One Night the Moon
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- Date Submitted: 04/28/2014 03:09 AM
- Pages: 7
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One Night the Moon’, collaborated by director Rachel Perkins and creative team, Kev Carmody, Paul Kelly and Mairead Hannan, is a 2001 australian outback film loosely based on a factual event in Dubbo, 1932. The film is profoundly effective in evoking a distinctive sense of racism, love, loss and failure, carried by selective techniques which theatrically enhance the storyline from beginning to end.
The opening sequence, following the narrative disruption (the text), establishes the strong sense of racism between the white australian family and the indigenous australian family. As the scene begins with a very wide shot, an emphasis is placed on the harsh, majestic rural environment of Australia, relating to the concept of the land being a mysterious complicated landscape that only an aboriginal, such as black tracker Albert, can be deeply connected to and hence be effectively knowledgable of. As the Ryan family (the white australian family), gradually journey nearer on their horse and carriage, the camera draws to their clean, ‘sunday best‘ attire, contrasting to the earthy brown, poorer clothing of the Albert’s family.
As well as this, their socio-economic status is made evident through their means of travel; the aboriginal family somberly walking along the edge of a dirt road opposed to the horse where they are uplifted from the ground, which is symbolisic of the superior and inferior, their attitudes; the aboriginals are down to earth, accepting, and kind-hearted in politely waving back and smiling to innocent Emily in comparison to the mother who strictly shuts Emily from any possible contact, and the body movements and posture; the white family are dignified and straight-backed, whereas the aboriginal family are casually slightly hunched over.
Furthermore, beyond the obvious there are many other techniques used to subtly yet effectively create the discriminative distinction. Reflecting the views of the early to mid twentieth century the...
The opening sequence, following the narrative disruption (the text), establishes the strong sense of racism between the white australian family and the indigenous australian family. As the scene begins with a very wide shot, an emphasis is placed on the harsh, majestic rural environment of Australia, relating to the concept of the land being a mysterious complicated landscape that only an aboriginal, such as black tracker Albert, can be deeply connected to and hence be effectively knowledgable of. As the Ryan family (the white australian family), gradually journey nearer on their horse and carriage, the camera draws to their clean, ‘sunday best‘ attire, contrasting to the earthy brown, poorer clothing of the Albert’s family.
As well as this, their socio-economic status is made evident through their means of travel; the aboriginal family somberly walking along the edge of a dirt road opposed to the horse where they are uplifted from the ground, which is symbolisic of the superior and inferior, their attitudes; the aboriginals are down to earth, accepting, and kind-hearted in politely waving back and smiling to innocent Emily in comparison to the mother who strictly shuts Emily from any possible contact, and the body movements and posture; the white family are dignified and straight-backed, whereas the aboriginal family are casually slightly hunched over.
Furthermore, beyond the obvious there are many other techniques used to subtly yet effectively create the discriminative distinction. Reflecting the views of the early to mid twentieth century the...