One Night the Moon – Rachel Perkins

https://clickv.ie/w/Deow

TIME QUOTES AND IMAGES TECHNIQUES AND EFFECTS

This scene is from the end of the plot. Jim has come to the realisation that he is powerless in the face of the dominant Australian landscape. His cultural beliefs are useless here, and he is a
victim of his own culture. His unwillingness to seek help from Albert has lead to the death of his daughter. Notice the negative body language and the repeated images of guns.
0.15
0.31
1.37
1.57
2.42

“I don’t know anything, The film opens with an overhead shot of Jim with his head resting on the table. The mise-èn-scene, which includes a half-eaten sandwich and an empty
anymore.” bottle of alcohol, contributes to a melancholic tone. Jim’s despair is further emphasized by the eye level mid shot of him with his head in his hands, his face
obscured in low lighting. A close-up of his down turned mouth and his lifeless, sad gaze is coupled with Jim singing the refrain, ‘I don’t know anything,
anymore.’ This flash forward representation is a melancholic enunciation of the failure of his own values and beliefs and reflects his inability to exist in this
world. The scene then follows Jim through his home as he enters a child’s undisturbed bedroom. He stops and gazes out of a closed window in which the
outline of trees and the natural world is clearly reflected. This is the first of a series of barriers between Jim and the land. Finally, Jim leaves through the
wrought-iron gate, a symbol of boundaries and ruling the land rather than learning to live in and with it.

Page 1 of 13
2.53
Perkins uses a fade to show Jim’s character disappearing into the landscape as if he has given in to the power of the land. The
subsequent extreme long shot of Jim alone on the horizon emphasizes his isolation.

3.20 What isn't clear here just yet, is that we return to this point in the film just before its tragic ending (the penultimate moment), thus making it a cyclical structure or circular narrative.
Paying close attention to the establishing shots of the vast barren landscape, the rustic mise-èn-scene within the house, and the refrain in the lyrics "Now I don't know anything
anymore", what do you think can be said about the character of Jim? Is he desperate? Has his worldview/voice been challenged? Assumptions of cultural superiority and dominance are
challenged in these opening scenes.
Take note of the body language in this scene. Albert smiles and his daughter waves at Emily, who returns a smile and waves back. Rose refuses to make eye contact with Albert, and even
dissuades Emily from doing so. This could represent Rose’s fear of Aboriginal people. Emily, however, is still innocent and has not yet learned be prejudiced.
3.24
3.29 “We are united in a
3.32 brotherhood of man.”
4.09

Perkins immediately establishes the cultural and racist divide between the white and Indigenous voices in her film. The white family are removed from the land on an elevated cart whilst
the Aboriginal family are travelling on foot. The close-up shot of Albert smiling shows his welcoming demeanour and is metonymic of the collective attitude of the Aboriginal people.
This is followed by a high angle point of view shot of Albert’s family which is used to construct an image of someone insubstantial and inferior in comparison to that of Jim’s family who
is an embodiment of superiority as indicated by society. Also reveals the vulnerability of Albert’s family and their constant subjection to discrimination. This reveals the learned behaviour
of indirect forms of intolerance and racial discrimination from adults to children, and the challenging reality of unconscious doings of racism, ultimately addressed through the language
form of camera shots. Cultural perspectives: Entertains the notions that people of colour face discrimination and shadowed in societies. Through metonymy, Jim also represents all white
men’s failure to understand or ‘know’ the land. Rose further emphasizes her assumed superiority and demonstrates her cultural prejudice by actively blocking the Aboriginal family
through her refusal to make eye contact. She then uses her own hand to prevent Emily from being able to wave in response to the girl’s wave, a clear indication that prejudice is taught
and not innate. This mise-en-scene utilises figure movement and expression in order to efficiently convey racism and prejudice. The physical performances of characters like Rose uses
the force of hand on Emily to communicate the indifferences of the Indigenous people to their family and the supremacy their family upholds - Mise-en-scene functions in order to
express Rose’s prejudicial thoughts and the influence she has on Emily’s cognitive behaviour by denying her the right to do things as simple as wave, as an outcome of hostility towards
Indigenous culture. Cultural perspectives: Racial prejudice comes from learned behaviour and is not inherent, thus emitting the perspective that mannerisms can be toxic, especially
those with negative connotations. The scene ends with the voiceover from the priest speaking in the next scene, in which he states that ‘we are united in a brotherhood of man.’ This is
ironic and inconsistent with the behaviour of Jim and his family, given the clear cultural divide between the white family and the Aboriginal family. However, it becomes clear that the
pronoun ‘we’ refers only to white members of society when the long shot exposing the all white congregation of the church comes into view.
How does the contrasting framing of opening moment with the white family travelling on horse and cart and the Indigenous family walking, coupled with the purity of the white child
(Emily) trying to wave to the Indigenous family and the priest’s voice saying, "We are united in a brotherhood of man," establish the cultural conflict that will inevitably play out during
the film? Ironic and inconsistent with the behaviour of Jim. The next generation is perceived as an optimistic symbol those lost opportunities for harmony and respect depicted through
the tentative smile and wave offered by Emily to Albert and his daughter.

Page 2 of 13
4.10
4.20 Laughter between mother and
child.

Non-Diegetic sounds of soft Irish music continues to play whilst the setting is further established as being in the harsh Australian outback. This plays an integral role in the narrative as
Perkins shows her viewers both the beauty and the brutality of this barren land through a serious of overhead and extreme long-shots. The Ryan family is trying to make a home and a
living in the outback, but the land is difficult to grow crops in and the weather is unforgiving. The proximity of a large rocky mountain range to the home is ultimately the family’s
undoing. Perkins suggests that white Australians are unaccustomed to this type of land and their failure to acknowledge the skills and wisdom of the Indigenous peoples means that they
suffered unnecessarily. It is the setting of the narrative that gives rise to the conflict and cultural nuances.
The moon is a motif in the film. Think about all the symbolism connected to this image. It is also used to show the progression of time. Look at the various stages of the moon to see
how long has gone since Emily disappeared. Also, why is the film called, ‘One Night the Moon”?
5.12 The moon is the most significant symbol and motif within the film. This initial close-up shot of the full moon over the dark and
5.25 ominous land, creates a mystical and supernatural mood. Additionally, it also symbolises the dark side of nature such as
inevitability of death and the danger of the Australian outback if the land isn't shown respect. The size of the moon also
highlights the remoteness or alienation of Rose, Emily and Jim. Throughout the film, Perkins has framed the moon in its
different phases to not only symbolise the passing of time, but also to enforce the diminishing chances of Emily's survival.
Paradoxical nature of moon and landscape.
5.45 The experience of familial bliss is established in the contrasting white lighting of the outside and the yellow hues from within
5.58 Emily's bedroom window. A slow panning shot from the outback setting in through the little girl's bedroom creates a warm
and loving atmosphere.

Handheld camera movement which gives a sense of blah blah blah (not sure it is panning)

The only time the audience hears Emily's voice is when she sings the lullaby with her mother. Here, Perkins establishes the adorable voice of childhood innocence. Storytelling
interconnects individuals – inspires behaviour and imagination.

This experience of familial bliss is established in the contrasting white lighting of the outside and the yellow hues from within Emily's bedroom window. A slow panning shot from the
outback setting in through the little girl's bedroom creates a warm and loving atmosphere. This is strengthened through the circling overhead shot, enabling her audience to experience
the deeply intimate and private world between a mother and daughter. The duet further represents the loving bond between the two. Intrusion of land into their world.
6.05
6.15
6.42
7.03
7.26

The circling high angle shot enables the viewer to experience the deeply intimate and private world between a mother and daughter. The duet further represents the loving bond

Page 3 of 13
 between the two. The viewer continues to experience this strong family bond and parental love for a child through the use of close-up camera angles and panning shots of the family
embracing and unified in song. This also invites the viewer to have an ‘intimate’ connection with the mother and daughter’s relationship, highlighting their special and pure bond.
Indigenous people share this intimacy with the land/mother – new idea of compassion.
Notice how the close-up shot of Rose’s and Emily’s face invites the viewer to have an ‘intimate’ connection with the mother and daughter’s relationships.
The film then cuts cuts between circling high angle and close up shot of the galloping child’s toy, a symbol of innocence. The low-key lighting around Jim as he enters the room
foreshadows the dark emotions he will experience when isolated from his family. This is juxtaposed with the warm hues as he joins his daughter and wife on the bed, symbolising
familial bliss.
8.01 Again with the moon. The moon has a long history as a symbol in literature. “Lunacy” comes from the idea that the moon drives you mad. Werewolves
come out at this time. It represents a mystery here. It would seem that the moon is responsible for enticing Emily out of the house and into the harsh
Australian environment. This motif also has a spiritual significance to the Aboriginal people. Get online and do some research.
Sun = women. Moon = man.
Phases of the moon are used to understand the tides and the effect on the environment gravitated pull of the moon on the tide.
8.21 Notice how the language of the film connects Emily to the land.
8.39 The moon is in bright contrast against the sky, much in the way
9.04
that Emily’s white dress is in contrast with the darkness. What do
9.58
you make of this? This is very mysterious and emotive choirlike
music. How does it make you feel?
Emily climbs out of the window, crossing a barrier and thus symbolising her lack of prejudice and her willingness to connect to the land. There is a sublime connection between children
and the natural world. Emily's white nightgown symbolises her innocence, her vulnerability as well as a connection with the white moon and white culture. This is strengthened through
Perkins' inclusion of the angelic harmonies. Challenges assumptions about prejudice – open, curious, willing to engage and converse with the Indigenous people.
10.03
10.14 “Emily!”
10.18
10.20

The already established connection between mum and child is further demonstrated here when Rose wakes up as if in tune to her daughter. The frantic choreography of Rose and her
bursting through the squeaky gate shouting 'Emily!' then follows, establishing a state of panic.
10.23
10.27
10.30
10.34
10.48
10.53
“She’s not here.”
The non-diegetic Irish music as typified by the Uillean pipes appears when Jim does. Given that Jim represents white colonialism, so does the music. These pipes are symbolic of his
culture. Jim will find Emily the ‘white’ way. Jim similarly moves frantically, and a handheld camera develops a state of chaos and fright. The house, once bathed in a yellow light, is now
cold signifying it is now a setting of trauma. The house, once bathed in a yellow light, is now cold signifying it is now a setting of trauma and panic. Human emotion
Notice the rising volume of the non-diegetic string instruments building the tension between Jim the racist and Albert the Indigenous tracker.

Page 4 of 13
11.50 “What’s he doing here?”
12.10 “Albert? He’s a police officer.”
12.30 “He’s also a highly skilled black tracker, sir.”
“Look, that’s my daughter out there. I’m not having some darky leading the search.”
“Excuse me, sir. This is Albert’s country. He knows this land. Last time…”
“Now listen here. No blacks on my land. This is my property and I’m calling the shots.”
12.33 Racism and prejudice are additionally communicated in the scene where the white-Anglo Saxons are preparing in search of the missing child. Once the
12.39 Indigenous tracker is introduced to Jim, he replies condescendingly with “now listen here, no blacks on my land, this is my property and I'm calling the
12.50
shots” – Non-diegetic music acts as a manoeuvre to aid tension and anticipation to what racial prejudice Jim is conveying, by means of the light strumming
12.53
of the violin. Jim’s vernacular expression, ‘and I’m calling the shots’, is distinctly Australian and symbolises the absolute authority in expelling an Indigenous
Australian from not only his land, but also the search for Emily. Jim claims ownership of the land. Albert is part of the land. This is a fundamental concept in
the film. White people put fences, roads and buildings on the land in order to take control. Jim’s unwillingness to let Albert help reflects his cultural
arrogance and racism.

The violins stop and the background noise of wind complements the unsettling atmosphere as a close-up camera shot on Jim's face as he announces, 'No
blacks on my land.' His destructive prejudice is exemplified through the narrowing of his eyes and set jaw, indeed he is snarling his declaration and control.
The close-up camera shot on Jim's face as he announces 'No blacks on my land' establishes the oppressive, bigoted, and destructive prejudice of the White
Colonial voice (represented through the character of Jim). Human Qualities.

Immediately after Jim speaks, the strumming ends abruptly, establishing the emphasis on his audacious play on words. Employed to frame his emotions
towards Albert, is a close-up view showcasing the dominance of Jim adding prominence to his confronting facial expression. This blatant racism is also
accentuated by the fear of Albert’s knowledge and connection to the land, surpassing any knowledge Jim possesses, creating a threat. Thus, coherently
altering the presumptions of audiences on cultural groups and identities as it illustrates the truths of how self-arrogance and conceitedness towards
individuals and cultural groups may have detrimental ramifications through prejudicial actions.

Albert has the support of some of the search party reflected by the choreography of one gently patting his shoulder as he utters 'I can't believe this'. Perkins
reveals the shifting attitudes of rural Australia in the 1930's.
This scene is important. Pay attention to the cultural representations of the white and Indigenous and their respective relationship to the land.
Perkins’ musical film ‘One Night the Moon’ employs a range of filmic devices to provoke an audience to reflect on the deep bigotry of early white settlers and the alienation of the
traditional landowners of Australia. The duet between Jim and Albert ‘This Land is Mine, This Land is Me’ is a confronting scene that encapsulates the distinctive voices of the colonial
racist, possession of the land pitched against the Dreamtime values of the Aboriginal Australian, being an extended part of the land. What other film techniques shape the experience of
bigotry in this scene?

Perkins’ duet between Jim and Albert ‘This Land is Mine, This Land is Me’ is a confronting scene that encapsulates the cultural divide between the colonial racist, whose relationship with
the land is possessive, pitching against the Dreamtime values of the Aboriginal Australian, where the land is part of them and their identity.
Challenge assumptions about motivations, values and attitudes.

Page 5 of 13
13.10
13.42
13.59
14.09
15.04
15.08
The repetition of “This land is mine” coupled with the violin tremolo creates tension and suspense. The syncopated strumming of guitar quickens the tempo to a brisk walking pace to
suit the ‘search.’ The male duet juxtaposes the two views of the land – the white man sings at a higher pitch symbolising the ruling over the land and ownership thereof while the
Indigenous Australian sings at a lower pitch symbolising being closer to the ground/earth because he is part of the land and owned by it. Jim has a preconceived notion of the Indigenous
and his racist by his own right. The land is something valued by both him and the Aboriginals albeit valued in distinct ways. Jim is intimidated. This is the central conflict of the film. The
different beliefs about ownership are very clear here. Jim believes he owns the land. He ‘signed on the dotted line.’ Albert is the land. He is part of it. The land owns him just like it owns
every plant and creature that need it for their survival. In this sense, the land is like a mother to the Aboriginal people. In contrast, the land is like a slave to the white people.

The string orchestra resumes, only this time with fast beats pierced by the sounds of the Irish pipes; an instrument that hails from The Empire of the United Kingdom and the racist roots
of colonial Australians. Exploring space between black and white, between men and women, between different notions of knowing and seeing.

The long shot of the white men moving into a straight line to carry out a line search reminds the viewer that white people are once more putting straight lines on the Australian
landscape. This alludes to the Tasmanian Genocide where a line search was used to remove all of the Indigenous population from the island.

The nasal tone of Jim, accompanied by Uillean pipes is desperate and aggressive in contrast to the wind sounds of the didgeridoo that accompany the earthy voice of Albert. Not only
do the lyrics shape the racial divisions of rural Australia in the 1930’s, but Perkin’s employs music to diegetically reinforce to an audience how Jim and Albert symbolise the discord of a
darkly tense period of our modern history. Historical antipathies. Encourages audiences to reflection on cultural tension.
16.13
16.25
16.36
16.56

How does the costuming of Jim and Albert reflect their cultural values and attitudes?
The red shirt signifies the dangerous underlying hatred Jim has for Indigenous Australians and possessive control over land while the green shirt symbolises Alberts unity with the
landscape and his passive resignation from the search for Emily.
No connection
15.38
15.46
15.51
17.13
17.26

“They’re going the wrong way.”

Page 6 of 13
17.51 The motif of the rolling dark clouds skirting across of the sky are included to be symbolic of the threat that nature poses to man and to reinforce the vulnerability of Emily in the vast
landscape. This is affirmed through the opposing strategies the two cultures have towards finding Emily - Jim (White Colonialists) dominated the land in a line where Albert respects the
land and uses it to find Emily. Forces audiences to see white dominance as something divisive and destructive (a unified cultural identity)

19.40
20.49
21.02
21.34
21.41
21.46
23.15 “There’s a story hidden in “What do you know? What
23.23
your eyes.” can you see?”

The motif of the moon is once again evident. How much time has passed since Emily went missing? Notice how the didgeridoo comes in with Albert, and then with Rose, there is a mix
of Uillean harp and Didgeridoo. These characters are about to meet, so their songs are entwined. This close-up shot of Albert and Rose's hands joined together with Emily's toy is the first
symbol of the need for the two cultures to work together in order to find Emily. Composed in a pre-apology context (2001 - before the 2008 apology), here Perkins is commenting on the
overarching need for reconciliation (uniting the Indigenous and Anglo Saxon cultures as one under a unified Australian identity). The choreography of Rose desperately running to the
porch holding a bright lantern reveals her desperate hope to see her daughter returned. Her hope is contrasted against the dark horizon with men walking silently through a white fog.
Their downcast and shaking heads reflect a sense of failure in recovering the lost child.

In this song, Rose asks, “What do you know? What do you see?” This is another dialogue between characters. Albert answers, ‘Beyond the known, we are not alone.” This indicates the
spiritual connection to the land. It also shows the white colonial ignorance of the power that the land possesses. The idea that Albert sees the land as a mother connected to Rose’s role
as Emily’s mother, is interesting. The relationship between mother and child is more akin to the relationship that Indigenous people have with the land than the relationship that Jim has
with the bank. The relationship here represents the wider relationship between white and indigenous Australia. We are moving forward together, but it is not in complete harmony.

The returning to the motif of the moon here, through Albert's point of view, coupled with the swelling vocal harmonies and his dialogue "Beyond the known, we're not alone" affirms
the spatiality of the Indigenous culture and their respectful relationship they have with the land (Country).
Think about the construction of gender in the upcoming scene.

Page 7 of 13
23.39
23.58
24.54
25.04
25.10
25.11
25.20 The juxtaposition between the men outside searching and the women cooking in the house portrays the very clear gender roles reflecting the conservative values of rural Australia in the
1930's. The shift from loud string instruments to soft windpipes reinforces the gender divisions. The men are desperately searching whilst the women can only fearfully and patiently
await their findings. The flashback to Emily’s smiling face has a lighter tone/ yellow in colour and the close-up of Emily’s smiling face reveals how she was the delight in Rose's life. The
soft willowy music is repeated in all of Rose's flashbacks and heighten the audience’s sense of grief. The mid-shot reveals Rose shares a quick glance with the other woman, a clear
acknowledgement of Rose's distress, although there is a failure to offer any comfort. This is strengthened through the constructions of gendered identity, where the women are resolved
to domestic duties, waiting painfully and fearfully, and the men actively search. This view will inevitably be challenged when Rose seeks Albert's help. Women as cultural mediators.
Inconsistent and anomalous behaviour. Challenge assumptions about gendered stereotypes. The close-up of Roses’ face followed by her wiping her tear shows that she is desperately
trying to stay strong and not succumb to hopelessness and grief. The situation is too dire, and Rose's anguish is too raw.
25.18 The scene cuts to the sun shining bright in the sky with the continuing undertone of the soft music. Usually, the sun is a
25.59 symbol of brightness and happiness although in this context it is shown as being harsh and a symbol of the dangerous
nature of unbearable heat in the Australian outback as well as a sense of time being lost. Again, we return to the motif of
the dark rolling clouds, this, coupled with the ominous string instrumentation highlights the growing dire situation Jim (the
White Colonial cultural representation) has put himself in by not accepting/working with Albert (the Indigenous Australian
cultural representation).
Albert’s uniform is an interesting metaphor for his connection to white culture. He is the police tracker. He will give up this connection to find Emily. What does this say about the
‘white’ way of doing things?
27.43 “The ancient knowledge and
28.05 the wisdom from the spirit of
29.01 this land.”
29.08

Submissive to the rules of white man. Prepared to challenge these rules to find Emily and use his knowledge to help.
Paradoxical – rejects their rules and rites but keen to help white man regardless.
29.37
30.02
30.04
30.17

“Is the black tracker here?” “Albert’s not here.”

31.08 What can be said about the Ryan family's front gate in respect to Jim's colonial views of the land?

Page 8 of 13
 Boundary/border/barrier that can’t be crossed and challenged.
30.47
31.01 Comment on how Perkins has used/framed the recurring
31.04
flashbacks to Emily to instil the deep sense of loss and grief
31.13
in Rose. Human emotion.

First people’s ownership creates tension in the English settlers who, fearful of loss and the deeper spiritual connection felt by Aboriginal with the land, drove a need to reject and deny
them power or respect for their different way of knowing and seeing.
31.28
31.40
31.46
31.54
32.49
33.41
What does Jim's small gesture towards Rose, clearly distraught by the loss of her daughter, reveal about Jim's humanity?
Have you noticed how many shots there are of the landscape? The land is a character in the story. It is the mother of the Aboriginal people; it is the nemesis of the white colonial people.
It is both nurturing and destructive. It is pure arrogance to assume that you can control the land.
35.00
35.09
35.16
35.17
35.19
35.23
This dream sequence shows Emily’s desperation through a series of close-up shots. Her chance to find Emily has slipped away because she did not trust Albert. Notice the lighting here.
Rose is bathed in moonlight as she dreams of Emily’s disappearance. As she wakes, the moon is shrouded in cloud. Here, the moon represents hope. It is light in the darkness. The clouds
indicate a loss of hope. The light has been taken away.
35.54
36.08
36.41
37.04
37.10
37.27
Notice here how Jim is dwarfed by the land. The low angle shots have the land looming over him. He is powerless in this environment. Does Indigenous and white Australia have
‘Unfinished Business?” How is Rose and Albert’s relationship symbolic of the current relationship between white and Indigenous Australia?

Page 9 of 13
38.46
39.27 “Sang my praises far and
39.34 wide. But it didn’t mean a
39.47 thing.”
39.54

“Unfinished business” “Keeping us sleepless.”

Did you hear the beautiful harmony between Albert and Rose at the end of the song? When we work in harmony, we can move forward together and succeed in our efforts.
40.05 The moon is full, again. A month has passed since Emily went missing. It is also like a beacon.
40.11 Emily went missing a month previously. Albert knows that she followed the moon. The
40.23
moon is like a marker, showing the direction that Albert must search. This motif is
interesting. It shows time, it symbolises lunacy/madness, it works as a beacon. Think about
Emily’s character and it’s representation as the next generation – curious.
41.34
41.41
42.18
42.23
43.00

The dark kitchen setting is illuminated by a cold blue light developing Jim's depression and despair. The choreography of Jim opening and swigging from a bottle of alcohol demonstrates
his destructive attempt for escapism. The viewer is confronted to reflect on the rural Australia's problems with depression and alcohol, particularly with men in the 1930s. The string
instruments only heighten the tension of the scene.
42.26
42.41
42.57
43.11

42.51 The naked trees and sparse landscape reflect Rose's vulnerability and misery. She is offered no comfort by anyone or anything. Perkins powerfully contrasts Rose's courage in seeking
Albert against Jim's destructive resignation. There is a subversion of roles. Perkins symbolically has Rose confront the hostile outback while Jim is seeking refuge in his colonial style
house. What does this reveal about each character? Challenges assumptions – anomalies and inconsistencies.
Albert is able to find clues from the land that Jim and his companions could not. What is Perkins suggesting through this?
43.24
43.56
44.04
44.46
44.50
44.53
Rose laments, “I didn't want to see this, oh my eyes can hardly bear the sight” as she has come to realise her Emily is dead. The strings of a violin further heightens the grief of Rose in

Page 10 of 13
 losing Emily. Emily, face down wearing her nightgown, lies at the base of a cliff, almost in a cave as though she might have been seeking shelter. The mother drops to her knees reaching
for her daughter. What film techniques does Perkins use to heighten Rose's immense grief?

‘... washed by the rain, worn by the wind.' Rose's lyrics remind the viewer of the unpredictable and volatile nature of the Australian outback.

Is Emily the lost child trope? A way for the white man to experience a parallel plight to the Stolen Generation?
45.05
45.11
45.28
45.45
45.53

45.33 The journey of Albert and Rose home is confronting. How has Perkins used pathetic fallacy to emphasise the devastating situation? The sky is misty and even the moon does not seem so
bright anymore. The dreary evening is reflective of the dreaded situation.
Albert offers the grieving mother no comfort. Whilst they were united in the search for Emily, he cannot offer her any comfort when discovering her body. This reflects the rigid divisions
between Indigenous and white settlers in rural Australia during the 1930's.
45.58 A high angle shot further develops Jim as pitifully powerless; restless roaming around the room. His sense of despair is confronting as a modern audience is
reminded of how, men suffering with mental health issues, are isolated in rural Australia.

46.39 The music stops and the sound of the wind can be heard as Albert gently hands the body of Emily to her father. There are also desperate gasps for air from
Albert that reveal he is a broken man.

46.32 A juxtaposed close-up of Rose's steely glare at Jim affirms he has also lost the love and support of his wife.

46.43 The movement of the three characters here is key to highlighting Perkins' critique of the racist and bigoted values adopted
46.53 by Jim in the search for Emily; Albert and Rose return to their homes and Jim is left alone in a state of despair. What is the
purpose of Perkins' framing this moment this way?
Perkins develops how isolated people in the outback were in the 1930's. Albert leaves Jim and turns presumably to return to
his own family whilst Rose walks past her husband into the house. The choreography establishes all the characters are alone
in this wretched moment of grief.

Page 11 of 13
 We can see that Emily represents modern Australia and its willingness to move on together into the future. Jim represents the old Australia, where we maintain our colonial ideas of
cultural superiority. Jim’s character can’t exist in this new world. He cannot reconcile the discovery of his daughter’s body with this belief that his way is the right way.
46.59 The dark setting reflects Jim's dark thoughts and there is a cold reflection illuminating an outline of a shotgun creating a
47.11 melancholic atmosphere.

47.14 Note the colour of Emily's room has changed from the warm golden yellow to a cold blue light. This effectively captures the
"...her face everywhere I despair of Jim and Rose.
hear her voice across the
air."

47.25 “I drove all kindness from Rose is totally unresponsive to Jim. Whatever was between
47.27 my door.” them is dead. Buried with Emily. 'I see her face,
47.30
everywhere / I drove all kindness from my door' conveys the
depth of Jim's anguish and shame.

47.38 The slow single sound of the strings of a guitar being

47.46 “I don’t know anything, plucked create a sense of hopelessness and loneliness. The
anymore.” series of long shots and extreme long shots revealing Jim
walking towards the horizon with the gun is a shocking
experience as the viewer has a sense of dread. The scene is
blackened out before a single gunshot sounds. The viewer is
confronted by Jim's suicide.
48.00 Think about the two cultures uniting in this scene and how Perkins has put them together.

This 'Funeral Scene' is sequenced as a coda, after and outside the circular narrative, where Rose and a congregation of Indigenous and non-Indigenous Australians hold a funeral for
Emily. This scene displays a community sharing the tragedy of losing a child and serves as a resolution to the narrative. What is the purpose of Albert's wife singing the Christian
hymn 'Breath of God' in highlighting the unification of the two cultures? Empathetic voice is heard integrate sharing tradition
48.06
48.33
48.44
49.56
50.01
50.09
.”“…and do what you would “Breathe on me, Breath of

Page 12 of 13
 do.” God.”
This scene is highly symbolic in terms of reconciliation. There is a great deal of tragedy in the past, and that tragedy should be recognised and remembered.

We can see here that reconciliation is a two-way street. Albert’s wife is singing a Christian Hymn at Jim and Emily’s funeral. We must move forward with a recognition and acceptance of
each other. We have a shared future that includes aspects of both cultures. It is interesting that Albert’s wife has not even given a name in the film. She is simply Albert’s wife. This could
reflect that fact that while women were low on the social hierarchy, Aboriginal women were seen as a step even lower.

In this context, the definition of reconciliation is the journey to making one unified Australian identity by acknowledging the dispossession and injustices the Aboriginal and Torres Strait
Islander people experienced and have continued to experience as a result of British colonisation. How has Perkins explored this idea throughout this scene? What forced the two cultures
to come together?
This scene is curious. The camera moves out above the land like a bird, or a spirit. Could this be the spirit of the land watching over all that happens?
50.30
50.42
50.52
51.01
51.11
51.21
What did you notice about the depictions of the landscape in the final moments of the film? Given the two cultures have just united through grief and begun the journey to
reconciliation, how did the sweeping shots of the landscape reflect the change when compared to the shots of the landscape throughout the film? The landscape is depicted through a
series of eye view and slightly high angle shots as opposed to the low angle shots of previous depictions where it seems to overpower Jim. This could be suggestive of finding harmony
and unity with the land.
51.28 “We know we cannot live in The personal tragedy of Jim Ryan and his family becomes a metaphor for the historical tragedy of the dispossession of the
the past but the past lives land by English settlers and the reductive treatment of the land and spirituality of the ancient people of the land.
within us.” Charles Perkins Mediating new ways to find community between peoples.
1936-2000

Page 13 of 13