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By Ian Bryson

"The name Bringing to gentle has meanings. First, this e-book is an act of bringing to gentle a historical past that was once progressively changing into mythologised, partly as the ethnographic motion pictures of the prior are actually hardly obvious. Secondly, a lot of the film-making mentioned during this booklet used to be influenced by way of a wish to carry to the sunshine of movie the socio-cultural lifetime of Australia's Indigenous peoples."--BOOK JACKET.

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Extra info for Bringing to light : a history of ethnographic filmmaking at the Australian Institute of Aboriginal and Torres Strait Islander Studies

Sample text

78 Unfortunately much of the footage exposed during the daytime filming at Maningrida was damaged in processing as well as there being a shortage of film while there. Because of this, Sandall sought permission from the Council of the Institute to return the following year to film similar material again for the purpose of constructing a composite film. He later discovered that there were also problems with the material filmed at the Ruguri cave and was able to return the following year to film the latter half of the ceremony for the construction of another composite film.

From Yirrkala, Peterson, Sandall and 34 AIATSIS Report Series 3. Capturing a changing culture: the first phase of the Film Unit the sound recordist Ken Pouncett went to Maningrida (via Darwin) where Peterson had organised for the filming of a Kunapipi ceremony. Between 20 June and 16 July, Sandall exposed nearly four hours of film there which was later cut into the film Gunabibi (1968). A conference had been organised by UNESCO on ethnographic filmmaking in the Pacific area in late July, so after this filming both Peterson and Sandall flew south to Sydney to participate (see Appendix 1 for a brief description of the conference).

As mentioned earlier, McCarthy was generally interested in Sorenson’s approach to gathering large amounts of filmed data for the future use of researchers and not particularly interested in churning out films for distribution. 79 McCarthy wanted more film and footage for the archives but Sandall did not want his labours to be lost in the archives and never seen again like the works of so many filmmakers before him. 80 Sandall went 36 AIATSIS Report Series 3. Capturing a changing culture: the first phase of the Film Unit further in what appears to be an assertion of his control over the unit by requesting that in future at least four months notice should be given of proposed filming activity.

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