AustLit

'These extended conversations with David and Judith MacDougall represent an invaluable archival record and convey a wealth of ideas and information relating to their experiences as a highly influential ethnographic filmmaking team.

'The conversations cover their years with the Film Unit of the Australian Institute of Aboriginal Studies, Canberra, 1975-1987. During this time, the MacDougalls made a series of eleven documentary films, many of them acknowledged world-wide as landmark achievements in ethnographic cinema. These films included TAKEOVER (1979), THE HOUSE-OPENING (1980), THREE HORSEMEN (1982), SUNNY AND THE DARK HORSE (1987) and LINK-UP DIARY (1987). The MacDougalls discuss their approach to filmmaking and the circumstances of making each film. They also reflect on their body of work from the perspective of today, and discuss the work of other filmmakers who worked for the Film Unit, notably Kim McKenzie with films such as WAITING FOR HARRY (1980), and the work of Indigenous filmmakers Wayne Barker and Oomera (Coral) Edwards.' (Publication summary)

'Lake Mungo is an ancient Pleistocene lake-bed in south-western New South Wales, and is one of the world’s richest archaeological sites. Message from Mungo focuses on the interface over the last 40 years between the scientists on one hand, and, on the other, the Indigenous communities who identify with the land and with the human remains revealed at the site. This interface has often been deeply troubled and contentious, but within the conflict and its gradual resolution lies a moving story of the progressive empowerment of the traditional custodians of the area.' (Source: Publishers website)

'Ben Chifley (1885 - 1951) was a railway engine-driver who became Australia's best-loved Prime Minister in 1945. He was a politician who lived by principles of compassion and concern for his fellow Australians. His philosophy and example have never been more relevant than in the political arena of today. As Prime Minister and Treasurer, he had a profound effect on the path of Australian history following World War Two, and many advantages enjoyed in our society that we take for granted today are the product of his vision.

'This film is an exercise in "People's History": an attempt to find and share the communal memory of Ben and his wife, Elizabeth, that lives on in their hometown of Bathurst, New South Wales. Chifley's extraordinary compassion and idealism are still treasured 50 years after his death. In Bathurst, stories about the Chifleys are treasured memories, valued almost as family heirlooms to be passed on from generation to generation. Simple, everyday artefacts - a tea cosy or an old pipe - can carry a special meaning. Similarly, places which seem "ordinary" but are associated with the Chifleys, such as their simple terrace home on Busby Street or the railway community meeting hall where Ben studied and taught, have strong meaning. In this film, the stories and memories of over 50 friends, neighbours and colleagues contribute to an emotional and eloquent portrait of a remarkable community and a national leader.'

Source: Ronin Films website, http://www.roninfilms.com.au/
Sighted: 14/05/2009

A comprehensive, though not exhaustive, listing of Australian-made feature films produced between 1900 and the end of 1970. Each entry comprises a varying combination of historical and biographical details, as well a synopsis of the storyline. The intention of the compilers, Andrew Pike and Ross Cooper, was to provide 'an idea of the depth and range of fiction film in Australia and to suggest something of the spirit of the film community in this country, rather than restrict [themselves] to a history of the industry as such' (p.vii).

The publication's scope does not include documentaries of experimental films; while the approach to what actually constitutes the 'feature film' form is described by Pike and Cooper as 'flexible,' due mainly to the changing nature of filmmaking over the decades. Australian Film 1900-1977 is therefore a survey of 'one aspect of Australian film, the one best known to the public and of greatest importance to the film industry - the narrative film intended for theatrical screening' (p.vii).