lousy little sixpence study guide


Ronin Films preserved a report by Margaret Smith in the Koori Mail, headed 25 years on, classic film shocks (pdf here). M126 - Least Said, Soonest Mended: A Discussion Pat Fiske talked to Alec Morgan and Jerry Bostock about making the Him. The only way it got anywhere was when they went out publicly and protested and had a strike and caused agitation. The level you are dealing at, the level where change is needed, the level where resistance is unconscious because they are whites who have grown up from a generation who have felt that Aborigines are not intelligent. In, f film that takes a long time, but as soon as anything gets happening, we'll let you know. It appeared in the October 1983 issue and could be found in original form at Trove here. Found 208 items. The article is split up into three categories; The Mask of the Tragedy, The Trauma of Non-Recognition. But 1980 was the beginning of the tax concessions so I thought I'd try that. People were talking about Aboriginal involvement but what they were saying was "you still have to do it our way, you still have to do this as a cooperative".

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The film then turns to an interview with Geraldine Briggs, Cumeroogunga Reserve, who explains that some of the Aboriginal men were keen to farm, but the Board informed them they were taking the land back again, proving Aborigines had no rights whatsoever, and she thinks that's what broke the spirit of all those men who had done all that work for nothing. Tribes were forced to reserves where it was believed they would eventually die, and the land could be used by European settlers for farming. The Board began by removing the rights of Aborigines to own  and use Reserve lands. That said, the film remains compelling viewing, and it is good it is available in an enhanced form.

The most noble genre of non-fiction, the documentary, has undergone significant change in that time following a trajec. Through old film footage, photographs and the memories of Aboriginal elders, we are presented with an account of their lives and their struggle. There was no way in the world the Protection Board would allow a film crew to film. The film did score a release on TV, first on the ABC, later on SBS, and at time of writing, was still in circulation and available for streaming, many decades after its original release. Towards the end you find out this is a very complex process, transferring your newsreel footage onto negative,  it is very hard to grade unless you have got it all transferred onto the same stock at the one time. The dynamics of the film work between the footage of the people you are interviewing and the material that is on film, archival film, photographs, etc. M121/122 - Leonard Cohen and Bob Dylan - behind the Frames and the teacher will give up because he or she can't go anywhere to get information. - John Baxter, The Australian. An analysis of the documentary film 'Mabo: Life of an Island Man' by Trevor Graham.

By: Graham Mitchell

Jerry Bostock: Two Laws to me was unethical, we had two filmmakers giving the impression that the film was being made from a black point of view, that it was the Boorooloola community making the film where in fact it wasn't, it was Carolyn Strachan and Alessandro Cavadini who made the film, but who took pains in setting up certain shots to give the impression that the blacks were making the film. To Morgan, it is of greater moment that Lousy Little Sixpence has been invited to the London and Mannhelm fillm festivals, and four others to date throughout Europe. Jerry Bostock: But that is the point you see, if it had been made like that, then it would have been branded as  another black whinge that would have catered to the crackers in society, the racists who would have said "well look at this, the blacks are always whingeing about…". Tells of Aborigines' removal from their families to be sent to work as servants for white people and the rise of the first Aboriginal organisations in the 1930's, in particular the Aborigines Progressive Association. And when Lousy Little Sixpence was premiered in June at the Sydney Film Festival, it was voted by many as one of the festival's outstanding offerings. These awards were also confirmed by Filmnews, at Trove here. Through old newsreels, archive film, photographs and interviews with Elders, the film weaves a moving account of a hidden history, the early struggle for Aboriginal land rights and self-determination. Pat Fiske: Well yes I guess so — I wanted to come away much more emotionally wrenched than I was.
The documentary explores the story of the adoption of Ethiopian sister and brother, Eleni and Sisay, by the Lows, an Australian family.

As noted above, Ronin still has the film available for sale and Vimeo streaming on site, see here, and claims it has been digitally restored (this site used an NITV screening for its videocaps). ÒIn her latest Documentary on Korea, Rushing to Sunshine (Seoul Diaries)(2001), Solrun Hoaas strives to confront and understand one of the major South Korean problems head on. There are a lot of hidden 
things in compilation I think to make it work, either you have got to have fascinating people and fascinating newsreel, or you have to do a lot of editing to make it click. Ronin Films. One story about Aboriginal soldiers refers to "six little Digger boys". ", Margaret Tucker, to camera: "I feel very, very proud of those old people … they were fighters … and they struggled! (Slow zoom in on a still of the Aboriginal flag and a young Aboriginal boy. You are aware that the audience don't really know Aborigines but you've got to take them into their lives and lead them through to a conclusion, and that conclusion is land rights. I have shown the film out at Liverpool and they were astounded that the ABC won't buy it, they don't know that the ABC doesn't buy Australian independent documentaries, people are astounded that there is a deliberate policy of  not buying our films. If you make a film you've got to get it seen on television, it is 
of no value at all if it is just stuck on at the Co-op or stuck on at the Opera House. Off air NITV screening: 52'35" (including animated Ronin logo at head). You say "well, I've got to gamble". We couldn't get coherent places and yet I knew from the tape that we wanted it on film. I felt it was like going to court and presenting a case, you'd need all the facts and then in the film you'd allow the audience to make up their own minds.

A study guide to Lousy Little Sixpence, a documentary about members of the Stolen Generation of Aboriginal Australians.

(Video excerpt 2.49 minutesalso … Through old film footage, photographs and the memories of Aboriginal elders, we are presented with an account of their lives and their struggle. These were Aboriginal people with first hand knowledge of the shameful events described in the film and the Aboriginal attempts to organise and fight back in the 1930s: Of these, it would seem that only Margaret Tucker currently has a wiki listing, here. Now we go in to say here are the facts, here is the history, you people haven't done it, 
this is the only 20th century history that gives the facts, we've got it all together, and they say "oh, why don't you put the dates under there?". The newsreel footage gives a sharp insight to our racist past. Jerry Bostock: I think the important factor of the film is that it touches on things that are well known to Aborigines, like the treatment on reserves, but were never known by non-Aborigines: the fact that we had to have dog tickets, and that whites who congregated with blacks were liable to six months gaol under the Consorting Act. Description: 1 videodisc (DVD) (54 min.) Parents Guide, Australian Library Collections (Government source), Australian Aboriginal - We of the Never Never. according to an interview (see below), director Alec Morgan first became interested in the history of Aboriginal people in NSW in the first half of the twentieth century when touring with his theatre group to Aboriginal communities in the 1970s, meeting old Aboriginal people and hearing their stories.
*In the middle of October Alec received a phone call from the ABC, asking to buy the film. When we were filming My Survival, there was a lot of ill feeling about The Chant Of Jimmie Blacksmith. By: Libby Tudball Especially if people give their time as we did on Wrong Side Of The Road at least they could push it a bit more. With the  sound, I didn't know. Lousy Little Sixpence, which earns its title from the miser- able wages paid to young Aboriginal servants (wages they rarely received), examines the experiences of fi ve stolen children. Jerry, Lester and I all had the idea that the history was important, and we were against that whole process of academics recording the history, but believing that it had to be recorded.

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