This document provides background information and context for analyzing the film Ten Canoes (2006) and its representation of Indigenous Australians. It discusses how the film navigates tensions between local and global culture in its filmmaking style and intended audiences. The paper will analyze how specific elements of Ten Canoes reflect and engage with broader social, cultural and political discourses, both drawing from and shaping understandings of Indigenous culture.

1.
Media
Analysis,
101719
Major Essay
Autumn
2010

2. Synopsis
This
paper
seeks
to
create
discussion
around
the
film
Ten
Canoes
(2006)
and
other
films
representing
Indigenous
Australians
in
order
to
explore
the
tension
that
exists
between
local
and
global
audiences
and
filmmaking
and
the
social,
political
and
cultural
discourses
within
which
these
interact,
both
reflecting
and
re-­‐shaping
these.
Process
Report
This
research
task
allowed
me
to
learn
more
about
the
representation
of
Aboriginal
people
through
the
media
and
the
impact
this
may
have
on
their
realities,
the
way
this
both
contributes
to
and
reflects
broader
social,
cultural
and
political
movements
of
the
time.
This
allowed
me
to
understand
the
importance
of
firmly
placing
media
forms
within
their
context
in
order
to
understand
how
and
why
they
have
the
qualities
they
do
and
how
these
affect
us,
the
audience.
It
was
exciting
to
learn
about
the
origins
of
the
film
and
to
understand
how
these
also
impact
on
the
final
product,
while
this
also
allowed
me
to
contextualise
the
film
more
accurately.
It
was
difficult
to
find
any
unbiased
material
relating
to
the
portrayal
of
Indigenous
Australians
and
this
reflects
the
passionate
and
close
to
home
nature
of
these
issues.
From
this
project
I
learnt
the
importance
of
history
and
culture
in
our
perceptual
process
and
the
vast,
the
way
these
work
to
combine
layers
from
which
we
derive
meaning,
and
the
vastly
different
responses
that
may
be
experienced
depending
on
individual
as
well
as
collective
experience.
For
further
research
it
would
be
interesting
to
take
these
elements
that
have
been
examined
within
Ten
Canoes
and
compare
them
to
other
films
in
a
more
in-­‐depth
way
to
increase
understanding
and
discussion
of
how
these
operate
on
these
different
cultural
levels.

3. Tension
between
local
and
global
culture
in
contemporary
Australian
film
representing
Indigenous
Australians
Films
representing
Aboriginal
people
are
often
used
to
highlight
the
social,
cultural
and
health-­‐related
issues
experienced
by
this
cultural
group
and
to
position
them
within
broader
Australian
history
and
culture.
This
discussion
will
be
focusing
on
Rolf
De
Heer’s
Ten
Canoes
(2006),
in
which
the
re-­‐mediation
of
this
culture
into
film
represents
a
struggle
between
local,
national
and
global
styles
of
narrative
and
filmmaking.
In
order
to
understand
how
these
elements
contribute
to
the
generation
of
meaning
and
the
film’s
role
in
broader
social,
cultural
and
political
discourses
we
may
investigate
the
filmic
choices
that
have
been
made
and
how
these
are
reflected
in
the
specific
elements
of
the
film.
Through
a
process
of
decoding
and
deconstruction
we
may
come
to
understand
that
“the
reader
is
as
important
as
the
writer
in
the
generation
of
meaning”
(Hall,
1997,
p.33)
and
that
we
actively
interpret
a
matrix
of
different
elements
according
to
cultural
and
individual
qualities
as
part
of
the
“media
matrix”
(Dallow,
2010).
Global
influence
on
‘national’
films
Independent
films
attempt
to
touch
more
specifically
on
the
country
or
group’s
own
culture
and
unique
human
experience,
a
movement
against
the
claimed
‘universal’,
but
typically
American,
values
and
ideas
that
are
seen
within
Hollywood
films.
This
is
evident
in
the
Indigenous
film
Ten
Canoes
(2006),
which
acts
to
subvert
traditional
narrative
and
camera
techniques
in
order
to
break
this
convention,
while
it
should
also
be
noted
that
this
‘global
filmmaking’
is
still
a
prevalent
influence
on
this
film
as
it
interacts
as
part
of
a
global
web
of
media
discourses.
As
Hedetoft
(2000)
notes,
“contemporary
cinema...
is
increasingly
embedded
in
discourses
of
globalisation...
its
discrete
manifestations
are
full
of
paradox
and
tension”
(p.278).
Ten
Canoes
(2006)
won
the
People’s
Choice
Award
at
the
Cannes
Film
Festival
in
2006
and
was
created
for
this
type
of
global
audience
and
as
such,
its
elements
reflect
these
motives
to
be
different
and
culturally
specific,
while
it
also
aims
to
be
appealing
and
understandable
to
a
global
audience.
The
motivations
behind
the
techniques
chosen
for
the
film
can
be
related
to
the
notion
of
the
image
as
being
a
means
of
representation
of
national
identity,
much
in
the
same
way
as
the
more
recent
film
Australia
(2008),
however,
this
film
takes
on
a
typically
Hollywood
epic
approach
and
can
be
placed
at
the
opposite
end
of
the
scale
to
Ten
Canoes’
(2006)
quiet
and
simple
story.
Ten
Canoes
(2006)
is
created
entirely
in
Yolgnu,
the
native
language
of
the
featured
Ramining
people,
with
English
subtitles
and
voice-­‐over
narration
translating
this
to
the
audience.
The
use
of
language
is
integral
to
our
approach
towards
and
understanding
of
the
film
as
language
is
a
dominant
element
of
cultural
discourses
and
our
main
means
of
expression.
By
using
this
native
language
there
is
a
sense
of
authenticity,
of
‘truth’,
that
is
being
created
through
the
remediation
of
this
unknown
language,
whereby
David
Gupilil
as
the
narrator
and
a
recognizable
actor
acts
as
the
audience’s
portal
to
the

4. Ramining
people.
The
film
was
also
created
entirely
in
two
local
native
languages
and
if
we
were
to
extend
our
discussion
to
include
these
we
may
consider
a
dynamic
range
of
local
cultural
levels
and
approaches
to
interpretation.
Language
is
also
integral
to
broader
understandings
of
cultural
preservation
as
English
becomes
the
‘global
language’
in
international
business
and
is
increasingly
taught
in
overseas
schools
as
part
of
the
process
of
globalisation.
Representing
a
national
‘truth’
Ten
Canoes
can
be
viewed
as
an
example
of
how
“much
of
the
media
is
about
creating
the
illusion
of
being
a
direct
channel
to
‘the
real
world’,
of
presence”
(Dallow,
2010).
Though
not
explicitly
stated,
the
film
claims
to
portray
a
‘true’
depiction
of
Aboriginal
people
much
in
the
same
way
documentary
does.
In
an
early
sequence
a
still
long
shot
in
black
and
white
allows
us
to
watch
the
naked
Aboriginal
men
walk
past
in
single
file
in
the
distance.
The
audience
is
made
to
feel
part
of
the
environment,
the
filmmaker
is
aware
of
the
pervasive
power
of
the
camera
and
distances
viewer
from
subject
as
if
to
recreate
the
sensation
of
observation,
a
powerfully
persuasive
technique.
Throughout
the
film
the
narrator
introduces
us
to
each
of
the
characters
and
still
close-­‐up
shots
are
used
in
this
case,
while
the
subject
does
not
talk
they
smile
and
laugh
along
to
the
words
of
the
narrator
as
though
being
interviewed
on
a
news
channel
or
documentary
special.
We
are
able
to
interpret
these
techniques
as
representing
the
real,
the
close
connection
we
tend
to
associate
between
representation
and
reality,
because
of
our
familiarity
with
these
discourses
of
news
and
documentary
techniques
and
the
way
that
we
have
organised
and
positioned
these
as
part
of
our
schema
from
which
we
interpret
and
assign
meaning.
In
order
to
further
understand
the
intentions
of
the
filmmaker
we
may
investigate
the
origins
of
the
film
Ten
Canoes
(2006)
and
the
way
that
this
was
created
based
on
a
photograph
taken
by
a
1930s
anthropologist,
David
Thomson.
This
image
of
ten
canoeists
was
used
as
the
basis
for
the
narrative,
as
well
as
the
framing
and
colour
techniques
used,
while
the
people
of
Ramining,
whose
cultural
origins
are
in
this
area,
contributed
to
the
development
of
the
narrative,
as
well
as
of
the
setting
and
props.
While
this
may
cause
us
to
view
this
film
as
a
true
and
authentic
depiction
and
indeed
the
immersion
of
the
audience
in
the
narrative
shows
a
lack
of
reflexivity,
a
demonstration
of
how
“fish
are
the
last
to
recognise
water”
(Dallow,
2010),
we
must
remember
that
it
is
actually
a
framed
and
selected
re-­‐
presentation
of
reality.
While
audiences
“don’t
read
images
so
much
as
they
read
into
them”
(Lubin,2003,p.136),
we
must
acknowledge
the
sources
and
motives
behind
the
images
with
which
we
are
presented
and
how
these
both
reflect
and
re-­‐shape
broader
discourses.
This
motive
to
represent
and
highlight
the
‘truth’
of
history
is
evident
in
most
films
representing
Aboriginal
people,
including
Harry’s
War
(1999),
which
was
created
by
an
Aboriginal
filmmaker
and
shows
the
struggle
of
an
individual
to
gain
equality
for
his
people
through
his
participation
in
war.
It
is

5. important
also
to
note
that
in
relation
to
each
of
these
films,
“culture
can
only
appear
on
screen
in
a
mediated
form”
(Venicilion,
2010)
and
this
virtualisation
of
the
image
actually
acts
to
further
distance
us
from
reality.
Remediation:
from
photograph
to
film
The
first
level
of
codification
and
modification
occurs
when
we
look
at
this
photograph
from
which
Ten
Canoes
was
created.
As
Messaris
(1997)
notes,
photographs
“can
elicit
emotions
by
simulating
the
appearance
of
a
real
person
or
event”
(p.vii)
and
this
sentimentality
and
notion
of
preservation
of
history
is
the
driving
force
that
is
carried
throughout
the
remediation
of
this
already
remediated
image
into
the
film.
It
should
also
be
noted
that
“a
paradox
of
photographic
images
is
that
their
strongly
iconic
and
indexical
qualities
give
them
particular
kinds
of
symbolic
power”
(Dallow,
2010)
and
it
is
this
symbolic
power
that
is
carried
into
the
film
and
from
which
new
ideas
and
meanings
are
generated,
relevant
to
the
current
context
and
shared,
as
well
as
individual,
cultural
understandings.
This
also
demonstrates
how
“much
of
the
meaning
potential
in
visual
communication
comes
from
metaphorical
association”
(Machin,
2009,
p.186)
and
this
is
evident
not
only
in
the
construction
of
films
but
also
in
our
deconstruction
of
their
elements.
Thomson’s
Photograph
of
Ten
Canoeists.
Source:
Thorner
(2006).
De
Heer’s
Recreation
in
Ten
Canoes.
Source:
Ten
Canoes
(2006)
In
response
to
the
remediation
of
this
photograph
into
film,
the
Yolngu
people
did
not
want
to
portray
any
conflict
in
their
story,
an
example
of
how
personal
motives
and
perception
of
the
creator
will
influence
the
version
of
‘truth’
that
we
receive.
In
response
to
this
request,
however,
de
Heer
acknowledges
that
conflict
is
a
key
element
in
film,
a
convention
set
by
Hollywood
filmmaking,
and
this
becomes
a
key
part
of
the
film’s
narrative.
He
describes
himself
as
the
mediator
between
the
Ramining
people
and
a
global
audience
and
this
creates
subtle
tension
between
the
Aboriginal,
national
and
global
elements
and
motives
of
the
film.

6. Film
as
a
political
tool
The
film
finds
it
place
in
a
long
history
of
media
portrayals
of
Indigenous
Australians
and
its
elements
reflect
these
broader
historical
and
political
discourses.
The
film
has
been
acclaimed
by
critics
for
its
absence
of
European
influence
or
direct
political
comment
or
depiction
but
it
is
this
very
absence,
the
violation
of
expectation
by
the
audience,
which
creates
its
presence.
We
must
acknowledge
that
this
film
does
not
operate
within
its
own
detached
space
but
within
a
context,
a
web
of
discourses
that
make
up
a
“media
matrix”
(Dallow,
2010).
As
one
critic
notes,
“if
you
expected
a
serious
portrayal
of
Aboriginal
issues
that
expectation
is
deflated
with
a
fart”
(Conor,
2006)
and
this
demonstrates
how
a
“spectator
comes
prepared
to
make
sense
of
a
narrative
film”
(Bordwell
&
Thompson,
1993,
p.90)
and
the
role
this
has
in
perception,
particularly
when
expectations
are
not
met.
We
can
compare
this
approach
by
the
filmmaker
to
films
such
as
Rabbit
Proof
Fence
(2002)
in
which
heightened
dramatic
scenes
such
as
the
abduction
scene
are
contrasted
with
still
shots
and
intense
close-­‐ups
that
give
this
element
of
conflict
a
heavy
emotional
grounding
for
the
actively
interpreting
audience.
Films
such
as
this
one
and
The
Tracker
(2002)
attempt
to
show
this
oppression
and
inequality
directly
and
are
the
type
of
images
society
has
become
accustomed
to
seeing
in
relation
to
Aboriginal
culture
and
history.
It
is
this
discourse
of
Aboriginal
portrayal
in
media
that
makes
Ten
Canoes
(2006)
so
effective
in
its
attempt
to
capture
the
audience.
Abduction
scene
in
Rabbit
Proof
Fence
(2002).
Source:
IMDB
(2010).
This
film
is
a
response
to
the
broader
social,
cultural
and
political
discourses
that
are
taking
part
and
is
used
to
highlight
these
and
contribute
to
this
discussion
due
to
its
search
for
an
international
audience.
In
2005
a
report
was
released
by
the
UN
Committee
on
the
Elimination
of
Racial
Discrimination,
stating
that
severe
inequality
remained
for
the
Aboriginal
people
and
that
reconciliation
was
required.
It
is
in
response
to
broader
issues
such
as
these
that
we
see
films
and
other
artistic
works
highlighting
these
issues
and
attempting
to
show
a
perspective,
to
support
or
go
against
the
dominant
thought
of
the
time,
in
order
to
have
currency
in
the
current
media
context.
It
can
also
be
noted
that
“the
portrayal
of

7. Indigenous
issues
go
hand
in
hand
with
real
world
measures
to
achieve
reconciliation”
(Australian
Government,
2008).
In
response
to
these
ideas
de
Heer
is
quoted
as
saying
that
“most
people
are
so
ignorant
about
this
society
and
its
complexities,
and
there
are
so
many
faulty
judgements
made
about
how
Aboriginal
people
live”
and
this
reflects
the
motivations
of
the
filmmaker
to
represent
a
different
perception
of
Aboriginal
people
in
order
to
create
national
and
global
reverberations.
Over
the
years
much
research
has
also
been
conducted
into
the
portrayal
of
Aboriginal
people
in
the
media
and
their
negative
portrayal
as
either
a
threat
to
society
or
victims
of
society
(Woorama,
2007).
It
is
the
presence
of
this
type
of
information
and
the
emphasis
placed
on
it
within
the
media
sphere
that
may
influence
the
type
of
artistic
work
that
is
created.
As
the
voice-­‐of-­‐narration
sets
up
the
context
of
the
film’s
narrative,
part
of
its
intentions
are
subtly
highlighted,
“It's
a
good
story
but
you
got
to
listen
ey.
Maybe
you're
like
Dayindi,
maybe
the
story
will
teach
you
how
to
live
proper
way."
The
film
is
designed
to
educate,
to
encourage
a
greater
sense
of
respect
and
understanding
towards
the
Aboriginal
people.
The
film
can
be
also
interpreted
as
a
movement
towards
freedom
of
expression,
using
this
media
form
to
give
the
Yolngu
people
a
voice,
allowing
them
to
mark
a
place
in
our
national
culture
at
a
time
when
Aboriginal
people
were
also
beginning
to
be
recognised
as
respected
members
of
Australian
society
in
other
media
as
the
Government
worked
publicly
towards
some
form
of
reconciliation.
When
looking
at
the
existence
of
this
film
within
the
media
space
we
can
look
also
to
how
it
has
been
used
and
adapted
by
others,
meaning
assigned
to
it
and
its
meaning
perhaps
altered
to
meet
the
motives
of
other
groups,
creating
a
multimodal
narrative
about
these
people.
This
film
has
been
adopted
by
government
institutions
as
an
example
of
Indigenous
Australian
history
and
the
growing
acceptance
and
awareness
of
Aboriginal
people
within
Australian
society.
Elements
of
the
film
have
been
decoded
and
re-­‐presented
by
these
groups,
representing
a
continuous
process
of
codification
and
modification
that
occurs
within
media.
The
role
of
the
narrator
In
order
to
explore
these
themes
we
may
focus
in
on
one
element
of
the
film’s
construction
in
particular,
the
use
of
voice-­‐over
narration
by
David
Gulpilil
as
the
key
technique
by
which
the
audience
is
told
the
story.
Within
this
element
of
the
film
there
are
several
different
layers
and
techniques,
which
need
to
be
examined
in
order
to
understand
how
the
construction
of
this
narrative
by
the
filmmaker
is
re-­‐presenting
historical
‘reality’
and
the
role
of
these
in
broader
social,
cultural
and
political
discourses.

8. The
first
element
to
examine
is
the
actor
David
Gulpilil
himself,
where
in
order
to
understand
how
audiences
come
into
meaning
with
the
text
we
must
also
recognise
the
distinct
set
of
films
and
media
presence
associated
with
this
actor,
the
meta-­‐narrative
that
exists
and
intertwines
itself
as
part
of
the
film.
While
the
rest
of
the
actors
in
the
film
are
unknown,
Gulpilil
as
the
narrator
and
the
use
of
his
son
Jamie
as
the
main
character
and
subject
for
all
promotional
material
reflects
the
commoditisation
of
images,
where
an
image
of
an
identifiable
actor
is
considered
of
more
value
and
sets
up
a
particular
acceptance
and
expectation
by
the
audience.
Gulpilil
achieved
international
recognition
in
films
such
as
The
Tracker
(2002)
and
Rabbit
Proof
Fence
(2002)
in
which
his
character
was
at
the
mercy
of
white
people,
oppressed
and
burdened,
though
he
remained
wise
and
insightful.
It
is
with
this
positioning
that
we
listen
to
his
voice
as
he
takes
us
on
this
‘new’
journey
in
Ten
Canoes
(2006).
Gulpilil
in
The
Tracker
(2002).
Source:
IMDB
(2010)
Gulpilil
in
Rabbit
Proof
Fence
(2002).
Source:
IMDB
(2010)
By
contrast,
the
lack
of
existing
narratives
for
the
other
‘actors’
is
essential
to
this
film
as
it
attempts
to
bring
forth
something
new
and
personal,
or
close-­‐to-­‐home
for
the
Aboriginal
people
who
live
in
this
area,
the
emphasis
here
is
on
the
unknown
and
this
is
essential
to
the
interpretation
of
the
film.
The
filmmaker
attempts
to
create
a
balance
between
the
familiar
and
the
unknown,
between
global,
national
and
Aboriginal
culture.
Another
element
to
examine
is
the
way
that
the
scripted
narration
is
designed
to
take
the
viewer
on
a
journey
and
speaks
directly
to
the
audience,
“I
am
going
to
tell
you
a
story”,
pulling
us
into
this
filmic
world
and
narrative.
Western
influences
are
acknowledged
and
the
film
is
ultimately
created
for
a
broader
Western
audience,
“Once
upon
a
time...”
the
narrator
teases,
it
is
an
acknowledgement
of
our
discourses
of
storytelling,
positioning
us
to
feel
as
though
we
are
about
to
interpret
something
very
different
to
the
Hollywood
narratives
we
are
used
to.
The
film
uses
this
technique
to
create
this
distinction
as
part
of
its
motives
as
an
independent
film,
its
attempt
to
stand
in
a
different
field
of
filmmaking
and
demonstrating
how
films
“tell
us
about
current
ideologies
of
media
culture
and
consumer
society”
(Dallow,
2010).

9. On
a
final
note,
we
may
acknowledge
that
the
media
are
central
“to
our
capacity
to
create
and
sustain
order
in
our
daily
lives
and
for
our
capacity
to
find
and
position
ourselves
within
that
order”
(Silverstone,
1999,
p.114),
in
this
way
acting
to
shape
our
perceptions
of
the
world
and
our
identity
within
it.
Ten
Canoes
(2006)
attempts
to
re-­‐shape
the
perceptions
of
Australian
Aboriginal
people
nationally
as
well
as
internationally,
to
counteract
their
negative
portrayal
in
the
media.
Speaking
on
the
film
Harry’s
War
(2000),
Romaine
Moreton
(2000)
notes,
“When
you
have
art
you
have
voice,
when
you
have
voice
you
have
freedom,
with
freedom
of
course
comes
responsibility”
and
these
are
the
factors
the
filmmaker
must
balance
in
relation
to
both
national
and
global
processes
of
understanding,
acceptance
and
identity.
In
conclusion,
films
operate
within
a
matrix
of
social,
cultural
and
political
discourses
and
these
are
often
reflected
in
the
filmic
choices
made
and
the
specific
elements
of
the
film
from
which
the
narrative
is
told.
In
films
that
portray
specific
cultural
groups
and
attempt
to
go
against
traditional
global
Hollywood
cinema,
tension
is
created
between
the
interaction
of
these
cultural
and
filmic
forms,
where
“the
paradox
is
that
for
a
cinema
to
be
nationally
popular
it
must
also
be
international
in
scope”
(Hedetoft,
2000,
p.279).
Films
such
as
Ten
Canoes
(2006)
allow
us
to
examine
the
interaction
of
these
cultural
elements
through
their
portrayal
within
these
films,
while
also
allowing
us
to
contextualise
this
with
links
to
specific
discourses
connected
to
both
current
and
past
contexts.

10. References
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Government.
(2008).
Indigenous
film.
Australian
Government
Culture
Portal.
Retrieved
from
http://www.cultureandrecreation.gov.au/articles/indigenous/film/
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D
&
Thompson,
K.
(1993).
Film
Art:
An
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4th
Edn.
New
York:
McGraw
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Conor,
L.
(2006).
Ten
Canoes:
A
Timely
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Retrieved
from
http://lizconorcomment.blogspot.com/2006/07/ten-­‐canoes.html
Dallow,
P.
(2010,
March
9).
Celluloid
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P.
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U.
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