What I Have Written

Filmed over a ten-month period throughout Australia, this probing documentary examines the political controversy surrounding Native Title and the Australian Federal Governments proposed amendments to the Native Title Act, 1993. It follows the Indigenous representatives in their attempt to fight the amendments in the media, in the bush, and in the halls of Parliament House, Canberra.

A film that is built around a simple narrative about the concerns of a reporter in public radio whose work takes her from the tele-room in March '83 when the present Labor Prime Minister Bob Hawke came to power, to the biennial Labor Party Conference and through to the elections in Dec. '84. Traps throws up a host of questions and leads on the nature of power and politics.

As notions of civil rights transformed across the world, so was the screen landscape reformed by the ascension of grassroots film movements seeking to challenge the mainstream. Some aspired to push form to its limit; others worked to destabilise what they saw as a homogenous industry, or to provoke questions around gender, sexuality, migration and race.

Peter Kennedy's collaborative video 'November Eleven' (1979), made with filmmaker John Hughes, portrays media coverage of the dismissal of the Whitlam Government in 1975 in Australia and the political and social upheavals that ensued.

The stories in The Habits of New Norcia are told by former Western Australian Aboriginal child 'inmates' of the New Norcia Benedictine Mission who were separated from their families in the 1940s, 50s and 60s and confined in this "orphanage without orphans". In recent decades the New Norcia Monastery has been packaged as one of the State's leading cultural tourist attractions. "A unique blend of Spanish architecture, European art treasures and pioneer history," "Monks, Music & Mystery," "New Norcia, Australia's only monastic town," the brochures announce. Aboriginal testimony in the film challenges this revised and sanitised history. The documentary provides damming evidence of the continuing violence of the Mission against its victims by deliberate omission of their experience in the New Norcia museum, guided tours, art gallery and promotions — an omission that represents a cruel and wounding cover-up.

Hailed by former US president Jimmy Carter as “the man who saved the world”, Ball was an ‘insurgent intellectual’ who emerged as a key figure in the turbulent political landscape of the Cold War. The Australian scholar and security expert’s theories on the fallacy of nuclear action and his advice to the US Department of Defense played significant roles in the de-escalation of global conflict during the 1970s, while his investigation of controversial US military base Pine Gap during the 80s enraged ASIO – which kept a security file on him. After the fall of the Berlin Wall, Ball offered guidance on signals intelligence in Burma and Thailand, and his work in East Timor gave the public a taste of secrets the government would prefer to remain hidden.

Revisits the making of Joris Ivens' 1946 film Indonesia Calling! In 1945-46 Indonesian, Indian, Chinese and Australian Trade Unions blockaded Dutch shipping in Australia, defending the newly declared Republic of Indonesia. Dutch Filmmaker Joris Ivens resigned as Film Commissioner for the Netherlands East Indies and made Indonesia Calling! documenting the trade union actions and supporting Indonesian independence. This documentary revisits the making of Ivens' radical film, Australia's early relationship with Indonesia and the impact of Ivens' film. Made with passionate commitment, Ivens' film provoked a covert response from the state, while helping to create a fertile ground for Australian independent documentary.

In the context of Australia's cold war a 'hidden history' of Melbourne's Realist film movement (1945-1959) is explored through the first person account of a filmmaker of another generation, speaking to the 'indy-media' movement of the present day.

Partly funded as a Bicentennial commission through the University of Queensland Art Museum and the ABC, Hughes’ speculative, essayistic documentary is an examination of the future of Australia in light of the processes of post-industrialisation, Walter Benjamin’s ruinous “angel of history” and Marx’s quixotic vision of modernity.