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form y separately published work icon Charlie's Country single work   film/TV  
Issue Details: First known date: 2013... 2013 Charlie's Country
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Rolf de Heer and David Gulpilil collaborate to create a tragi-comic portrait of Charlie's struggle to understand how he should define himself as an Aboriginal in modern Australia.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

David Dalaithngu's Screen Presence Changed Australia's Film Industry Forever. Here's a Look at Some of His Major Roles Alice Dempster , 2021 single work column
— Appears in: ABC News [Online] , November 2021;
Tropical Darwin on Screen : Critiquing National Values Using Urban Frontier Tropes in Charlie’s Countryand Last Cab to Darwin. Gemma Blackwood , 2018 single work criticism
— Appears in: Etropic , vol. 17 no. 2 2018; (p. 132-150)

'Australia’s northern-most tropical city of Darwin has a strong presence in the domestic and international touristic imagination as a tropical escape destination – a small city poised on the edge of outstanding natural beauty – yet in national cinematic representations Darwin is often presented as a frontier zone, whether these tropes are pivoted around culture or nature. I would like to take up this idea of the city of Darwin as special and distinctive in the national imaginary that is discernible in recent Australian cinema, an idea that I show extends to the city’s representation in theatre and literature. This paper performs a close textual reading of the city’s recent representation in two high profile Australian feature films, Charlie’s Country (Rolf de Heer, 2013) and Last Cab to Darwin (Jeremy Sims, 2015). These are films that employ compassionate, humanistic themes, each maintaining a strong focus on main characters who find themselves both marginalized and neglected within the broader mechanisms of Australian society: hence each film is simultaneously performing the secondary work of critiquing Australian culture. In both films, I show how the tropical city of Darwin operates as a space of difference, but unlike the contemporary tourism marketing that simplistically brands the region as a “site of desire”, here we find two unique critiques of Australian law and society that work to show the ethical frontiers of legislation and of human sovereignty.' (Publication abstract)

Reassessing Indigenous Self-Determination in Rolf de Heer’s Charlie’s Country (2014) Victoria Herche , 2017 single work criticism
— Appears in: 'And There'll Be NO Dancing' : Perspectives on Policies Impacting Indigenous Australia since 2007 2017; (p. 228-242)
Theorising Film Festivals as Distributors and Investigating the Post-Festival Distribution of Australian Films Lauren Carroll Harris , 2017 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 11 no. 2 2017; (p. 46-58)

This paper theorises film festivals as distribution circuits, positioning film festivals in the broader cinema ecology to assess their role in delivering local films to local audiences. Recasting current research trends into film festivals through the lens of distribution enables us to see how festivals function as more than another exhibition screen - as a type of distributor. I offer a case study of Sydney Film Festival to explore the following research questions: What is the distributive function and nature of film festivals for Australian films? What happens to local titles following their festival runs? How can we explain the gap between Australian films' continued popularity at film festivals and their continued under-performance in the rest of the marketplace? In answering these questions, this article demonstrates how film festivals have become crucial to both the Australian film industry and the cinema industry at large over the last 10 years, to the point that they have almost replaced the art-house circuit and come to provide an essential, highly specialised distribution channel for small to medium budget films. For this reason, I argue that material and economic drivers are as essential to the current boon in film festivals as cultural ones, and that the film festival circuit has not been able to address the problem of distribution for auteurist, independent and art cinema in an age of digitisation. I present evidence that localises, concretises and specifies festival research, suggesting the major festivals in Australia are an increasingly discrete and self-contained distribution sector within the wider cinema ecology, which has significant implications for theorisations of festivals as feeders for theatrical circuits.

Collaborations and Renegotiations : Re-examining the ‘Sacred’ in the Film-Making of David Gulpilil and Rolf de Heer Alison Jasper , 2017 single work criticism
— Appears in: Literature and Theology , June vol. 31 no. 2 2017; (p. 187–199)

'This article discusses the term ‘sacred’ in relation to the work of nineteenth-century sociologist Émile Durkheim, for whom the word denoted the objects, practices and assumptions that sustained communal solidarity and fostered dynamic energies, whether or not they were conventionally described as ‘religious’. I then turn to the work of more recent scholars of ‘critical religion’ suggesting that the terms ‘religion’ and ‘the sacred’ derive from a predominantly western, patriarchal and colonial context, forming part of a complex network of interconnected categories that represent a distinctive and dominant discourse of power constructing a privileged identity through hostile Othering or exclusions. Arguably, in the Australian mainstream, a discourse of ‘religion’ imported largely by Christian settlers from the west over the last two hundred years has been employed to exclude Aboriginal ways of understanding the world, for example by promoting the category of ‘land’ as an exploitable, God-given human possession. Nevertheless, drawing on the work of Julia Kristeva, I understand that an encounter with the Other—whether the Aboriginal or the balanda—can be viewed differently: as a zone of properly disturbing but also creative possibility. It remains very important, however, to acknowledge the power imbalances that are still embedded within such encounters, and the consequent risks to indigenous Australians, of further dislocation and dispossession. This idea is explored through a consideration of the collaborative film-making of David Gulpilil and Rolf de Heer and, in particular, of two films: Ten Canoes (2006) and Charlie’s Country (2013).'  (Publication abstract)

Out of the Shadowlands Jane Freebury , 2014 single work review
— Appears in: The Canberra Times , 12 July 2014; (p. 27)

— Review of Charlie's Country Rolf De Heer , 2013 single work film/TV
A Rare Talent Saved from Himself Actor Saved from Himself Sandra Hall , 2014 single work review
— Appears in: The Sun-Herald , 13 July 2014; (p. 19) The Sunday Age , 13 July 2014; (p. 19)

— Review of Charlie's Country Rolf De Heer , 2013 single work film/TV
De Heer and Gulpilil Have Saved the Best for Last Paul Byrnes , 2014 single work
— Appears in: The Sydney Morning Herald , 17 July 2014; (p. 30-31)

— Review of Charlie's Country Rolf De Heer , 2013 single work film/TV
Searching for Salvation in a Troubled Country Nick Dent , 2014 single work review
— Appears in: The Sunday Mail , 13 July vol. 13 July no. 2014; (p. 81)

— Review of Charlie's Country Rolf De Heer , 2013 single work film/TV
Star Turn from Gulpilil Evan Williams , 2014 single work review
— Appears in: The Weekend Australian , 19-20 July 2014; (p. 14)

— Review of Charlie's Country Rolf De Heer , 2013 single work film/TV
Gulpilil's Award Welcome Addition to Opera House Memories Garry Maddox , 2013 single work
— Appears in: The Sydney Morning Herald , 28 May 2013; (p. 8)
After Jail, Gulpilil Rebuilds His Life with the Help of an Old Friend Garry Maddox , 2013 single work column
— Appears in: The Sydney Morning Herald , 12 October 2013; (p. 10)
'Screen Worship' : The 2013 Adelaide Film Festival Kath Dooley , 2013 single work essay
— Appears in: Senses of Cinema , December no. 69 2013;
Michod and de Heer Films in Competition in Cannes 2014 single work column
— Appears in: The Sydney Morning Herald , 19-20 April 2014; (p. 12)
Aussie Films Big at Cannes Neala Johnson , 2014 single work column
— Appears in: The Sunday Mail , 11 May 2014; (p. 32-33)
Last amended 6 Feb 2020 13:31:01
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