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y separately published work icon In the Best Interest of the Child? : Stolen Children : Aboriginal Pain, White Shame Tikka Jan Wilson (editor), Canberra : Aboriginal History Inc. , 1997 Z1598822 1997 anthology poetry life story short story oral history correspondence (taught in 1 units)

'Separating Aboriginal children from family and community began as soon as Europeans set foot on our land. The belief that it is in the best interest of Aboriginal children to be removed from Aboriginal culture and assimilated into White culture has justified the systematic disruption of Aboriginal families. This book traces the history of removing Aboriginal children in New South Wales and contains testimonies of Aboriginals whose lives have been profoundly and painfully altered by separation. The book grew out of a submission of Link-Up (NSW) Aboriginal Corporation to the 1996 Human Rights and Equal Opportunities Commission (HREOC) National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families.' (Publisher)

form y separately published work icon Night Cries : A Rural Tragedy Tracey Moffatt , Jimmy Little (composer), ( dir. Tracey Moffatt ) Alice Springs : Chili Films , 1989 Z142554 1989 single work film/TV (taught in 12 units)

A middle-aged Aboriginal woman nurses her old white mother. During her tending of the old woman, she expresses her frustrations and previously suppressed anger, her own need for warmth and love, and her personal loneliness. Her memories and dreams invade her nerve-fraying routine until the old woman dies and she begins to experience an immense sense of loss.

In the ABC Radio National program, It's Not A Race in May 2017, Marcia Langton notes that Night Cries is the retelling of Jedda as a horror story.

form y separately published work icon Jedda Jedda The Uncivilised Charles Chauvel , Elsa Chauvel , ( dir. Charles Chauvel ) Australia : Charles Chauvel Productions , 1955 Z1382736 1955 single work film/TV (taught in 13 units)

'On a lonely cattle station in the Northern Territory, a newly born Aboriginal baby is adopted by a white woman in place of her own child who has died. The child is raised as a white child and forbidden any contact with the Aborigines on the station. Years later, Jedda is drawn by the mysteries of the Aboriginal people but restrained by her upbringing. Eventually she is fascinated by a full-blood Aboriginal, Marbuck, who arrives at the station seeking work and is drawn to his campfire by his song. He takes her away as his captive and returns to his tribal lands, but he is rejected by his tribe for having broken their marriage taboos. Pursued by the men from Jedda's station and haunted by the death wish of his own tribe, Marbuck is driven insane and finally falls, with Jedda, over a cliff.'

(Synopsis from the Australian Film, Television and Radio School website, http://library.aftrs.edu.au)

form y separately published work icon Australia Baz Luhrmann , Stuart Beattie , Ronald Harwood , Richard Flanagan , ( dir. Baz Luhrmann ) Sydney : Bazmark Films , 2008 Z1531345 2008 single work film/TV (taught in 8 units)

At the beginning of World War II, Lady Sarah Ashley travels from her home in England to Northern Australia to confront her husband, whom she believes is having an affair. He is in the country to oversee the selling of his enormous cattle station, Faraway Downs. Her husband sends Drover, an independent stockman, to transport her to Faraway Downs. When Lady Sarah arrives at the station, however, she finds that her husband has been murdered (allegedly by King George, an Aboriginal elder) and that cattle station manager Neil Fletcher is trying to gain control of Faraway Downs, so that Lesley 'King' Carney will have a complete cattle monopoly in the Northern Territory.

Lady Sarah is captivated by Nullah (King George's grandson) son of an Aboriginal mother and an unknown white father. When Nullah tells her that he has seen her cattle being driven onto Carney's land, Fletcher beats him. Lady Sarah fires Fletcher, deciding to try to run the cattle station herself. To save the property from Carney, she enlists the aid of Drover; together, they drive 2,000 head of cattle across hundreds of miles of the country's most unforgiving land. In the course of the journey, she falls in love with both Drover and the Australian landscape.

Lady Sarah, Nullah, and Drover live together happily at Faraway Downs for two years, while Fletcher (the actual murderer of Lady Sarah's husband and very likely the father of Nullah) kills Carney, marries his daughter, and takes over Carney's cattle empire. When the authorities send Nullah to live on Mission Island with the other half-Aboriginal children, Lady Sarah is devastated. In the meantime, she works as a radio operator in Darwin.

When the Japanese attack the island and Darwin in 1942, Lady Sarah fears that Nullah has been killed and Drover, who had quarrelled with Lady Sarah and left the station, believes Lady Sarah has been killed. Learning of Nullah's abduction to Mission Island, however, he sets out to rescue him. Lady Sarah decides to sell Faraway Downs to Fletcher and return to England. Drover and Nulla sail back into port at Darwin as Lady Sarah is about to depart, and the three are reunited. Fletcher, distraught at the death of his wife, attempts to shoot Nullah, but is speared by King George and dies.

Active Remembrance: Testimony, Memoir and the Work of Reconciliation Gillian Whitlock , 2006 single work essay (taught in 1 units)
— Appears in: Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa New Zealand and South Africa 2006; (p. 24-62)
This work is 'concerned with the personal dimensions of the reconciliation movement with a specific interest in the ways that testimony and memoir have become vehicles for the individual and personal experiences of reconciliation in a process of interracial dialogue' (Whitlock, G. 2006 Active Remembrance: Testimony, Memoir and the Work of Reconciliation)
form y separately published work icon Rabbit-Proof Fence Christine Olsen , ( dir. Phillip Noyce ) Australia : Rumbalara Films Olsen Levy Productions , 2002 Z919523 2002 single work film/TV (taught in 15 units)

Based on real life events that occurred in 1931, Rabbit-Proof Fence is the story of three mixed-race Aboriginal children who are forcibly abducted from their mothers by the Western Australian government. Molly (aged fourteen), her sister Daisy (aged eight), and their cousin Gracie (aged ten) are taken from their homes at Jigalong, situated in the Pilbara region of Western Australia, at the orders of the Protector of Aborigines, A.O. Neville, and sent to an institution at Moore River to be educated and trained as domestic servants. After a few days, Molly leads the other two girls in an escape. What ensues is an epic journey that tests the girls' will to survive and their hope of finding the rabbit-proof fence to guide them home.

Although they are pursued by the institution's Aboriginal tracker and the police, Molly knows enough about bush craft to help them hide their tracks. They head east in search of the world's longest fence - built to keep rabbits out - because Molly knows that this will lead them back to Jigalong. Over the course of nine weeks, the girls walk almost 2,400 kilometres before Gracie is captured attempting to catch a train. Molly and Daisy avoid capture but eventually collapse from exhaustion on the saltpans not far from Jigalong. When they wake, they see the spirit bird, an eagle, flying overhead. Its significance gives the girls the extra energy they need and they are able to make it back to their home.

Out from the Shadows Marcia Langton , 2006 single work criticism (taught in 1 units)
— Appears in: Meanjin , vol. 65 no. 1 2006; (p. 55-64)
Discusses the characterisation of the Aboriginal tracker in Australian films.

Description

This course is concerned with the cultural politics of memory and trauma. Whose memories are sought, believed and commemorated in the public sphere? What problems do traumatic events present for those attempting to commemorate or represent them? Is trauma a useful cross-cultural concept? We will begin by tracing the history of the concept of trauma in psychoanalysis, medicine and popular culture. Next, students will be introduced to theories of memory and trauma drawn from cultural studies, anthropology, history, psychoanalysis, and feminist theory. We will study the cultural politics of trauma and memory in relation to two events - the Holocaust and the Stolen Generations. In particular, we will consider the relationship between trauma, history and mourning, the role of public memorials, and the problem of "forgetting". Texts for study will include autobiographies, films, novels, poetry, testimonials, media texts and political essays.

Assessment

3,000-4,000 words of written work, and tutorial participation.

Supplementary Texts

refer to this full listing of course resources on the library website: http://library.anu.edu.au/search/r?SEARCH=GEND2021

Other Details

Levels: Undergraduate
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