader Australian community about this critical issue, amplifying the voices of those demanding accountability and change.

Brian Syron’s 1992 feature film, Jindalee Lady, marked a significant moment as an urban love triangle story directed by an Indigenous filmmaker. Centering a young Indigenous woman pursuing a career in the fashion industry, the film offered a refreshing and contemporary portrayal of Indigenous people navigating modern urban Australia. Lydia Miller’s brilliant performance in the title role brought to life the aspirations, challenges, and resilience of Indigenous individuals striving for respect and success in a society still grappling with racism. Jindalee Lady presented a vital image of Indigenous agency and determination in a context far removed from stereotypical outback narratives.

Tracey Moffatt continued to push cinematic boundaries with her 1993 feature film, BeDevil. Polarizing critics with its experimental style, BeDevil employed the aesthetics of 1960s supernatural television to weave three haunting ghost stories. Filled with suspense, surrealism, tragedy, and ironic humor, the film challenged conventional Western storytelling traditions and offered a unique Indigenous artistic vision. Jack Charles’s memorable performance was a highlight, adding his legendary presence to Moffatt’s enigmatic and thought-provoking work. The provided clips offer glimpses into the film’s unsettling atmosphere, its exploration of trauma and memory, and its distinctive visual language. Moffatt’s willingness to experiment with genre and form further expanded the possibilities of Indigenous storytelling on screen.

Michael Riley’s 1993 drama/experimental film Poison, the first to emerge from the ABC’s “Blackout” series, tackled the confronting realities of contemporary Indigenous life with unflinching honesty. Addressing issues such as drug abuse, assimilation, adoption, and sexual abuse, the film explored the complex factors contributing to addiction within Indigenous communities, particularly focusing on the tragic heroin overdoses of young women in Redfern’s “The Block.” Featuring powerful performances from Lydia Miller, Lillian Crombie, and Rhoda Roberts, Poison offered a raw and vital perspective on the social and personal consequences of historical and ongoing trauma. Riley’s work was a crucial intervention, demanding attention to the urgent social issues facing urban Indigenous communities.

Imparja Television, having established itself as a vital Indigenous-owned broadcaster, launched its first in-house children’s television program, Yamba's Playtime. Featuring the lovable mascot Ýamba', this initiative marked a significant step in creating culturally relevant and engaging content for Indigenous children, fostering a sense of identity and belonging within their own media landscape.

The 1994 documentary Beyond the Dreamtime, while directed by a non-Indigenous filmmaker, John Lind, offered a visually stunning exploration of the work of artist Ainslie Roberts, whose imagery often drew inspiration from Indigenous spirituality and the land. While the film celebrated the beauty of Roberts’ art and his connection to the landscape, critical analysis must consider the ethics of non-Indigenous artists interpreting and representing Indigenous spiritual concepts. The film’s success at international festivals highlights the global interest in such themes, but also underscores the ongoing need for Indigenous artists to control and interpret their own cultural and spiritual narratives.

Wayne Barker’s 1994 documentary Milli Milli offered a powerful and multifaceted portrayal of the Kimberley region through the voices of its Indigenous storytellers. By traversing the diverse landscapes and engaging with different communities, the film celebrated the richness and complexity of Indigenous historical and cultural experiences, as well as the universal wisdom embedded in their stories. Barker’s Indigenous directorial perspective ensured that the film centered Indigenous voices and visions for the future, offering a vital counterpoint to external representations of the region and its people.

Sally Riley’s 1995 short film, Fly Peewee Fly, offered a poignant and intimate story of a young boy grappling with his identity and the tensions between his white grandmother and Koorie father. The film’s sensitive exploration of Robbie’s emotional world, beautifully portrayed by Duanne Johnston, and the eventual understanding reached between father and son, highlighted the personal impact of cultural conflict and the importance of connection and acceptance. Riley’s directorial voice brought a much-needed focus to the emotional lives of Indigenous children and the complexities of navigating mixed heritage.

Tima Tamou’s 1995 short film, From Sand to Celluloid – Round Up, offered a lighthearted take on the cultural clashes that could arise between white and Indigenous stockmen, showcasing Indigenous humor and perspectives within a familiar Australian setting.

Aleski Vellis’s 1995 feature film, The Life of Harry Dare, while directed by a non-Indigenous filmmaker, presented a rare instance of an Aboriginal man as the central protagonist in a lighthearted comedy-thriller. John Moore’s portrayal of Harry Dare, an Aboriginal man turned detective in search of his stolen VW Kombi, offered a refreshing and humorous departure from more serious or stereotypical representations. The film’s blend of comedy and crime, while perhaps not deeply engaged with overt social commentary, contributed to a broader visibility of Indigenous characters in diverse genres.

Roger Scholes’s 1996 documentary, Coolbaroo Club, shed light on a significant, yet often overlooked, aspect of urban Indigenous history. Documenting the story of the Coolbaroo Club, the only Aboriginal-run dance club in Perth marked by unofficial apartheid, the film highlighted the resilience and cultural vibrancy of the Nyoongar community in the face of relentless police harassment and systemic racism. Coolbaroo Club served as a powerful reminder of the historical realities of segregation and the importance of community-led spaces for cultural expression and resistance.

Warwick Thornton's 1996 short film, "Payback," stands as a significant cinematic work that delivers a raw and uncompromising depiction of a traditional Aboriginal payback ceremony, offering a vital Indigenous perspective often marginalized within mainstream media. Thornton's unflinching gaze and his central focus on Indigenous cultural practices serve to challenge viewers to confront the complexities and profound significance of Indigenous law and justice systems. 1 As a direct response to a reportedly mishandled portrayal of a makarrata by the ABC, "Payback" reclaims this narrative space, presenting a potent and authentic account of Indigenous self-governance. The film's brilliance lies not in its simple narrative – a recently released prisoner confronted by tribal payback – but in its masterful storytelling and its ability to bridge the seemingly disparate worlds of Indigenous and non-Indigenous legal and spiritual concepts within a concise six-minute runtime.  

Through striking black and white cinematography and the strategic appropriation of early Hollywood prison movie conventions and film noir atmospherics, Thornton crafts a visually compelling and thematically rich experience. The stark dualism of black and white becomes a powerful visual metaphor for the bridging of Indigenous and "whitefella" law, inside and outside perspectives, and notions of guilt and expiation. The film subtly weaves in both Indigenous and Christian concepts of atonement, evident in the elder's almost priestly directive to the released prisoner. Notably, Thornton cleverly incorporates the media's gaze into the narrative itself, transforming the news crew into participants in a ritualistic representation, their technology echoing traditional ceremonial objects. Ultimately, "Payback" asserts the authority and continuity of Indigenous law, even as it acknowledges the pragmatic intersection with Western systems of medicine, leaving a lasting impression of cultural resilience and self-determination.

The “From Sand to Celluloid” initiative continued to foster emerging Indigenous filmmaking talent, producing a diverse range of short films in 1996. Sam Watson’s experimental Black Man Down offered a spiritual perspective on overcoming injustice, while Richard J. Frankland’s No Way to Forget drew on his powerful experiences with the Royal Commission into Deaths in Custody. Darlene Johnson’s visually stunning Two Bob Mermaid poignantly depicted the realities of segregation through the eyes of a young fair-skinned Aboriginal girl in the 1950s, offering a powerful commentary on race and access.

Paul Roy’s 1997 documentary, A Dying Shame, brought the shocking reality of Indigenous health statistics to the forefront, revealing the profound human tragedy behind the numbers and demanding attention to systemic inequalities. John Hughes’s documentary After Mabo (1997) explored the complex and transformative period following the landmark Mabo decision, highlighting the ongoing struggles and negotiations surrounding land rights.

Nick Parsons’s 1997 feature film, Dead Heart, while directed by a non-Indigenous filmmaker, utilized a Western-like narrative to address the enduring conflict between Aboriginal people and encroaching European interests, featuring strong performances from Ernie Dingo and Bryan Brown. The short films produced through the “Shifting Sands” initiative in 1997, including Mitch Torres’s evocative Promise and Ivan Sen’s poignant Tears, continued to showcase emerging Indigenous directorial talent and diverse storytelling approaches.

The late 1990s saw further growth in Indigenous-directed documentaries, such as Timothy Japangardi Marshall and Craig Japangardi Williams’s Marluku Wirlinki – Kangaroo Hunters (1998), which offered a rich portrayal of Warlpiri culture and the interconnectedness of past and present. Rachel Perkins’s acclaimed 1998 feature film Radiance, adapted from Louis Nowra’s play and featuring stunning performances from Rachael Maza Long, Deborah Mailman, and Trisha Morton-Thomas, provided a powerful and intimate portrayal of Indigenous family dynamics, secrets, and the complexities of grief and reconciliation. Erica Glynn’s 1998 short film My Bed, Your Bed offered a nuanced and humorous look at young Indigenous people navigating traditional and contemporary values in relationships. Wesley Enoch’s Grace and Mark Olive’s Passing Through, both from the “Shifting Sands” initiative in 1998, further demonstrated the breadth and depth of Indigenous storytelling in short film form.

Richard Frankland’s 1999 television short drama Harry’s War poignantly explored the often-overlooked experiences and pride of Aboriginal soldiers in the Australian army. Rima Tamoa’s 1999 short film Saturday Night, Sunday Morning, based on a story by Archie Weller, offered a gritty and complex portrayal of a robbery gone wrong and its unexpected consequences, featuring Indigenous characters in a tense urban thriller. Ivan Sen’s 1999 short film Wind delved into the morally ambiguous world of a Black tracker, examining the painful divisions and loyalties created by colonial power structures.

The 1990s, therefore, represent a pivotal decade where Indigenous filmmakers and storytellers moved from the margins towards the centre. Through a growing body of diverse and compelling work across various genres and platforms, Indigenous voices began to shape their own narratives, challenging long-standing stereotypes and offering powerful insights into Indigenous histories, cultures, and contemporary experiences. The establishment and growth of Indigenous-controlled media organizations, coupled with the emergence of talented filmmakers, laid a strong foundation for the continued flourishing of Indigenous storytelling in the decades to come.

The 1990s represent a critical juncture in Australian film and media, characterized by the increasing centrality of Indigenous filmmakers and storytellers. This period witnessed a notable surge in Indigenous-directed productions that challenged prevailing narratives and explored a diverse array of genres and themes. Key thematic concerns include the deconstruction of colonialist representations, as exemplified by Tracey Moffatt's Night Cries; the celebration of Indigenous cultural continuity, evidenced in Dance Your Land; and the examination of complex social issues from Indigenous perspectives, such as in Michael Riley's Poison. Furthermore, this era saw the emergence of diverse Indigenous narratives across various genres, illustrated by Brian Syron's Jindalee Lady and the short films of Ivan Sen. This period is marked by a growing confidence and agency among Indigenous filmmakers, who articulated nuanced portrayals of Indigenous histories, cultures, and contemporary experiences. Contemporary Indigenous Australian perspectives and pedagogy would likely acknowledge this era as pivotal in the advancement of self-representation and the expansion of Indigenous storytelling, while maintaining a critical perspective on earlier works that may have perpetuated harmful stereotypes or misrepresented cultural practices. These films remain salient for scholarly inquiry, offering valuable insights into this transformative period in Australian cinema, the appreciation of diverse Indigenous narratives, and the ongoing trajectory of Indigenous self-determination in media.

From an Indigenous Australian critical viewpoint, while the 1990s undeniably marked a significant step towards claiming the centre in Australian film and media, it is crucial to acknowledge the ongoing complexities and the persistent shadow of colonial influence. The increased presence of Indigenous filmmakers directing their own stories and the emergence of diverse narratives across genres represent a powerful assertion of agency and a long-overdue disruption of dominant, often stereotypical, representations. However, even within this era of progress, critical analysis must consider the extent to which funding structures, distribution networks, and mainstream critical reception continued to privilege certain kinds of Indigenous stories and filmmaking styles over others. While celebrating the groundbreaking work of filmmakers like Tracey Moffatt, Brian Syron, Michael Riley, and Warwick Thornton, and the vital establishment of Indigenous-controlled media like Imparja Television, an Indigenous perspective might also question whether the industry truly relinquished its gatekeeping power and fully embraced the multiplicity and complexity of Indigenous storytelling. Furthermore, a critical lens would examine whether the focus on individual artistic achievements sometimes overshadowed the ongoing systemic issues and the collective struggle for cultural sovereignty and self-determination that underpin Indigenous filmmaking. Ultimately, while the 1990s represent a vital move towards Indigenous control of the narrative, ongoing vigilance and critical engagement are necessary to ensure that this hard-won space truly reflects the diverse voices, experiences, and aspirations of Indigenous Australians.

References

Film References

Barker, W. (Director) (1994) Milli Milli.

Coote, G. (Director) (1991) Island of Lies.

Frankland, R.J. (Director) (1996) No Way to Forget.

Frankland, R. (Director) (1999) Harry's War.

Glynn, E. (Director) (1998) My Bed, Your Bed.

Hughes, J. (Director) (1997) After Mabo.

Johnson, D. (Director) (1996) Two Bob Mermaid.

Lind, J. (Director) (1994) Beyond the Dreamtime.

Marshall, T.J. & Williams, C.J. (Directors) (1998) Marluku Wirlinki – Kangaroo Hunters.

Moffatt, T. (Director) (1990) Night Cries: A Rural Tragedy.

Moffatt, T. (Director) (1993) BeDevil.

Parsons, N. (Director) (1997) Dead Heart.

Perkins, R. (Director) (1998) Radiance.

Riley, M. (Director) (1993) Poison.

Scholes, R. (Director) (1996) Coolbaroo Club.

Sen, I. (Director) (1999) Wind.

Storm, E. (Director) (1992) Deadly.

Syron, B. (Director) (1992) Jindalee Lady.

Tamou, T. (Director) (1995) From Sand to Celluloid – Round Up.

Tamou, R. (Director) (1999) Saturday Night, Sunday Morning.

Thornton, W. (Director) (1996) Payback.

Vellis, A. (Director) (1995) The Life of Harry Dare.

Various Directors (1991) Dance Your Land.

Books

Foley, G. (2018). Whiteness and Blackness in the Koori Struggle for Self-Determination. Arena Printing and Publishing Pty Ltd.

Lawson, K. (2017). Indigenous Film and Self-Determination. University of Texas Press.

Martin, A. (1993). Phantom Signs: Australian Independent Film, 1978-1993. Flicks Books.

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.

Craven, R. (2003). 'Sharing stories: Indigenous media in Australia'. Media International Australia incorporating Culture and Policy, 109(1), 125-138.

Langton, M. (2003) Beyond the burden of history in Indigenous Australian cinema. Film Studies, 20(1), 36-53.

Molnar, H. (2005). 'Black take: Indigenous media, cultural activism, and image politics'. Oceania, 75(3), 337-355.

Websites

Aboriginal Art & Culture: an American eye. (2010). Short Films of Warwick Thornton, Part 1: Payback (1996). [online] Available at: https://aboriginalartandculture.wordpress.com/2010/02/07/short-films-of-warwick-thornton-part-1-payback-1996/

 [Accessed 19 Apr. 2025].

Australian Broadcasting Corporation (ABC) - Blackout Series: https://www.abc.net.au/

Central Australian Aboriginal Media Association (CAAMA). Available from: https://caama.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.

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