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The Best Judith MacDougall Directed Movies

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poster

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10

/1/

Three Horsemen: 1978/1982 An old Aboriginal stockman, his nephew, and his 13-year-old grandnephew on Cape York peninsula, northern Queensland, try to get an old cattle station going again in their traditional clan country. 54 minutes. Presents the Pootchemunka family and life at the TiTree settlement in Northern Queensland Australia.

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10

/1/

The story of an Aboriginal stockman, Sunny Bancroft, and his family at Collum Collum and their growing enthusiasm for "picnic races" on bush tracks in New South Wales.

poster

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10

/1/

Renowned ethnographic filmmakers David and Judith MacDougall explore the many meanings of photography in this profound and penetrating documentary. The film focuses on the photographers of Mussoorie, a hill station in the Himalayan foothills of northern India whose fame has attracted tourists since the 19th century. Through a rich mixture of scenes that includes the photographers at work, their clients, and both old and new photographs, this extraordinary film examines photography as art and as social artifact — a medium of reality, fantasy, memory, and desire.

poster

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6.6

/9/

35

/2/

About Aborigines and Australian politics. On 13 March 1978 the Queensland Government announced its intention to take over management of the Aurukun Aboriginal Reserve from the Uniting Church. The people of Aurukun complained bitterly, believing that the Church was more sympathetic to their aims and fearing that the State was merely seeking easier access to the rich bauxite deposits on their Reserve. When the Federal Government took the side of the Aborigines the stage was set for national confrontation. Shows the situation at Aurukun during those crucial three weeks.

poster

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10

/1/

When Geraldine Kawanka’s husband died, she and her children left their house at Aurukun on Cape York Peninsula. In earlier times a bark house would have been burnt, but today a ‘house-opening’ ceremony — creatively mingling Aboriginal, Torres Strait and European elements — has evolved to deal with death in the midst of new living patterns. Although sometimes suggesting a party, its underlying purpose is serious. This film records the opening of the house and Geraldine’s feelings about it in her informative and personal commentary.

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6.8

/7/

10

/1/

60

/1/

David and Judith MacDougall are exploring the marriage rituals and roles of Turkana women in this ethnographic documentary. The film's biggest part is taken up by talks between the Turkana people. As one of the first ethnographic documentaries "A Wife Among Wives" subtitles these talks so that the viewer can get a better and probably more personal understanding of the life of the Turkana.

poster

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6.8

/21/

43

/3/

60

/1/

In this, the second film in renowned ethnographic filmmakers David and Judith MacDougall's classic Turkana Conversations Trilogy, one of Lorang's daughters, Akai, is going to marry one of his friends and age-mates, Kongu. Because of the close ties between the two men everything should go smoothly, but the pressures within the two families are such that the wedding negotiations over the bridewealth become increasingly tense. Arranging the number and type of animals to be given as bridewealth demands an intricate balance between psychology and economics: Kongu must offer enough animals to please Lorang and his relatives, but not so many that he appears weak or foolish, or depletes his own family's herds. Negotiations drag on for several days, then threaten to break down altogether. The outcome depends not only on traditional patterns of behavior, but also on the influence exerted by Lorang's wives and the manner in which Lorang chooses to resolve the dilemma that confronts him.

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Filmed over the course of a summer in the mid-60s, Judith MacDougall’s documentary observes the happenings of the workers of the Los Angeles Indian Center, a Native-run organization offering social services and a community hub for the city’s Indigenous community. It centers the center’s director, Ernie Stevens, as he navigates and negotiates with city politicians and a plethora of local personalities in his attempt to organize an art fair for the Center. Largely unseen in over 50 years, the film offers a unique and indispensable look at urban Native American life in the 60s that is ripe for rediscovery and reappraisal, thanks to a new scan of the film’s original print by the UCLA Film and Television Archives.

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The Queen of the Hills is a reconstruction of a film shot and edited in 1988-89 but never completed. It was made as a companion piece to the MacDougalls’ film Photo Wallahs (1991), a study of photography and photographers in the north Indian hill station of Mussoorie. The film is a portrait of the hill station and its inhabitants, focusing on its unusual colonial past and postcolonial present. It has been restored digitally from the faded and damaged 16mm workprint produced in the 1980s.

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This observational documentary follows an episode in the routine life on Collum Collum cattle-station in northern New South Wales. But, as the filmmaker notes, it's a story that could have occurred anywhere.

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Constructed as a series of vignettes of station life, the film focuses particularly on the relationship between Sunny Bancroft, the station manager, and a 16-year-old trainee, Shane Gordon. The episodes are linked by Sunny's reflections on learning the hard way from experience, and from the lessons taught him by his father.

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