By Ian Bryson
"The name Bringing to mild has meanings. First, this publication is an act of bringing to gentle a historical past that used to be steadily changing into mythologised, partly as the ethnographic motion pictures of the previous are actually hardly ever obvious. Secondly, a lot of the film-making mentioned during this booklet used to be encouraged via a wish to deliver to the sunshine of movie the socio-cultural lifetime of Australia's Indigenous peoples."--BOOK JACKET.
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Extra resources for Bringing to light : a history of ethnographic filmmaking at the Australian Institute of Aboriginal and Torres Strait Islander Studies
The records show that Holmes had cost the Institute more money than they expected to pay so there was even more reason to have their own in-house filmmakers. Early in 1965 the FPAC and the Council took the crucial decision to hire a full-time in-house filmmaker. This was reported in the 26 AIATSIS Report Series 3. 44 The making of this film had come about through Denis Daniels, an Aboriginal man from Roper, who recorded a taped request with Holmes for the film to be made. 45 No anthropologist accompanied the film crew of Holmes, his wife Sandra and the cameraman during filming, although Daniels assumed many of the responsibilities of the task.
Capturing a changing culture: the first phase of the Film Unit A third approach to producing films was to contract a filmmaker to make films on a prearranged topic without involving any Institute personnel. At the Interim Council meeting in February 1963 there was a long discussion about the Commonwealth Government’s decision to begin large scale bauxite mining near Yirrkala in Arnhem Land. 18In subsequent meetings the sense of urgency increased about recording all details of these peoples’ existence before the coming of the mine and it was decided ‘that the Institute should get in touch with Mr.
It was called How Shall They Hear and is a public relations film for the Methodist Overseas Mission in which the work of the missionaries is praised. 70). In this film Holmes used the technique of getting non-actors to enact roles that had been scripted as he had done in his earlier dramatic feature Three in One. During the filming of these two for the Methodists, Holmes filmed a mortuary ceremony for the Institute at Milingimbi in May of 1963 (Djalambu). The Institute provided the Methodists with £1000 to cover the costs of the filming but the later post-production work was directly paid for by the Institute.
Bringing to light : a history of ethnographic filmmaking at the Australian Institute of Aboriginal and Torres Strait Islander Studies by Ian Bryson