To this end, Mills adds: “Location raises issues of dislocation and relocation that lay at the heart of discussions about Indigenous peoples in white Australia in the 1950s. I dislike the film’s racial politics… but where else in Australian film has this celluloid Aboriginality been so manifestly, forefrontly displayed?Jedda is very much about place, or rather being displaced against one’s will. Like my own daughter.” (37)______________________________________________________________________________________________________________________________Published by the Faculty of Arts and Education, Charles Sturt University It tells the tragic story of a young Aboriginal girl of the Arunte tribe, adopted by a white woman, Sarah McCann, as a surrogate for her own baby who has died. He drags Jedda to a cliff top, determined to take her with him.The National Film and Sound Archive of Australia acknowledges Australia's Aboriginal and Torres Strait Islander peoples as the Traditional Custodians of the land on which we work and live and gives respect to their Elders both past and present. Doug is the voice of separatism – allow the Aborigines to go ‘walkabout’ and keep to their own cultural anchorage; superstitious, shadowy ritualising and all, and they will come back better workers – whilst Sarah is an assimilationist, earnestly believing she can ‘civilise’ the Aboriginality out of her adopted daughter, and the tragic trajectory of the film perhaps follows on from this one statement; which Mills quotes of Sarah McMann speaking to Jedda: “I want you to go on living like a white girl. (73)Whilst, as Mills outlines, the night/day cinematography is unconvincing at points – the colour and landscape photography is overwhelmingly lush and elegiac, so it remains odd that critics were so heavily polarised against the film. She will die also. Ultimately, it is the reflections of racial politics in 1955 that determines our response to the film, and the conclusions we arrive at towards “the crude version of assimilation and of cultural integity espoused by Sarah and Doug McMann respectively.” (74)In terms of current views regarding the film’s politics, “For Indigenous scholar and actor Marcia Langton, however, the film is nothing but ‘a colonialist fantasy’ masking the truth of frontier brutality in melodrama.” (75) In fact, the eventual fate of the two leading characters, Jedda and Marbuk, conveniently ascribes to prevalent 1950s attitudes of the failure of the Aborigines to assimilate._______________________________________________________________________What Jane Mills does best in this book is to interrogate the relationship between cinema and geography, and apply a re-evaluation of what it is Towards the end, Mills increasingly sees the character of the ‘half-caste’ stockman Joe as the key to unlocking the film’s ‘place’… it is Joe who after all is the narrator’s voice… it is Joe who is the uneven, twisting mirror of cockney voice becoming progressively more refined into a BBC modulated, thoroughly pukka British radio announcer’s voiceover, and who is our witness as narrator to Jedda’s tragic circumstances. Both the emotions represented in a film and the emotional response felt by a viewer are important in our experience of film. But why a film of that period such as Kangaroo (1952) attracts little revisitation is the debate still engendered regarding the film Jedda’s use of authentic Aboriginal leads, and what this meant to an Australian or international perception of indigenous culture then, and now. Mills takes us on a fascinating excavation of the power of place within the Chauvels’ thinking.Visiting the film’s locations helped me see more clearly what it has to say about territory and ownership, about who belongs in what space, who is put in their place, and who is displaced and replaced. It was better received in Australia, where its Aboriginality was firmer in the culture – in America is seemed to present as its own halting ‘voodoo cowboy’ genre. How will she survive in this land if Marbuck dies? She was promoted as being wild, uncivilised, baring a breast in a pool of water, as if a Tahitian male-fantasy painting by Gauguin. He is also, as Mills introduces it, highly aware of “Knowing one’s place” and all that stems from slipping out of one’s assigned or rightful place… “Place is a powerful metaphor in Jedda.” (61)Joe is “played by a white man in dark, if not blackface, he literally pales beside the Indigenous actors. She says three true stories fed into The film never goes far into Jedda’s relationship with her white mother, but the inherent tragedy of it inspired Tracey Moffat’s groundbreaking short film This was a daring idea in a mainstream filmed entertainment in 1955, but Chauvel takes this idea further in the way he treats the landscape.
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