This suggests what Vaughan means by “the space between shots” (as in his essay title, altering that of Graef’s series). September 2009. Click here to make a donation. Katherine Arts News and Current Affairs It's here in Central Australia that the Northern Territory Emergency Response known as the 'intervention' was first rolled out more than four years ago. In asking what makes the ordinary arresting, I recalled Dai Vaughan’s reflections on documentary language in a different time and place. In April 2011, Opposition Leader Tony Abbott proposed consultation with Indigenous people over a bipartisan Federal Government intervention in Northern Territory towns like Alice Springs, Katherine and Tennant Creek, which would cover such areas as police numbers and school attendance in an effort to address what he described as a "failed state" situation developing in areas of the Northern Territory. "#Hashtag: Hunger Games Catches Fire, Audience Entertained", Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, In Praise of Collective Viewing: True/False 2020, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival, Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s. While recognising some qualified support for the Intervention, the film examines the specifics of those conditions in a way that contributes to public awareness and offers points of entry to considerations of policy in context.
Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres. Dugald Williamson is Associate Professor in Communication Studies in the School of Arts at University of New England. In the documenting of a year’s experience of the Intervention in the Katherine region, what is shared in this moment is the difficulty of contending with the ordinary.
Subscribe to Senses of Cinema to receive news of our latest cinema journal.Enter your email address below: Among the images that lingered for me after watching Intervention: Katherine, NT were those of a man called Conway Bush-Blanasi talking to camera about his family. Will it be recognised that there are good and bad parents “across the board”, rather than type-casting Indigenous people by association with abuse and failure? Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. (2). Among the images that lingered for me after watching Intervention: Katherine, NT were those of a man called Conway Bush-Blanasi talking to camera about his family. Yet there’s something else: in the sequence at home, Conway says he approves of some things in the Intervention and not others and, while the stress is on problems with the “blanket” emergency tactics, this relates to what he has said at the meeting, that’s it’s no use to intervene and “then forget” about Indigenous people. To encourage viewers, through the formal arrangement of a work, to reflect on the realities indexed, remains an important capacity of documentary. Intervention: Katherine, NT (Julie Nimmo, 2008) Dugald Williamson. To explore this, let me vary Vaughan’s phrase in turn, to speak of the shot resonating between spaces. It argues the need not to “impose” solutions but to work collaboratively with communities to achieve normal conditions of housing, health, education and employment. Things would be harder now that the Indigenous community employment scheme around Beswick, near Katherine, was being replaced with income quarantining as part of the 2007 Northern Territory Emergency Response (1). Produced by award-winning film maker Tom Zubrycki, (with ABC’s David Jowsey as Commissioning Editor) and written and directed by Julie Nimmo, The Intervention was shot over a an 8-month period and features the lives of ordinary community residents as they experience the Intervention first hand, as well as the various government and business workers who all come together to … This concern goes to the heart of Intervention, connecting questions of style with attempts to understand social contexts. “For those who bewail its absence, honesty is a moral problem”, writes Vaughan, but for “those who try to achieve it, it is a technical one” (5). Recollecting an episode in Roger Graef’s 1972 BBC series Space Between Words, on which he was an editor, Vaughan writes: In Family there is a sequence in which, after a gradual increase in emotional stress between the mother and the son, the father is shown withdrawn in concentration upon mending a child’s toy. The images of Conway at home are preceded by the observation of a meeting between a group of men from town and an Intervention survey team, where Conway pursues the question of fairness. The view developed across segments is that the Intervention tactics are not yet solving the main problems, at least locally, and are counter-productive where people are coping. This shot is perfectly genuine, in the sense that it happened at the point which it occupies in the film.
Gesturing to a picture on a household pin-board, he says that if he and his wife weren’t good parents, their daughter wouldn’t be succeeding at work and their other kids wouldn’t be doing well at school. research into allegations of serious sexual abuse of children in Aboriginal communities Synopsis The Intervention: Katherine, NT traces over one year the impact of the emergency intervention which the federal government started in the Northern Territory in 2007 in response to a report about widespread child abuse. It is through cross-references between shots, like those of Conway just mentioned, and surrounding sequences that the difficulties of ordinary responsibility are evoked. He has published widely on media and is currently undertaking research on Australian documentary. Thus arranged, the domestic images show how family and community life are complicated by the Intervention, and these images are held in tension with surrounding sites and problems. His concern is with arranging images in sequences that are “comprehensible” without claiming to be “comprehensive”, so that viewers can grant “further thought” to the film in its links with the real (3).
Yet it owes its remarkably moving effect not to its genuineness but to its poetic appropriateness.
In contrast to some other political accounts, the ethos of the documentary is not what Noel Pearson has called “moral vanity”: the use of others’ disadvantage to score points against ideological opponents and the assumed misprision of their actions while overlooking the practical realities that are at stake (4). However, it does not claim to be comprehensive.
The film observes reactions to evidence that child sexual abuse in remote communities – the “guiding light” of the Intervention – isn’t rampant, as originally assumed. It is within the inscriptions of these realities across different spaces that Conway Bush-Blanasi’s testimony of the ordinary becomes so eloquent. It picks up on Conway’s scepticism about the Intervention, reiterated later in response to the promises of the incoming Labor government (“I hope they mean what they say”). The household images are followed by a sequence in which Irene Fisher, from Sunrise Health Clinic, talks about the problem that people have to give up citizenship rights (with the suspension of the Racial Discrimination Act) in order to gain adequate housing, indicating that issues of living conditions and health converge for many. Issue 52. If you are an Australian resident, any donations over $2 are tax deductible. Key Moments in Australian Cinema, Special Dossiers.
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