Warning signals:: Indigenous remembrance and futurity in post-Apology Australia: A reflection from Broome

Therese Verdun Davis

Warning signals: Indigenous remembrance and futurity in post-Apology Australia: A reflection from Broome

Therese Verdun Davis

Film Screen & Culture

Research output: Contribution to journal › Article › Research › peer-review

Abstract

THE 2008 NATIONAL APOLOGY TO THE STOLEN GENERATIONS WAS MET WITH JUBILANT acclamation from across the country, generating a collective wave of optimism that Australia could be a better place that it had been, even if this was a ‘largely symbolic’ event. Nine years on, the Apology’s promise to make Indigenous and non-Indigenous Australians equal partners by ‘closing the gap’ in health and life-expectation has spectacularly failed in all areas bar one,1 while the nation stalls yet again on questions of formal recognition of the first Australians in its handling of the campaign for a referendum on constitutional. What happened to the hope of a better future generated by the Apology as a national politico-media event? What role does Indigenous art and film play as forms of Indigenous remembrance in the post-apology era?

Original language	English
Pages (from-to)	58-73
Number of pages	16
Journal	Australian Humanities Review
Volume	61
Publication status	Published - 2017

Cite this

@article{c51cec0391904d0aac88f3f7eec3aa67,

title = "Warning signals:: Indigenous remembrance and futurity in post-Apology Australia: A reflection from Broome",

abstract = "THE 2008 NATIONAL APOLOGY TO THE STOLEN GENERATIONS WAS MET WITH JUBILANT acclamation from across the country, generating a collective wave of optimism that Australia could be a better place that it had been, even if this was a {\textquoteleft}largely symbolic{\textquoteright} event. Nine years on, the Apology{\textquoteright}s promise to make Indigenous and non-Indigenous Australians equal partners by {\textquoteleft}closing the gap{\textquoteright} in health and life-expectation has spectacularly failed in all areas bar one,1 while the nation stalls yet again on questions of formal recognition of the first Australians in its handling of the campaign for a referendum on constitutional. What happened to the hope of a better future generated by the Apology as a national politico-media event? What role does Indigenous art and film play as forms of Indigenous remembrance in the post-apology era? ",

author = "Davis, {Therese Verdun}",

note = "THERESE DAVIS is an Associate Professor in Screen Studies in the School of Media, Film and Journalism at Monash University. She is the author of The Face on the Screen: Death Recognition and Spectatorship (Intellect, 2004) and co-author with Felicity Collins of Australian Cinema After Mabo (CUP, 2004). She has published widely on Australian cinema and Indigenous Australian filmmaking.",

year = "2017",

language = "English",

volume = "61",

pages = "58--73",

journal = "Australian Humanities Review",

issn = "1835-8063",

publisher = "The Australian National University",

}

TY - JOUR

T1 - Warning signals:

T2 - Indigenous remembrance and futurity in post-Apology Australia: A reflection from Broome

AU - Davis, Therese Verdun

N1 - THERESE DAVIS is an Associate Professor in Screen Studies in the School of Media, Film and Journalism at Monash University. She is the author of The Face on the Screen: Death Recognition and Spectatorship (Intellect, 2004) and co-author with Felicity Collins of Australian Cinema After Mabo (CUP, 2004). She has published widely on Australian cinema and Indigenous Australian filmmaking.

PY - 2017

Y1 - 2017

N2 - THE 2008 NATIONAL APOLOGY TO THE STOLEN GENERATIONS WAS MET WITH JUBILANT acclamation from across the country, generating a collective wave of optimism that Australia could be a better place that it had been, even if this was a ‘largely symbolic’ event. Nine years on, the Apology’s promise to make Indigenous and non-Indigenous Australians equal partners by ‘closing the gap’ in health and life-expectation has spectacularly failed in all areas bar one,1 while the nation stalls yet again on questions of formal recognition of the first Australians in its handling of the campaign for a referendum on constitutional. What happened to the hope of a better future generated by the Apology as a national politico-media event? What role does Indigenous art and film play as forms of Indigenous remembrance in the post-apology era?

AB - THE 2008 NATIONAL APOLOGY TO THE STOLEN GENERATIONS WAS MET WITH JUBILANT acclamation from across the country, generating a collective wave of optimism that Australia could be a better place that it had been, even if this was a ‘largely symbolic’ event. Nine years on, the Apology’s promise to make Indigenous and non-Indigenous Australians equal partners by ‘closing the gap’ in health and life-expectation has spectacularly failed in all areas bar one,1 while the nation stalls yet again on questions of formal recognition of the first Australians in its handling of the campaign for a referendum on constitutional. What happened to the hope of a better future generated by the Apology as a national politico-media event? What role does Indigenous art and film play as forms of Indigenous remembrance in the post-apology era?

M3 - Article

SN - 1835-8063

VL - 61

SP - 58

EP - 73

JO - Australian Humanities Review

JF - Australian Humanities Review

ER -