Indigenous Australian Film and Media: 2020-Present - A Time of Reckoning and Renaissance
The period from 2020 onwards has proven to be a watershed moment for Indigenous Australian film and media. This era is marked by a powerful convergence of factors: a growing recognition of the need for truth-telling and reconciliation, a surge in Indigenous creative talent, and a global appetite for diverse and compelling stories. This chapter will delve into the key trends, significant works, and emerging voices that have shaped Indigenous film and media in recent years, with a focus on analyzing the codes, conventions, representations, and tropes that define these works as specifically Indigenous Australian.
The year 2020, in particular, served as a catalyst
for change. The global Black Lives Matter movement resonated deeply in
Australia, prompting a long-overdue reckoning with the nation's own history of
racial injustice and the ongoing impact of colonization on Indigenous
communities. This heightened awareness created a space for Indigenous voices to
be heard more clearly and powerfully than ever before.
The series employs a range of cinematic codes and
conventions to create a compelling and immersive account of these conflicts.
Dramatic reconstructions, such as the re-enactments of key battles and
massacres, bring a visceral immediacy to the historical events, forcing viewers
to confront the reality of the violence. These reconstructions are often
juxtaposed with stark on-location filming, showing the very landscapes where
these events occurred. This is particularly effective in the segments focusing
on Queensland, where the beauty of the natural environment is juxtaposed with
the brutal history of the Native Police Corps.
The Australian Wars
is important not only for its historical content but also for its role in the
ongoing cultural and political movement for truth-telling and reconciliation in
Australia. The series confronts viewers with the enduring legacies of colonial
violence, including the dispossession of Indigenous peoples, the destruction of
their cultures, and the intergenerational trauma that continues to affect
communities today. A particularly poignant example is Perkins's return to her
own family's country, where she recounts the massacre her grandmother survived.
This personal framing, combined with the broader historical analysis,
powerfully connects past atrocities to present-day realities.
The series has had a profound impact on public
discourse, prompting widespread discussion about how Australia's history is
remembered and represented. Its critical success and the attention it has
garnered have also placed pressure on institutions, such as the Australian War
Memorial, to expand their narratives to include the frontier wars. The
Australian Wars stands as a powerful example of how film can be used to
challenge dominant ideologies, promote social justice, and foster a more
inclusive understanding of national identity. The documentary's impact is
evident in its reception, driving a push for including the frontier wars in the
national narrative.
A new generation of Indigenous filmmakers has also
emerged, bringing fresh perspectives and innovative approaches to storytelling.
Meyne Wyatt's powerful monologue, "City of Gold" (2020), which was
broadcast on ABC's Q+A program, became a viral sensation, sparking a national
conversation about racism and Indigenous identity. Wyatt's short film 6LACK1DZ
(2022) and acting work in Preppers (2021) demonstrates his versatility
as a storyteller. Jub Clerc's Sweet As (2022), a coming-of-age drama,
showcased the beauty and resilience of Indigenous youth culture. Dylan River
has also produced significant work, including Ablaze (2020/2021) and Robbie
Hood (2019).
The documentary form continues to be a vital
platform for Indigenous storytelling. Films like In My Blood It Runs
(2020) offered a powerful critique of the education and justice systems,
highlighting the challenges faced by Indigenous children and young people. Looky
Looky Here Comes Cooky (2020) offered a satirical and multi-faceted
re-telling of the arrival of Captain Cook from an Indigenous perspective. Ablaze
(2020/2021) told the story of Bill Onus, an important figure in Indigenous activism
and early filmmaking.
The horror genre has also been embraced by
Indigenous filmmakers to explore themes of trauma, history, and cultural
survival. Jon Bell's The Moogai (2024), based on his 2020 short film of
the same name, cleverly interweaves themes of the Stolen Generation and forced
removal of children, offering a chilling and thought-provoking commentary on
Australia's past. The anthology film Dark Place (2019) used horror and
fantasy to explore postcolonial Indigenous Australian history.
Television continues to be an important medium for
Indigenous storytelling, with series like Mystery Road (2018-2020) and Preppers
(2021) reaching broad audiences. True Colours (2022), a four-part crime
drama, incorporated the Arrernte language and cultural practices into its
narrative. Shows like Little J & Big Cuz (2017-), an animated
children's series, are also crucial in educating younger generations about
Indigenous culture and language.
The rise of streaming services has also created new
opportunities for Indigenous filmmakers to reach global audiences. During the
COVID-19 lockdowns, many streaming platforms began to showcase Indigenous
Australian films and documentaries, making these stories more accessible than
ever before.
Several key codes, conventions, representations,
and tropes define Indigenous Australian films and media of this period:
Truth-Telling and Historical Reckoning:
A central theme in many films is the insistence on confronting and
acknowledging the violence and injustice of Australia's colonial past. Films
like The Australian Wars (2022) and High Ground (2021) exemplify
this, refusing to shy away from the brutal realities of frontier conflict and
the ongoing legacies of colonization.
Cultural Resilience and Survival:
Despite the ongoing challenges of colonization, Indigenous films celebrate the
strength and resilience of Indigenous cultures and communities. This is evident
in films like Sweet As (2022), which portrays the vibrancy of Indigenous
youth culture, and documentaries that showcase the enduring power of language,
art, and ceremony.
Reclaiming and Revitalizing Culture:
The importance of language, ceremony, and connection to Country is a recurring
motif. Wash My Soul in the River's Flow (2021), a cinematic reimagining
of a concert by Archie Roach and Ruby Hunter, highlights the power of music and
song to connect with ancestral memory and Country.
Challenging Stereotypes and Reclaiming Narrative
Control: Indigenous filmmakers actively work to subvert
negative stereotypes and tell their own stories from their own perspectives.
The success of shows like Black Comedy (2014-2020) and Preppers
(2021) demonstrates a move towards more nuanced and complex representations of
Indigenous characters, often using humor and satire to challenge audience expectations.
Interweaving Past and Present:
Films often explore the ways in which the past continues to shape the present,
highlighting the ongoing impact of historical trauma. The Moogai (2024)
uses the horror genre to connect the Stolen Generations to contemporary fears
and anxieties, demonstrating how past injustices continue to haunt the present.
Diverse Representations of Indigenous Identity:
Indigenous films showcase the diversity and complexity of Indigenous
experiences, moving beyond simplistic or essentialist portrayals. The
documentary Lady Lash (2020) celebrates the unique identity of an
Indigenous hip-hop artist, highlighting the intersection of culture, gender,
and artistic expression.
Innovation in Form and Genre:
Indigenous filmmakers are increasingly experimenting with different genres and
forms, from horror and science fiction to comedy and virtual reality, to tell
their stories in new and exciting ways. Dylan Mooney's video-game style
animation Message in my Dreams (2023) and Amrita Hepi's multi-media work
Scripture for a smoke screen: Episode 1 – dolphin house (2023) exemplify
this trend, pushing the boundaries of cinematic storytelling.
The Power of Storytelling as Resistance:
Indigenous films often function as a form of cultural resistance, challenging
dominant narratives and asserting the importance of Indigenous knowledge and
perspectives. Looky Looky Here Comes Cooky (2020), for example,
re-frames the arrival of Captain Cook as an invasion, subverting the
traditional colonial narrative and centering Indigenous experiences.
Connection to Country is emphasized repeatedly:
Films like The Beach (2020) and the documentary Changing Tides
(2023) underscore the profound spiritual and physical connection that
Indigenous people have to their land and sea, and how this connection is
central to their identity and well-being.
Language as a Conduit for Culture:
The use of Indigenous languages is not only present in films like True
Colours (2022) but also in children's shows like Little J & Big Cuz
(2017-), highlighting the importance of language preservation and transmission
in maintaining cultural continuity.
The period from 2020 onwards represents a
significant moment in the history of Indigenous Australian film and media.
Indigenous filmmakers are producing a body of work that is both artistically
compelling and culturally significant, challenging audiences to confront
difficult truths, celebrating the resilience of Indigenous cultures, and paving
the way for a more just and equitable future. The films of this era are
essential viewing for anyone seeking to understand Australia's past, present,
and future.
The period from 2020 onwards marks a significant
intensification of Indigenous Australian voices within film and media,
characterized by a powerful engagement with truth-telling, cultural resilience,
and narrative reclamation. Key themes include a direct confrontation with
colonial legacies, as exemplified by The Australian Wars (2022), and a
celebration of enduring cultural strength, evident in works like Sweet As
(2022) that highlight the vibrancy of Indigenous youth. Contemporary Indigenous
filmmakers are actively subverting stereotypical representations and reclaiming
narrative control through innovative uses of genre, such as Jon Bell's The
Moogai (2024), which employs horror to explore the Stolen Generations. The
resurgence of Indigenous languages and the emphasis on connection to Country
remain central motifs, reinforcing the inextricable link between identity,
land, and cultural survival. Modern Indigenous Australian perspectives and
pedagogy are likely to critically assess these films for their role in
challenging dominant historical narratives, fostering intercultural dialogue,
and promoting self-determination. These works are essential for ongoing
analysis, as they represent a dynamic and evolving expression of Indigenous
agency and artistic innovation, contributing to a more nuanced and inclusive
understanding of Australian identity.
References
Film References
Clerc, J. (Director) (2022) Sweet As.
Thornton, W. (Director) (2020) The Beach.
Thornton, W. (Director) (2023) The New Boy.
Perkins, R. (Director) (2022) The Australian
Wars.
Wyatt, M. (Director) (2022) 6LACK1DZ.
Various Directors (2020) In My Blood It Runs
(Documentary).
Various Directors (2020) Looky Looky Here Comes
Cooky (Documentary).
River, D. (Director) (2020/2021) Ablaze
(Documentary).
Bell, J. (Director) (2024) The Moogai.
Various Directors (2019) Dark Place.
Various Directors (2021) Wash My Soul in the
River's Flow.
Mooney, D. (Director) (2023) Message in my
Dreams (Video Game Animation).
Hepi, A. (Director) (2023) Scripture for a smoke
screen: Episode 1 – dolphin house (Multi-media work).
Various Directors (2021) High Ground.
Television Series
Various Directors (2018-2020) Mystery Road.
Australian Broadcasting Corporation (ABC).
Various Directors (2021) Preppers.
Australian Broadcasting Corporation (ABC).
Various Directors (2022) True Colours.
Various Directors (2017-) Little J & Big Cuz.
Television Channel
National Indigenous Television (NITV).
Books and Articles
Hearne, J. & Thurston. (2023). Indigenous Media Sovereignty in the Digital
Age. University of Nebraska.
Jones, E.E. (2023). The Australian Wars review – a
furious exposé of a place that celebrates murderous white settlers. The Guardian.
[online] 7 Nov. Available at: https://www.theguardian.com/tv-and-radio/2023/nov/07/the-australian-wars-review-a-furious-expose-of-a-place-that-celebrates-murderous-white-settlers.
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
Langton, M. (2003) Beyond the burden of history
in Indigenous Australian cinema. Film Studies, 20(1), 36-53.
Websites
Australian Broadcasting Corporation (ABC): 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.
National Indigenous Television (NITV): https://www.nitv.org.au/
SBS Language. (n.d.). What were the Australian
Wars and why is history not acknowledged? [online] Available at: https://www.sbs.com.au/language/english/en/podcast-episode/what-were-the-australian-wars-and-why-is-history-not-acknowledged/n86cyq00f
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
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