|
The Karrabing Film Collective is a primarily Australian Indigenous film, media, and arts collective within the Karrabing Indigenous Corporation (KIC).〔(Karrabing Indigenous Corporation website )〕 The Collective began in 2010 when a group of Indigenous men and women from the coastal region of the Northern Territory of Australia of the decided to learn the craft of narrative film as a means of self-organization, self-expression, and social analysis. Karrabing is not a clan, not a language group, not a nation. It is an aspiration. In Emmiyengal, "karrabing" refers to the point at which the tide has reach it lowest point. Tide out! There is will stay until it turns, making its way back to shore. Karrabing does not have the negative connotations of the English phrase, low tide. There is nothing "low" about the tide reaching karrabing. All kinds of potentialities spring forward. In the coastal region stretching from Nganthawudi to Milik, a deep karrabing opens a shorter passage between mainland and islands. In some places, reefs rise as the water recedes. A road is revealed. Film-making, film screenings and publications allow the Karrabing to develop a local artistic language and form and allow audiences to encounter a new form of collective Indigenous agency. Their medium is a form of survivance—a refusal to relinquish their country and a means of investigating contemporary social conditions of inequality. The films represent their lives, create bonds with their land, and intervene in global images of Indigeneity. In their statement for awarding the Karrabing Film, ''When the Dogs Talked'', the Melbourne International Film Festival Cinema Nova Award for Best Short Fiction Film, the Jury wrote "What is it that fiction is? Of all the short films in MIFF this year, ''When the Dogs Talked'' was the work that most intelligently, astutely and passionately took on this question to ask how we tell our stories, why we tell our stories and from where do our stories emerge. There is a roughness to this film but that is integral to its success. It asks us to think through the complex and fraught contradictions involved in speaking Indigenous myth and truth in a still contested colonial space, in an Australian cinematic landscape that has privileged the settler story, the conquest story, the rational and European story. In making us think through the question of what truth might be, this film is an outstanding example of challenging the very assumptions that underlie our notions of fiction."〔(Melbourne International Film Festival Shorts Awards )〕 The arts critic, Eleanor Ivory Weber notes, Karrabing films "animate the contemporary struggle of Aboriginal peoples. Humorously and critically, using improvised narratives, they vocalise and image lives caught between Dreaming, traditional knowledge and family, and the realities of ongoing colonialism, socio-economic marginalisation and the contemporary market economy."〔(Eleanor Ivory Weber, Postcard from Melbourne )〕 Their films have screened internationally, including at the (62nd Berlinale Shorts Competition ), (the Wexner Arts Center ), dOCUMENTA-13, (the Oslo Institute for Fine Arts ), (the Gertrude Contemporary ), (the Institute of Modern Art in Brisbane ), (the Melbourne International Film Festival ), and (Westspace ). The Collective has been featured in critical arts journals and blogs, including (e-flux journal ), (frieze blog ), (threefourfilms ), (Supercommunity at the Venice Biennale, ) and (unmagazine ). == Films and Installations == ''Wutharr, the saltwater'' (postproduction) In 2009 some Karrabing boated to their remote country in the north of Australia. Half got off at one beach, the other half continuing down the coast. When the first group returned to the beach, the boat was nowhere in sight. Just before a swarm of mosquitoes—bred in inland swamps—overtook them, the boat materialised. It had been stranded down the coast, the motor refusing to start. Corroded wiring; angry ancestors; racialised capital; or Jesus: Salt comprises five ten-minute films. Each film steps seamlessly from one geography of explanation to the next as if through a strange door. Characters get on a boat in a backyard and step out onto a beach. They walk into a remote house and step out into a city church plaza. Shot by Karrabing members on iphones, Salt will appear in three formats—multi-screen; web series; and film. ''Windjarrameru, the Stealing C *nt$'' (2015, 36:30) It's a great day. Four young Indigenous men happen upon two cartons of beer, while another seems to be doing nothing more than kicking back nearby, listening to R&B on his phone. Then everything starts going from bad to worse. Blending Indigenous storytelling with modern worries over environmental degradation and substance abuse Windjarrameru tells a story about a group of young Indigenous men hiding in a chemically contaminated swamp after being falsely accused of stealing some beer, while all around them miners pollute their land. ''When the Dogs Talked'' (2014, 33:53) As a group of Indigenous adults argue about whether to save their government housing or their sacred landscape, their children struggle to decide how the ancestral Dreaming makes sense in their contemporary lives. Listening to music on their ipods, walking though bush lands, and boating across seas, they follow their parents on a journey to reenact the travel of the Dog Dreaming. Along the way individuals run out of stamina and boats out of gas, and the children press their parents and each other about why these stories matter and how they make sense in the context of Western understandings of evolution, the soundscapes of hip hop, and the technologies of land development. “When the Dogs Talked” mixes documentary and fiction to produce a thoughtful yet humorous drama about the everyday obstacles of structural and racialized poverty and the dissonance of cultural narratives and social forms. ''Karrabing, Low Tide Turning'' (2012, 14:01) In the Northern Territory of Australia, an extended Indigenous family attempts to track down a missing family member so as not to loose their government housing. As they move back and forth between the suburban ghetto where they live and a remote landscape where they are trying to establish an outstation, they run up against the everyday obstacles of structural and racialized poverty. Toxic Sovereignty. A series of installations that sculpt an Indigenousfuturism of beer can cast of mobile phone reefs, mechanically mutated totems, and endurant Indigenous knowledges have shown at the Gertrude Contemporary, the IMA Brisbane, and e-flux gallery, nyc. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Karrabing Film Collective」の詳細全文を読む スポンサード リンク
|