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To browse Academia. His metaphor creates a picture of the cinema as a site where Aboriginal and non-Aboriginal people gather to relax, tell and listen to stories, as they would around a campfire. This image of an inclusive cinema is especially pertinent given developments in the Australian feature film industry between During this time an unprecedented number of feature films that focus on settler indigenous relationships were released, drawing attention to a wide range of issues associated with co-existence.
Moreover, many deploy new and sometimes challenging representational strategies to depict Aborigines, settlers, and settler-indigenous relations. The central concerns of this thesis are these films and their extra-textual contexts.
Although they are a varied collection, when considered together they constitute a new movement in Australian cine Henk Huijser. Pauline marsh. The Tracker and Red Hill are cinematic re-interpretations of Australia's colonial past, which they characterise by a sense of postcolonial longing and an expectation of intimacy.
Both films are portals through which arguments about historical truth, subjective memory and contemporary realities are explored and tested. In this article I argue that both these two films create the idea that the historical colonial space was a constant interplay of violence and beauty, and of hatred and friendship. As black and white characters negotiate their way in and around these seemingly polemical positions, viewers are also challenged to do the same.
