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Ten Canoes both alludes to these interpretive frames and ruptures them. By these standards, authenticity is understood as fidelity to the past: the film must measure up to some standard of what this imagined pre-contact past was.

A commonly cited example of this is the fact that Thomson asked his subjects to remove their clothing, in order to render the past as he believed it to be before the influence of missionaries.

The director also cites his reliance on a classic ethnography written in by William Lloyd Warner, a detailed study of kinship, social life, ceremonial practice and religious belief among the people of northeastern Arnhem Land Warner Like a moebius strip, a search for origins goes around and around in circles. De Heer acknowledges this recursive dimension: DH: [.

AR: This double helix process works everywhere? RDH: Everywhere. Here we can more productively examine the rhetoric around the film, in publicity materials and critical writing, to scrutinize how closely it acknowledges the complex dimensions of cultural exchange, collaboration and cultural translation and how they lead to such a culturally hybrid film.

These images were pivotal in the development and production of the film Lindy Allen, personal communication, February And even the Thomson photographs contradict each other. He has people wearing flaps of fresh paper bark sometimes as pubic aprons and other times, not at all.

To them the old times are encapsulated by the Thomson photographs. In the film, the shot of the ten canoes is held, almost like a frozen image, and then animated. De Heer emphasizes that his aim in using the image in this way was, again, to give the Thomson photos a substantial presence to address the desires of the community: DH: Then it became more than that.

It became an aesthetic thing that was pretty interesting. AR: You use a similar device with the shots with Dayindi bending over the canoe with the goose eggs, Minygululu behind … that works similarly as a kind of freeze-frame that then comes to life.

From a critical perspective, this rationale for the way the image is used does not determine how it is viewed; it highlights the difference between thinking about the film from the perspective of the production process and analyzing it from a textual perspective. The difference between seeing the articulation of this image in the film as a live version of the photograph a referent and as a freeze-frame a cinematic device signals the complexity of levels on which the film plays out.

On the other hand the film is seen in many contexts in which this local reference point figures less, or not at all: the photo is inserted into a new narrative without the primary significance of the Thomson legacy.

Here the screening of the film is an event that sets up its own logic, entrains viewers in the ways to view and engage with the phenomenological world it sets up through its cinematography, its storytelling techniques, its structuring as a cinematic text.

To these viewers, removed from the cultural knowledges of the original photographs and their role in community life, these moments are not necessarily experienced as the bringing into movement—the animation—of a still image but as the freezing or slowing of a moving image into stasis: as the rhythm of hold and release and the effect of this.

This has the potential to evoke a sudden awareness of artifice—a momentary pause in the narrative to draw attention to the mechanism of film production, to temporal manipulation and directorial control—a self-reflexive moment reminiscent of Dziga Vertov. De Heer says: what [the community] wanted was a film that would work well both for a Western audience and for themselves and for their children.

Two quite different storytelling traditions, different storytelling methodologies and it had to be a synthesis of those. Then you do as much as you can, in terms of poling. You have to do it a different way. Then, you start to try and put the film together and we had barely enough. The trick became, in the writing of the storytelling, what to write for where to fill up that space.

The other thing that was happening was that the film got a rhythm. Time and again De Heer cites solutions to production problems that were mandated by pragmatic concerns but then took on a life of their own as the aesthetic motifs that gave the film its contours, its rhythm and its dramatic structure.

To read Warner also gives some insight into the levels on which the film encompasses the source culture from the inside and illuminates the ways in which it does not or cannot.

Warner starts his study with the question of kinship. From there he goes more deeply into religion, belief systems, practices of totemism and into great detail on the practice and significance of ceremony. The close attention to ceremony makes clear that the emphasis on overt social structures of family relationships only siphons off one layer of a culture.

To separate out a narrative organized around the dramas of kinship from other cultural dimensions—such as the role of ceremony or an economic-existential grounding in country and the system of totemism that integrates human, plant, animal and geological world into one network of relationships—can have the effect of rendering that culture less complex, more one-dimensional. Accounts of the ways this entangled web of relationships is embodied in Yolngu languages make clear that working across a thick language barrier could not hope to address this cultural specificity Rudder Deciding to continue would mean the director was working across a thick language and cultural barrier: DH:But [the community] still wanted to make the film … So … I had to find the way to operate and dare to take on stuff that I felt was culturally inappropriate for me to take on.

How do I do that? It is by, as much as I can, putting myself aside and … becoming a functionary with knowledge. These questions emerging from a critical perspective on the processes of mediation and the authorial voice were the starting point for this interview with Rolf de Heer.

A closer exploration of the structuring of the film—through script, shooting and editing —reveals the complex process of cross-cultural negotiation that gave the film its final shape—the double process of pragmatics and aesthetics.

In his solutions to problems, the director draws on a repertoire of filmmaking skills and both enacts and invents a cinematic vocabulary. This points to another layer of mediation—the process by which story material contributed by the community was shaped into a cinematic language.

The questions raised above from a critical perspective are here explored further in a dialogue with the filmmaker. Could you explain those contradictions? What is the process of making this film?

RDH: The most accurate thing to say was that I wrote it lock, stock and barrel, but that denies realities that exist. When I write the average script, I impose my will and thoughts and ideas onto the page. That was not my process with this. The other complexity was that David had resigned before the shoot started.

Top cast Edit. Crusoe Kurddal Ridjimiraril as Ridjimiraril. Jamie Gulpilil Dayindi as Dayindi …. Richard Birrinbirrin Birrinbirrin as Birrinbirrin. Peter Minygululu Minygululu as Minygululu. Frances Djulibing Nowalingu as Nowalingu. Sonia Djarrabalminym Banalandju as Banalandju. Cassandra Malangarri Baker Munandjarra as Munandjarra.

Peter Djigirr Canoeist as Canoeist …. Michael Dawu Canoeist as Canoeist …. Bobby Bunungurr Canoeist as Canoeist …. Johnny Buniyira Canoeist as Canoeist …. Billy Black Canoeist as Canoeist …. Steven Wilinydjanu Maliburr Canoeist as Canoeist …. Carl Dhalurruma Canoeist as Canoeist …. Rolf de Heer Peter Djigirr.

More like this. Watch options. Storyline Edit. A story within a story. In Australia's Northern Territory, a man tells us one of the stories of his people and his land.

It's a story of an older man, Minygululu, who has three wives and realizes that his younger brother Dayindi may try to steal away the youngest wife. Wide angle shot of a small pier at Moraine Lake where tourists rent canoes and kayaks to go boating.

Banff, Canada--August 6, The story of the rear column of the Emin Pasha relief expedition [microform]. He lid not know the nund er of. Banff National Park, Alberta, Canada. Regie: Rolf de Heer aka. Watch Ten Canoes online. Ten Canoes A story within a story. Year Movie time 90 min.