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Analysis Of Rabbit Proof Fence By Phillip Noyce

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The director, Phillip Noyce made Rabbit Proof Fence to try and illustrate the shear enormity of the oppression suffered by aboriginal families at the hands of white Australian politicians and the government. The Australian administrators passed a policy that forced pure blooded, half castes and quarter castes Aboriginal children to be taken from their families and their land to be bred and mixed into the white Australian community. The government believed that this was in the Aboriginals best interest but their motive was to eventually eliminate Aboriginal blood to promote a white Australia. This policy is now referred to as the ‘Stolen Generation’. The pain and suffering the Aborigines experienced, the oppression and heart-break only ceased
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Acknowledging the wrongs against Indigenous communities in Australia is critical, as this poem shows. The Stolen Generation was a dark chapter in Australia’s history that still affects Indigenous peoples today. From the late 1800s to the 1970s, thousands of Indigenous children were forcibly removed from their families by the Australian government. The policy was designed to assimilate Indigenous children into White Australian culture, and many suffered abuse and neglect.

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True Stories about Aboriginal Children Rabbit-proof Fence and The Secret Path are both true stories about the effects of racism on aboriginal children in Australia and Canada, respectively. The main characters in both films are 14-year-old Molly and 12-year-old Chanie, who are both forcibly removed from their families and then choose to flee against all odds. They both shed light on a period in history when aboriginal peoples were discriminated against and reflect the government's misconduct at the time. However, their experiences, consequences, and government actions differ.

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To what extent has my understanding of ‘being Australian’ been influenced by the texts (and films) you’ve studied? (Deadly Unna?, Summer Heights High). My understanding of ‘being Australian’ has changed through the study of the book ‘Deadly Unna? (Phillip Gwynne 1988) and the comedic documentary Summer Heights High (Chris Lilley 2007).

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It's the white man's way of keeping us in" (Davis 32). Through this quote, Davis emphasises the restrictive and oppressive nature of the fence, which serves as a symbol of the power imbalance between Aboriginals and white

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Deadly Unna by Phillip Gwynne explores racial issues directed at the Indigenous Australians. Gwynne’s story is based on events that occurred in the Yorke Peninsula, South Australia. This book clearly shows that Australia is not the land of the fair go for certain demographics, while other demographics do experience Australia as the land of the fair go. People who have money will experience Australia as the land of the fair go, but the people who do not will not be able to experience Australia as a land of equal opportunity. Indigenous Australians are also included in the demographic of people who cannot experience Australia as the land of the fair go.

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The government deemed this necessary after alleged wide spread sexual and physical abuse of children was accruing within these Aboriginal communities. This is commonly known as the stolen generation. By 1950, every state of Australia had embraced this Act. Repression of Aboriginal language, culture and beliefs continued and in 1961, The Australian Government declared "The Policy of Assimilation, which stated all Aboriginals will inevitably be expected to adopt the superior Anglo-Saxon ways, language, beliefs, and culture. This policy was a government attempt to take the last thing the Aboriginal people had, their identity.

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For non-Australians and even for many Australian citizens, knowledge of Australian policies such as the Half Caste Acts, Aboriginal Protection Act and non-indigenous policies such as the White Australia policy and the Assimilation policy stained Australian culture as incredibly racist. This context would help the audience of Stolen to understand just how much cruelty Indigenous Australians experienced. Harrison pushes the thematic concern of inequality through the five children institutionalised. The children are played by adults who symbolises the transgression of pain from child to adult; sexual abuse, intellectual abuse and physical abuse never just

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Jack Davis’s play No Sugar depicts the struggle for survival by the Indigenous population during the Great Depression in Western Australia. Set on an Aboriginal Reserve, the Munday and Millimurra families become victims of racist political manoeuvres that force them to move to the Moore River Native Settlement in the 1930s. During this time, racism against Indigenous Australians was normalised, which becomes evident in the powerful characterisation of key players such as the chief protector, Mr Neville and the head of the settlement, Mr Neal. Not only does Davis suggest that racist policies are powerfully entrenched throughout the political system, but they also inform political, social and cultural decisions to such an extent that the Indigenous

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he is showing us the sense of ownership he feels over the girls. He controls the girls and has custody over them which enables hm and makes him thinks it’s okay to take them away from their family. Not only does he think he can own a group of people based on the colour of their skin but also clearly shows us that to him the aboriginal people were worth the same as animals. Phillip Noyce was trying to get us to think about the way a group of people can try to control another through force and the effect of these racist

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Stephen Hawking By Sadhbh Darbey Stephen Hawking was born in 1942 on January 8th in Oxford, England. He studied at University of Cambridge, Oxford University, California Institute of Technology, Gonville and Caius College. He then became a physicist with over twelve honoree degrees and from 1979 – 2009 he was a Lucasian professor at the University of Cambridge. He is probably the most famous genius of the modern age.

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Shedding light on a heinous chapter of Australian history, Phillip Noyce’s 2002 film adaption of the book by Doris Pilkington, Rabbit Proof Fence serves as a glaring reminder of the atrocities suffered by those of the “stolen generation”. Set in 1931, the film portrays a simplified version of the early life of three Aboriginal girls and their daring journey from an “integration program” to home again via the Rabbit Proof Fence. They are pursued by A.O. Neville (Branagh), the school director, whom, under government authority, is taking Aboriginal children from their homes and placing them in schools to be educated or more accurately, indoctrinated. Rabbit Proof Fence, through its compelling storyline and depiction of harsh reality, highlights to us that the real villain in colonial Australia was the government and it’s utterly racist policies. As a critic, this film struck me, as I’m sure it will many other viewers, in its veracity of the truth when displaying potentially painful situations.

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The rationale behind these polices was to protect children, a though that aboriginal people would die out and the belief that aboriginal people frowned up miscegenation. Other claims suggest that this was part of the attempt to whiten Australia. The horrific irony here is that there are few if any aboriginal families which have not been impacted by these child removals. It has created an array of psychological issues, an increased risk and exposure to sexual abuse, a taught rejection of their culture, a loss of links to the land, an inability to participate in cultural and spiritual life with their communities and not being able to have a native title. Quite often the intuitions and families in which these children were placed with were more damaging and detrimental to their health and wellbeing that if they had remained with their families.

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The film would make European Australians realise how wrong we were to treat the Aboriginals like we have in the past. The characters are very effective and make the stereotypical Aussie come to life and the indigenous actors in the film are very true in the way that they play their roles and portray the way white Australians treated Indigenous people in our past and even in our current time. The film techniques such as the hand held camera give viewers an almost real life experience to the film and the soundtrack on the film is all native Australian music.

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